Maisons à Martigues (Houses in Martigues)
MAURICE DE VLAMINCK
French, (1876-1958)
Woodcut, 1914, Walterskirchen 15b, edition 30. 9 3/4 x 13 3/4 in. Signed and numbered in pencil. THis is a fine impression printed on VAN GELDER paper. The margins are full and the condition is excellent. The edition was printed by Paul Birault, Paris, and the print was published by Henri Kahnweiler also in Paris. Vlaminck excelled as a woodcut artist and this work can be considered one of his best. Martigues is a commune northwest of Marseilles.
SOLD

Street Singers
EDWARD WADSWORTH
British, (1889-1949)
Woodcut printed in colors, 1914, Colnaghi 107, Greenwood W/D 10; from a very small edition. 5 5/8 x 4 1/2 in. Unsigned as usual. This is a superb impression of this extremely rare print. The margins are most likely full with the sheet measuring 7 x 5 3/8 in. The condition is fine other than for subtle pressure marks below the image which we've seen in another impression. This is the quintessential British Vorticist image and in the words of Cliff Ackley, "Brief as it was, Vorticism was the first radically modern, inherently abstract British art movement. Not until the 1930s, with the work of artists suck as Ben Nicholson and Henry Moore, would pure abstraction again take the lead." (See page 20 of Rhythms of Modern Life, British Prints 1914-1939 (2008). Wadsworth went to Munich in 1906 to study engineering and there he attended the Knirr School of Art and learned how to make woodcuts. When he returned to England he studied at the Slade School and Bradford School of Art and became friends with Roger Fry and Percy Wyndham Lewis. He contributed to the Vorticist manifesto "Blast" and exhibited in the 1915 Vorticist Group exhibition. This iconic work appears in several books on the subject of modern British printmaking. Provenance: Scolar Fine Art, London.
SOLD

Brothel Scene
LYND WARD
American, (1905-1985)
Wood engraving, 1929, edition unknown. 5 1/2 x 3 3/4 in. Signed in pencil. This is a fine impression printed on thin Japanese paper. The margins are full and the condition is very good other than for two soft creases in the lower right corner; one touching the image. This engaging print is an illustration for Madman's Drum, one of Ward's novels without words, this one published in 1930.
SOLD

Lighthouse (Provincetown)
FEROL SIBLEY WARTHEN
American, (1890-1987)
White line color woodcut, 1952, edition 7 plus some later impressions. 11 x 13 in. Signed, titled and numbered in pencil. Here we have a fine impression of this exceptional work by the artist. The condition is fine apart from a very faint suggestion of light toning within an earlier mat opening. The margins are full and the tack holes from the printing process are clearly evident along the right edge. On the verso in pencil she wrote: "Block 6, Print 7, Ferol S. Warthen, Watercolor Woodblock spoon printed." Warthen studied at the Art Student's League in New York from 1911-1912. She later studied with Karl Knaths in Washington, DC and at the suggestion of Angele Myrer, a close friend, Warthen started spending her summers in Provincetown and opened a studio on Commercial Street. She met and studied with Blanche Lazzell. It was during the 1950s that her woodblock prints garnered wide attention from museums and collectors and this enthusiasm continued for decades. This print is in the collection of the Smithsonian American Art Museum.
$5,000

A Midnight Dreary
ERNEST W. WATSON
American, (1884-1969)
Woodcut printed in colors, 1943, edition 200. 6 3/8 x 8 3/8 in. Signed and titled in pencil. Here we have a fine impression printed on thin Japan paper. The margins are full and the condition is fine. This work was published by the Woodcut Society of Kansas City and we are including the original folder in which it was presented. The artist maintained a summer home in Monterey, MA.
SOLD

Cornwall Bridge
ERNEST W. WATSON
American, (1884-1969)
Linoleum cut, 1927, edition 100. 10 3/4 x 9 3/4 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed on fibrous Japan paper. The margins appear to be full. The condition is fine apart from a small paper tab at the bottom center and minor wrinkling here and there in the margins. This covered bridge is in Cornwall, CT.
$600

Large Primitive Head in Profile
MAX WEBER
American, (1881-1961)
Linocut printed with unique color inking, 1920-21, Rubenstein 33, edition unknown. 7 3/4 x 3 3/8 in. Signed in pencil, lower right. This is a superb, uniquely colored impression printed on thin Japanese paper. The margins appear to be full and there's a number "32" in pencil in the lower left corner. The condition is fine. There are three impressions of this image in the National Gallery; two in brown ink and another is a color variation from the Rosenwald Collection. Weber studied with Arthur W. Dow at the Pratt Institute early on and later in Paris with Matisse. He was impressed with the work of Cezanne. Weber was friendly with William Zorach from their Greenwich Village days and could have been influenced by his printmaking technique. This is an exceptional and rare example of Weber's color woodcut style.
SOLD

Primitive Figure
MAX WEBER
American, (1881-1961)
Woodcut, 1921-25, Rubenstein 40; from the edition of 25 printed in 1956. 10 x 3 1/8 in. Signed in pencil. This is a fine impression printed on cream Japanese paper. Full margins. Fine condition. This impression was printed by Joseph Blumenthal for the Spriral Press, New York, with the permission of the artist. It was included in the suite, "Five Prints by Max Weber" published by Weyhe Gallery. A comparable impression of this print is in the collection of the National Gallery. Additional impressions are in the Philadelphia Museum of Art and the Whitney Museum of American Art.
$1,400

The Chess Players
JAN WIEGERS
Dutch, (1893-1959)
Woodcut, circa 1925, edition unknown. 19 1/4 x 15 1/8 in. Signed in pencil, lower right. This is a fine impression printed on fairly thin Japanese paper. The margins are wide and the condition is good. This large woodcut is illustrated on page 131 of the 2002 Groninger Museum retrospective catalog of Wiegers work, "De Ceremoniemeester Heeft Het Spel Laten Beginnen." This is a later printing from the block, probably done in the 1950s.
$2,000

The House of Ernst Kirchner in Davos, Switzerland (Het Huis van Ernst Kirchner in Davos, Switzerland)
JAN WIEGERS
Dutch, (1893-1959)
Woodcut, 1920-24, edition unknown. 12 x 11 1/2 in. Signed in pencil. This is a fine, rich impression of this rare print. The paper is a thin Japanese and the margins are probably full. The condition is fine apart from very tiny specks of foxing showing primarily in the margins. Wiegers traveled to Davos in 1920 to undergo treatment for pneumonia. The artist and his family later moved into a farmhouse on Langmatt, a mountain slope. Shortly thereafter he met Kirchner who lived very close by. They soon began to work together almost daily and both artists were inspired by the beauty of the surrounding mountainous landscape. This is clearly one of Wiegers' finest woodcuts and it epitomizes the connection between the two artists. Early impressions of this print are very hard to come by and this one was printed a little later, probably in the 1940s. This print is illustrated on page 50 of Ernst Ludwig Kirchner and Friends, edited by Beat Stutzer, Samuel Vitali, et al. (2007) and on page 94 of De Ploeg 1918-1930 by Adriaan Venema, (1978).
$2,750

Landscape (Landschap)
JAN WIEGERS
Dutch, (1893-1959)
Woodcut, 1923, edition unknown. 10 1/2 x 15 3/8 in. Signed and dated in pencil. This is a superb impression printed on light cream wove paper. The margins are full and the condition is fine. (There's a slight line from an old mat around the image.) This outstanding print exemplifies the German artistic influence on Wiegers during the 1920s and beyond. He spent time in Davos, Switzerland in 1920-21 and his neighbor was Ernst Ludwig Kirchner. They worked together and became good friends. After returning to Groningen, Wiegers's work flourished in this expressionist style and the movement became known as de Ploeg (the Plow). Other Dutch artists followed in this path including Jan Altink, Johan Dijkstra, Jan van der Zee among others. Works from this early period are rare and few impressions were printed to begin with. (There's pencil writing in the lower left corner probably reading "2ep/6" which could well represent the printing. This impression was possibly printed a little later during the 1930s-1940s.
SOLD

Staalstraat, Amsterdam
WILM WOUTERS
Dutch, (1887-1957)
Woodcut printed in colors, 1932, edition unknown. 15 1/4 x 19 1/4 in. Signed lower right with a printed signature, "Wilm Wouters del. et sc." This is a fine impression in very good condition. (There's a soft crease in the lower margin.) This is a published state of a print probably produced as a series of charming views of the city of Amsterdam. (Vereeniging van Beeldende Kunsten 1932)
$550

The Pageant of April
MARY WRINCH
Canadian, (1877-1969)
Linoleum cut printed in colors, 1933, Durham Art gallery page 22, edition unknown. 12 1/8 x 10 1/8 in. Signed and titled in pencil. This is a superb, luminous impression. The condition is very good apart from a repaired tear in the upper left corner margin, apart from the image. Wrinch is one of Canada's finest block print artists but she is not as well known as Walter Phillips, especially here in the U.S. She was born in England and moved to Ontario in 1885. She studied with G.A. Reid at the Ontario College of Art and they later became husband and wife. Wrinch began as a painter and began making linoleum cuts around 1928. Ultimately, she became best known for her prints and produced around forty different images. Florals and landscapes were her subjects and they were printed from multiple blocks in small editions, perhaps ten or twenty impressions. Her work has a distinctive arts and crafts look based on great design, color and execution. We are actively seeking to acquire her work and we hope to present more of her prints in the future.
SOLD

Head of a Traveler
ADJA YUNKERS
American, (1900-1983)
Woodcut printed in colors, 1952, Miller 66c, edition 225. 13 1/2 x 9 1/2 in. Signed, dated, numbered and titled in pencil. This is a fine impression in fine condition. The sheet is trimmed to the image on the top and both sides as one expects to see for this print. This exemplary woodcut was published in a "Portfolio of Five Prints" in 1952. The publisher was Ted Gotthelf of Rio Grande Graphics.
$2,800

Provincetown Houses
WILLIAM ZORACH
American, (1887-1966)
Linoleum cut on thin japan paper, circa 1916, very small edition. 5 3/8 x 6 7/8 in. Signed in pencil. A fine impression in fine condition. Wide if not full margins. Zorach studied in Paris in 1910-11 and later spent several summers in Provincetown, MA. There he produced a small number of powerful, modernist blockprints and the editions printed were quite small.
SOLD

Adoration
WILLIAM ZORACH
American, (1887-1966)
Linocut, 1921, edition unknown. 11 1/2 x 8 5/8 in. Signed in the block, lower right. Signed in pencil. This is a fine impression printed on thin wove paper. The margins are full and the condition is fine. Mother and child imagery is a favorite of the artist and it's seen predominantly in his sculpture. The best source of information about Zorach's prints can be found in Efram L. Burk's article in Print Quarterly, December 2002, pgs. 353-373. He includes an Appendix which lists the known prints with dates and museum collections. Adoration can be found in the Boston Public Library, the Art Institute of Chicago and also the Boston Museum of Fine Arts in an earlier state.
SOLD

Sailing
WILLIAM ZORACH
American, (1887-1966)
Linoleum cut, 1919, small edition. 7 1/8 x 6 1/2 in. Signed in pencil. This is a fine, rich impression of this rare print printed in thin wove paper. The margins are full and the condition is fine apart from small original hinges slightly visible at the top front corners and a couple of specks of printers ink in the right margin. This dynamic print is illustrated and discussed in Print Collector's Quarterly, Volume XIX, No.4, pages 164-165 in an article by Efram Burke. "The print conveys a dramatic interplay of of light and dark patterns, shifting movements, and the energy and force of nature translated through a direct and forceful cutting of the image in the linoleum block." (see page 165). According to Ephram, the location for this print is Stonington, ME. (Six impressions are cited in museum collections.)
$3,500

Sunrise (also called Seiners)
WILLIAM ZORACH
American, (1887-1966)
Linoleum cut, 1915-16, Burk Appendix II (PCQ, December 2002, pg. 372); small edition. 11 5/8 x 8 1/2 in. Signed in pencil. This is a superb, richly inked impression with full margins. The condition is fine apart occasional soft wrinkles here and there in the margins only. Burk writes about this major print in his PCQ article, "A sense of other-wordly communion is conveyed in this work, with the boat illuminated by the rising sun, which levitates magically over the water and casts a dark shadow on its surface. The vessel is surrounded by a myraid of of fish swimming in oval patterns." Provenance: Hirschl & Adler Galleries, NY.
$8,000