Untitled (Manhattan Bridge, NY)
JESúS ESCOBEDO
Mexican, (1918-1978)
Lithograph, 1946, edition unknown. 10 x 10 3/4 in. Signed and dated in pencil. This is a fine impression with full margins. the condition is fine. (There are printer's fingerprint ink smudges in the extreme edges of the sheet in three spots.) Escobedo was a founding member of the Salón de la Plástica Mexicana and he was also a member of Taller de Gráfica Popular. In 1945 he received a Guggenheim Fellowship to create a series of eight lithographs of New York. The Manhattan Bridge crosses the East River connecting lower Manhattan with downtown Brooklyn.
$1,300

Tristram and Iseult - Silence, Death, Shadows
WHARTON ESHERICK
American, (1887-1970)
Woodcut, 1931, edition unknown. 6 3/4 x 5 in. Signed, titled and dated in pencil. Here we have a superb impression of this stellar print. The margins are full and the condition is excellent. Esherick was a significant figure in design work, notably in wood and even buildings. He was deeply influenced by the arts and crafts movement and his woodcuts were produced mostly from 1922-1933. His ability to carve very detailed two-dimensional images that were alive and expressed movement made him one of the better woodcut artists of the 20th century. Tristan and Iseult is a chivalric romance retold in numerous variations since the 12th century, with a lasting impact on Western culture. The story is a tragedy about the illicit love between the Cornish knight, Tristan, and the Irish princess, Iseult.
$2,000

Two Rabbits (Twee Konijnen)
FRANS EVERBAG
Dutch, (1877-1947)
Etching and aquatint printed in colors, circa 1926, Vervoorn/ Museum Kempenland 122, edition unknown. 7 1/8 x 9 in. Signed in pencil and inscribed "épreuve d'artiste." This is a fine impression of this charming print. The impression is fine and the condition is fine. (There's a faint suggestion of toning to the sheet.) This print exemplifies Everbag's great skills as a color intaglio printmaker. He was producing these plates at a time when color prints were the exception in the Netherlands and his color etchings were certainly among the best work done at the time. His earliest works were mezzotints after old masters. His mature work consists primarily of views of Amsterdam, flower studies, birds and other animals. His last important exhibition was at the Museum Kempenland in Eindhoven in 1988. Everbag's prints are consistently good and they are especially sought after by collectors in his native country.
SOLD

Lantern and Fireplace
WANDA GAG
American, (1893-1946)
Wood engraving on maple, 1931-33, Winnam 83 (iii/III); edition 200. 7 1/4 x 5 3/8 in. This is a very fine impression printed on thin Japanese paper. The margins are probably full and untrimmed. The condition is fine apart from remnants of an old adhesive along the right edge. The third state, as we have here, was printed in 1932 and 1933. The block was started in 1931 with the first two states. This outstanding print is listed as being in nine museums. The drawing study is located in the New Jersey State Museum.
$1,800

The Last Glow, Central Corsica
WILLIAM GILES
British, (1872-1939)
Zinc plate relief print printed with oil pigments, 1915, edition unknown but perhaps 100. 12 7/8 x 9 5/8 in. Signed in pencil. This is a superb impression of this rare work. The margins are full and the condition is fine. According to information provided on the British Museum's website, the register records that this was printed from eight relief blocks (plates?), in wash color using volatile oil. An impression of this print was exhibited at the 11th exhibition of the Arts and Crafts Society held in the Royal Academy as no. 467. The V & A Museum has several Giles prints including photos of some of his metal relief plates used in making a certain image.
$2,800

The Cross Hands
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1935, Comstock 52 (iv/VI), one of three proofs in this state. 6 3/4 x 9 3/16 in. Signed and dated in the stone, lower left. Signed in pencil. This is a superb impression trimmed along the platemark on three sides and with space along the bottom where the pencil signature is found. (This was done by the artist.) The condition is excellent. This is a superb pure landscape by Griggs and this is also a somewhat rare print. The total edition recorded by Comstock is at least twenty-one but the number of printings of the third state is "unrecorded."
$1,850

Harbor II
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Lithograph, circa 1948, edition-proofs only. 13 3/8 x 9 3/4 in. Signed in pencil. This is a fine impression of this rare work. The margins are full and the condition is excellent. Impressions of this exceptional print are in the Hunterian Museum in Glasgow and the Amon Carter Museum in Fort Worth, TX. An excellent study of the artist and her prints is found in Volume VII, Number 3, pages 303-307, Print Quarterly, by Reba and Dave Williams.
$5,000

Night Moth (Laurels Number One)
STANLEY W. HAYTER
British, (1901-1988)
Aquatint, engraving, soft ground etching, scorper and two silkscreens printed on a zinc plate, 1946, Black/Moorhead 171 (iii/III), edition 300. 5 7/8 x 4 3/8 in. Signed and numbered in pencil. This is a fine impression of the complex, early work. The margins are wide and the condition is fine. This work was printed by Hayter and Atelier 17 and was published in Laurels Number One, Laurel Gallery, New York, May 1947.
$1,400

Farm Scene (Boy Chasing a Goose)
WILLIAM MORRIS HUNT
American, (1824-1879)
Lithograph, 1858, Bruhn 36, edition unknown. 6 x 7 1/4 in. Signed and dated on the stone, lower left corner. This is a fine impression printed on chine appliqué. The condition is good apart from staining in the margins mostly on the left side and below, not affecting the image. Hunt studied in Europe in 1843 and returned to Newport, RI where he made his home. It was in Newport where he created six of his seven lithographs, including this one. The set of six lithographs was published in 1859 by Phillips & Sampson of Boston. The Bruhn reference above is from the "The American Print: Originality and Experimentation 1790-1890," published by the William Benton Museum of Art, 1993.
$1,500

A Man Etching (Self Portrait)
AUGUSTUS JOHN
Welsh, (1879-1961)
Etching, 1919, Dodgson 136 (ii/II), edition 50. 5 7/8 x 3 7/8 in. Signed in pencil. Here we have a fine, well inked impression printed on light cream laid paper. The margins are full and the condition is fine. This is one of several self portraits by the artist and they represent his best work in the medium. John was a Welsh painter, draughtsman, and etcher. For a time, he was considered the most important artist at work in Britain.
$2,500

Circus Dressing Room
LAURA KNIGHT
British, (1877-1970)
Etching and aquatint, 1925, Bolling/Withington 41, edition 20 plus 5 trial proofs. 13 7/8 x 9 3/4 in. Signed in pencil. This is a superb, rich impression with full margins. The condition is a fine apart from small, soft wrinkles at the edges of the sheet, notably along the left edge. These do not appear near the image. Knight had a passion for the circus and did several works relating to circus life. In the first half of the century she was one of the most highly regarded of British artists and in 1936 she became the first woman to be created a Royal Academician since the original women members Angelica Kauffmann and Mary Moser.
$2,200

Forest Girl
PAUL LANDACRE
American, (1893-1963)
Wood engraving, 1933-36, Wien 127, edition about 225. 8 1/2 x 6 in. Initialed in the block, lower right corner. Signed and dated "1936" in the block along the bottom of the image. This is a fine, rich impression with full margins. The condition is generally fine apart from two skillful repairs in the outer margins and traces of an old tape adhesive in the upper right corner, verso. Forest Girl was one of nine wood engravings conceived for a new edition of Green Mansions by W.H. Hudson. Rima is the reclining woman depicted in this image. This impression is from the 1936 edition published by the American Artists Group, most of which were not signed in pencil.
$1,500

Manhattan Nocturne
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1938, Kraeft 70 (i/II); edition 100. 7 1/8 x 12 in. Signed and dated in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The condition is fine apart from three thin, original hinges at the top. This plate was reworked in 1974 and listed as Kraeft 127, edition 100. This first state impression is far superior to the second state.
$2,200

York Avenue, Sunday Morning
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1939, Kraeft 78, edition 100. 7 7/8 x 13 in. Initialed in the plate, lower right. Signed and numbered in pencil. This is a fine, rich impression with full margins. The condition is also fine. The paper used here is a sturdy white wove. According to the artist: "I worked up in that area. They were just building the medical center at that time." The view is from 62nd Street and York Avenue, looking north. The large structure at the right is the Queensboro Bridge.
$2,200

Edison Plant
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1929, Flint 24; edition 20. 13 1/2 x 7 7/8 in. Signed and numbered in pencil. Here we have a fine, rich impression with full margins. The condition is excellent. There were five subsequent impressions printed in 1972 by Burr Miller and numbered i/X-v/X.
$5,500

Construction (Excavation)
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1930, Flint 52; edition 25. 15 7/8 x 6 5/8 in. Signed and dated in pencil. Titled below in pencil, "Construction # 2", possibly by the artist. This is a fine impression with modest margins. The condition is otherwise fine. There were no later reprints of this uncommon print.
$6,500

Steel Valley
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1936, Flint 141, edition of 250 printed for AAA. 9 1/2 x 13 3/8 in. Initialed on the stone, lower left. Signed in pencil. Here we have a fine impression with full margins. The condition is fine apart from two original AAA hinges at the top corners. There was first an edition of 15 and then in 1942, AAA had George Miller print their edition of 250. The exact location of this print is unknown. However, Flint suggests it may relate to entry # 16, Blast Furnaces, located near Dover, NJ. It was known at the time as the Pittsburgh of New Jersey. Impressions of this work are found in the National Gallery of Art, the Fine Arts Museums of San Francisco and the Princeton University Art Museum.
$3,000

Elevated Railway
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1931, Flint 82, edition only 20. 12 1/2 x 8 1/2 in. Initialed on the stone, lower right. Signed in pencil. This is a fine, rich impression of this rare print. The margins are full and the paper bears the watermark FRANCE. The condition is fine apart from two professionally repaired splits in the right margin, well away from the image. This is the full sheet as printed.
$4,750

Downtown, The El
JOHN MARIN
American, (1872-1953)
Etching printed with plate tone, 1921-24, Zigrosser 134, edition about 500. 6 7/8 x 8 7/8 in. Signed and dated in the plate, lower right. Signed in pencil. This is a fine impression printed on a cream paper. The margins are wide and the condition is very good. (There's a small break in the paper where the upper right hinge is found.) This was published in 1924 as one of Six American Etchings offered as a portfolio for the New Republic. It was meant to entice new subscriptions to the weekly magazine. Peter Platt printed the edition and each of the prints were signed in pencil by the artists. Exhibited and reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel, The British Museum, 2008, page 70. Provenance: Kennedy Galleries, NY (with their label).
$4,000

N.Y. Skyline
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1936, Sasowsky 167 (possibly state viii/ XI; impression 5 7/8 x 14 7/8 in. Initialed and dated in the plate, lower right. Signed Reginald Marsh (F.M.) in pencil. This is a superb, rich impression with full margins. The condition is fine. (The left margin is narrow but this is the full sheet as printed showing a deckle edge on the sides and top.) There was a subsequent unsigned edition in 1937 published by the American Artist's Group.
$3,500