Approaching Storm
Lithograph, 1940, Johnson 16, Cole 19; edition 250. 11 3/4 x 8 7/8 in. Signed in pencil. This is a superb impression with full margins. The paper shows the watermark POYPE and there's a deckle edge on all sides. The condition is fine apart from a very faint trace of an old adhesive along the extreme top edge of the sheet. According to Associated American Artists records, this print was sold out within five months of being issued. (See Johnson, page 124.)
SOLD

December Afternoon
Lithograph, 1941, Johnson 18, Cole 16; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine, rich impression with wide margins. The condition is fine. This charming, beautifully crafted winter scene is a nice example of Wood's work. There's a related drawing for this print at the University of Iowa Museum of Art.
SOLD

February
Lithograph, 1942, Cole 17, edition 250. 8 7/8 x 11 3/4 in. Signed and titled in pencil. A fine impression in fine condition with full margins. With a pencil dedication added by Wood just below the image. An exemplary work.
SOLD

Fertility
Lithograph, 1939, Johnson 14, Cole 15; edition 250. 9 x 11 3/4 in. Signed in pencil. This is a superb impression printed on a soft white wove paper.The margins are full with a deckle edge showing on all sides. The condition is excellent. As described by Johnson, "Of all nineteen of Grant Wood's lithographs, Fertility stands out as the most optimistic, literally swelling with symbols of Midwestern abundance, hope, and reassurance that the land will respond, providing sustenance for the American people still reeling from the devastating effects of the Great Depression." See Grant Wood: The 19 Lithographs; a Catalogue Raisonné by Bruce E. Johnson (2016), pg. 110.
SOLD

Grant Wood: The 19 Lithographs (by Bruce Johnson)
Catalogue raisonné, 2016, 185 pages. 8 x 10 x 1/2 in. This is the new catalogue on Grant Wood prints. The original catalogue was written by Sylvan Cole and published by Associated American Artists in 1984. This publication provides a substantial amount of information about Wood's interest in the lithography medium and each print is described at length. There are essays about George Miller, Wood's printer, and regionalism in general. Johnson includes amended dates for a few of the lithographs and explains the facts behind his conclusions. This is a must have book for Grant Wood collectors as it supersedes the Cole catalogue. The price is $30 plus $7 for postage and handling. Sales tax applies to North Carolina residents.
SOLD

Honorary Degree
Lithograph, 1938, Cole 4, edition 250. 11 7/8 x 6 7/8 in. Signed in pencil, lower right. This is a fine impression in fine condition. The margins are full. This iconic image is one of Wood's few self portraits. The arched window in the background echos the design from his American Gothic painting from 1930.
SOLD

Honorary Degree
Lithograph, 1938, Johnson 5, Cole 4; edition 250. 11 7/8 x 6 15/16 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This print was based on Wood receiving an honorary degree from Lawrence College in Appleton, Wisconsin. He used two of his friends at the University as models. "The hood mimics the shape of the Gothic window in the background, recalling the symbolic window in American Gothic, perhaps implying that the public recognition--symbolized by the shower of light cascading down upon the recipient--has come from the fame of his iconic painting. Wood seems to literally be basking in the glory of the Gothic arch, his symbol for Regionalism and American Gothic, while the two professors bear looks of disdain upon their faces, a sharp contrast to Wood's almost cherubic gaze up towards them." (See page 72 of Grant Wood: The 19 Lithographs, A catalogue Raisonné by Bruce Johnson (2016).
$3,500

In the Spring
Lithograph, 1939, Johnson 13, Cole 13; edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a very fine impression with full margins. The condition is outstanding. In his excellent 2016 catalog of Grant Wood's lithographs, Bruce Johnson writes the following about this print: "...the lithograph transcends from being a portrait of one individual to a symbol of all farmers and their relationship to their land." (pg. 105). The paper bears a RIVES watermark and was printed by George Miller in New York.
SOLD

January
Lithograph, 1938, Johnson 3, Cole 3; edition 250. 9 x 11 7/8 in. Signed in pencil. This is an excellent impression with full margins. The condition is fine apart from the faint remains of the original AAA hinges in the top two corners of the sheet. The paper bears a GCM watermark. This memorable winter image was done in Iowa and there's at least one related drawing and oil painting. (The painting is located in the Cleveland Museum of Art.) "January" is one of six Grant Wood prints reproduced in Thomas Craven's 1939 book, A Treasury of American Prints. This was a very popular print when it was published in the spring of 1938. In the fall 1938 AAA catalogue, "January" was already sold out. (See Johnson, pg. 61).
SOLD

January
Lithograph, 1938, Johnson 3, Cole 3; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine impresssion printed on RIVES watermarked paper. The margins are full and the condition is fine apart from a soft, subtle dent in the left margin which shows as a shadow and below that is a tiny spot. The lower left corner of the sheet has a wrinkle, well away from the image. This memorable winter image was done in Iowa and there's at least one related drawing and oil painting. (The painting is located in the Cleveland Museum of Art.) "January" is one of six Grant Wood prints reproduced in Thomas Craven's 1939 book, A Treasury of American Prints. This was a very popular print when it was published in the spring of 1938. In the fall 1938 AAA catalogue, "January" was already sold out. (See Johnson, pg. 61).
SOLD

July Fifteenth
Lithograph, 1938, Johnson 6, Cole 5; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine impression printed on RIVES paper with full margins. The condition is very good apart from slight thinness to the paper on the outer edges, verso. The print was attached at the edges at some point and this minor issue does not show in the front at all.
SOLD

March
Lithograph, 1941, Johnson 17, Cole 14, edition 250. 9 x 11 7/8 in. Signed in pencil. This is a superb impression in fine condition. The margins are somewhat trimmed measuring one inch on all sides. At least two preparatory drawings exist for this print and the edition was printed by George Miller and published by AAA in New York. The great design for this print gives it a strikingly modernist look. "March" expouses Wood's compositional practice of dynamic symmetry. (See Johnson, pg. 129-130)
SOLD

Seed Time and Harvest
Lithograph, 1937, Johnson 2, edition 250 7 3/8 x 12 1/8 in. Signed and dated in pencil, lower right. This is a fine impression in superb condition. The margins are full. This is an exemplary lithograph from Wood's early work.
SOLD

Tree Planting Group
Lithograph, 1937, Johnson 1, Cole 1; edition 250. 8 7/16 x 10 7/8 in. Signed and dated in pencil. This is a superb impression with full margins. The condition is very good apart from traces of two old hinge adhesive spots at the top edge of the margin. This was Grant Wood's first lithograph. The scene depicted is an Arbor Day's celebration of a tree planting. There's an oil of this subject in the Boston Museum of Fine Arts and a large drawing in the Cedar Rapids Museum of Art.
$8,000

Wild Flowers
Lithograph with hand coloring by the artist's sister, 1939, Johnson 12, Cole 9; edition 250. 7 x 10 in. Signed in pencil, lower right. This is a fine impression with fresh colors. The margins are full and the condition is fine.
SOLD