Angel Hovering over a Town with two Levels and many Bridges (Engel Boven tweeplannige Stad met veel Viadukten) (Steen IV)
VICTOR DELHEZ
Belgian, (1902-1985)
Wood engraving, 1945, Breda catalogue 619, edition unknown. 15 5/8 x 13 in. Signed and titled in pencil; also inscribed, "épreuve d'artiste." This is a superb impression of this tour de force of wood engraving. The margins are full and the condition is excellent. This print combines architectural fantasy work, which Delhez mastered in the series "Architecture and Nostalgia," with his interest in the two dimensional sculpted figure. He was a visionary in both his combination of subjects and his ability to transform the medium into something beyond the skills of his contemporaries.
SOLD

Looking Back Wandering Star (Terugziende Dwaalster) (Steen IV)
VICTOR DELHEZ
Belgian, (1902-1985)
Wood engraving, 1944-45, Breda catalogue 613, edition unknown. 15 5/8 x 12 3/4 in. Signed and titled in pencil and inscribed "épreuve d'artiste. This is a fine impression in fine condition. The margins are full. This is one of Delhez's most respected and memorable prints. As with the other works from his celebrated Steen (Piedra) series, a two dimensional medium, wood engraving, is used to convey a sculptural, three dimensional image in an imaginary landscape. The Breda catalogue raisonné does not provide any details regarding the meaning of this print. So often, the iconography of his work is obscure, complex and sometimes quite humorous. His prints often defy explanation in a surrealist kind of way and that may be the case here. This print is illustrated in Eugene Rouir's classic survey on modern Belgian printmaking, 150 Ans de Gravure en Belge (1980).
SOLD

Partijganger (Partisan)
VICTOR DELHEZ
Belgian, (1902-1985)
Wood engraving, 1948, Breda catalogue 496, edition unknown. 11 3/4 x 9 in. Signed and titled in pencil. This is a fine impression in fine condition. The margins are full. This compelling image is Plate 23 from the series "Danse Macabre." Dehlez again presents himself as both artist and thinker. On the left we see the artist's strong Christian faith being represented and and the right shows symbols of fascism, money (greed), lust and even freemasonry. One translation of the title is "fanatic adept."
SOLD

De Zichter (Harvester)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut, 1924-25, edition unknown. 28 3/4 x 20 1/2 in. Signed in pencil and also inscribed "handdruck." A fine impression in very good condition. There are a few small printing creases showing mostly in the wide margins. The block for this large work was cut in 1924-25 and very few impressions were taken. This is from the second printing in 1957-58 with the addition of "handdruk" in pencil. Some later impressions are known which were printed on thin paper and without the added inscription. Dijkstra was a founding member of the Groningen art society known as "De Ploeg." This Dutch expressionist movement was inspired by Kirchner, among others.
$3,000

Street Scene with Lady in a Hat
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut, circa 1925-27, edition unknown but quite small. 20 1/2 x 15 in. Signed in pencil lower right and inscribed 'epreuve," lower left. This is a superb, early impression printed on tan paper. The margins are substantial and the condition is fine. Dijkstra was a founding member of the Dutch expressionist movement known as "De Ploeg," (The Plow) which was established in Groningen in 1918. Indeed, expressionism was international. Dijkstra, along with Jan Wiegers, Jan Altink and others, were keenly aware of the German contingent of the expressionist movement and Wiegers became very close friends with Kirchner while he was living in Davos, Switzerland. Dutch expressionism is often overlooked but it represents an integral part of early 20th century Dutch artistic heritage. The Groninger Museum today possesses a large collection of prints, drawings and paintings by these artists. This is an exceptional and rare woodcut certainly printed in a very small edition. Dijkstra's best work, as seen here, clearly reflects the influence of Kirchner but also shows an artist with his own compelling vision. De Ploeg prints were printed in small editions due to the rather limited audience at the time.
SOLD

Suburbs (Buitenwijk)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut printed in yellow and black, 1923, De Vries H5, edition unknown. 14 x 21 1/8 in. Signed and dated in ink. Inscribed in pencil "eigen druk" (printed by hand). This is a superb impression of this large, outstanding Dutch expressionist woodcut. The margins are full. The condition is very good. (The artist carefully added a small cutout paper patch, printed in black, onto the image to the left of center. The pressure of the block and the stickiness of the ink pulled up a small part of the paper in this spot. He was obviously pleased with the impression to have gone to this extent to fix it.) Dijkstra, like Jan Altink, was taught by the non-conformist painter F.H. Bach. Both were founders of the "de Ploeg" movement in Groningen and the two often painted together. They were both in the first de Ploeg show in 1919.
SOLD

Woodcuts, Ploeg, 1927 (Houtsneden, Ploeg, 1927)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut printed in colors, 1927, De Vries p.55, 88; edition unknown. 8 1/4 x 14 7/8 in. Signed with the orange atelier stamp in the lower right corner. This is a fine impression with full margins. The condition is very good apart from a vertical centerfold and minor soiling and stray yellow printer's ink in the bottom margin. The name of the artist appears in the upper right corner as typescript. It seems that in the mid-twenties, the Ploeg artists were discussing the possibility of creating a portfolio of Ploeg prints which could be used as a sort of promotional gift for art dealers, museums etc. They decided to launch a competition for a cover design. According to De Vries, Dijkstra submitted at least two (this being one of them). At the next meeting, however, it turned out that the other members were not very enthusiastic about the idea and the project was eventually abandoned.
SOLD

Boarders (Kostgangers)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut, 1924-25, DeVries H25 (ii/II); edition unknown. 6 1/8 x 8 3/8 in. Signed in pencil. This is a fine impression printed on white wove paper. The margins are full and the condition is excellent. Dijkstra studied at the Academie Minerva in Groningen and from 1920-21 he studied at the Rijksacademie in Amsterdam. He was one of the founders of de Ploeg, the Dutch group of expressionist printmakers and painters.
$900

Sleeping Landworkers (Slapende Landarbeiders)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Woodcut, 1924, DeVries H10; edition unknown. 5 1/4 x 3 3/4 in. Signed in pencil. Printed by the artist "eigendr..." This is a fine impression printed on study wove paper. The margins are substantial. The condition is very good apart from marginal specks here and there. According to de Vries, the block was printed for the cover of the de Ploeg exhibition catalogue from 1924. This is a signed proof before publication. (Words were added below the image in typography by H.N. Werkman.)
$750

Södra Bruket
SIEMEN DIJKSTRA
Dutch , (b. 1968)
Woodcut printed in colors, 2004, edition 35. 11 5/8 x 5 in. Signed,dated, titled and numbered in pencil. This is a fine impression with full margins. The condition in fine apart from small hinges verso, on the sides, top and bottom. Dijkstra studied at the Art Academy Minerva in Groningen. He studied with Wim van Veen as did Grietje Postma. His reduction woodcuts are exceedingly complex and his work is in high demand. The editions are small. This print was done in Sweden. He also mentions the word "Alsjö" below in pencil. It probably refers to Alsjön, a neighborhood in Sweden and there's a lake called Alsjön.
$1,100

Interior Scene
ISAMI DOI
American, (1903-1965)
Woodcut printed in dark brown ink, 1928, edition unknown. 8 1/2 x 6 1/2 in. Initialed in the block, lower center. Signed and dated in pencil. Here we have a fine impression with full margins. The condition is fine apart from a few soft ripples in the image from the printing process and a small paper imperfection in the lower right just to the image. Doi studied for two years at the University of Hawaii. He then went to Columbia University for five years and susequently spent a year in Paris. He stayed in New York until 1938 then he returned to his native Hawaii. This is a rare print and we are aware of another, similar image done around the same time.
SOLD

Stairwell, Dark
ISAMI DOI
American, (1903-1965)
Woodcut printed in dark brown ink, circa 1928, edition unknown. 8 1/2 x 6 3/8 in. Initialed in the block, lower left. Signed in pencil. This is a superb, luminous impression printed on fairly thin light cream wove paper. The margins are full. The condition is very good. Doi studied for two years at the University of Hawaii. He then went to Columbia University for five years and subsequently spent a year in Paris. He stayed in New York until 1938 then he returned to his native Hawaii. This is a rare print and we recently sold a very similar print which was dated 1928.
SOLD

Cafe Scene
POL DOM
Dutch, (b. 1885)
Linoleum cut printed in black and light brown., circa 1925-30, edition unknown. 11 1/4 x 10 in. Signed in pencil. This is a fine impression with narrow margins. The condition is very good apart from a small subtle stain just on the edge of the image, lower left corner. Pol Dom was born in Antwerp, Belgium and lived and worked in The Hague from 1927. He was educated at the Academy of Fine Arts in Antwerp and was active as a watercolor painter, illustrator, printmaker, sculptor and caricaturist. He was member of the Pulchri Studio in The Hague. Cafe Scene is his best known block print.
SOLD

New Towers
WERNER DREWES
American, (1899-1985)
Woodcut, 1931, Rose 58 (iii/III); edition 20. 11 5/8 x 8 1/8 in. Signed, dated and numbered in pencil. This is a fine impression printed on cream Japanese paper. The margins are full and the condition is fine. (There are minor paper imperfections in the margins and a few tiny specks of foxing.) Drewes produced a number of stellar expressionist woodcuts of New York from 1930-32. They are generally uncommon today.
$2,000

Family
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, circa 1925-30, edition unknown but probably small. 10 1/8 x 5 3/4 in. Signed in pencil lower right. This fine impression is printed on a thin Japanese paper. The margins are narrow (about 1/2" all around). The condition is fine. Eekman developed his own expressionist woodcut style with an emphasis on the figurative. His work can be found in many museum collections.
$500

Dance of Death in Seven Tempos (Dood- Dans in Zeven Tempos)
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcuts, 1924, edition 200. each woodcut 10 3/4 x 6. Signed in red ink with the artist's monogram on the left and signed in pencil, lower right. This set of seven woodcuts (plus title page) consists of fine, uniform impressions in very good condition. The margins are full as issued. This masterful Belgian expressionist work is printed on one sheet of Toshi paper and presented in an accordian fold, with the original presentation wrapper. Eekman was born in Brussels and settled in Paris in 1920. He exhibited widely in Europe and was quite friendly with Mondrian and Signac. He was very active as a painter and woodblock artist and also showed his prints in Pittsburgh, Los Angeles, Toronto and Chicago. (There's a wonderful web site which has been organized by the artist's daughter, Luce: nicolaseekman.com.) As seen in the work of Henri van Straten, Victor Delhez and Nicolas Eekman, among others, a macabre and thoroughly captivating sense of humor often pervades Belgian aesthetics during the 1920s and 1930s. James Ensor is best known and certainly an early inspiration, but there were many other printmakers whose work stands out. This is particulary evident in the woodcut medium and Eekman's version of "danse macabre" is exemplary.
SOLD

Man Planting in a Garden
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, 1920s, edition 96. 7 7/8 x 8 3/4 in. Signed and numbered in pencil. Also, this impression has the artist's red ink monogram in the lower left corner. Here we have a superb, rich impression printed on thin Japanese paper. The margins appear to be full. The condition is very good other than traces of old adhesive in the four margin corners, verso, from an early mount.
$700

Accordian Player
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, undated (1920s-1930s), edition 110. 16 1/4 x 8 in. Signed and numbered in pencil. Signed in ink with the artist's red monogram stamp. This is a fine impression of this large woodcut printed on very thin Japanese paper. The margins are probably full. The condition is very good apart from four small brown paper hinges at the corners and obscure traces of foxing here and there. Eekman was born in Brussels and settled in Paris in 1920. He exhibited widely in Europe and was quite friendly with Mondrian and Signac. He was very active as a painter and woodblock artist and also showed his prints in Pittsburgh, Los Angeles, Toronto and Chicago. (There's a wonderful web site which has been organized by the artist's daughter, Luce: nicolaseekman.com.) As seen in the work of Henri van Straten, Victor Delhez and Nicolas Eekman, among others, a macabre and thoroughly captivating sense of humor often pervades Belgian aesthetics during the 1920s and 1930s. Ensor was an influence on this generation.
$1,500

The Couple
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, 1920s, edition perhaps 25-50. 7 3/4 x 8 in. Signed in pencil and also signed in red ink with the artist's monogram. This a fine impression printed on thin Japanese paper. The margins are full and the condition is fine. The artist attached the print to a sheet of tan paper at the top corners which created the effect of a nighttime atmosphere. Eekman was born in Brussels and settled in Paris in 1920. He exhibited widely in Europe and was quite friendly with Mondrian and Signac. He was very active as a painter and woodblock artist and also showed his prints in Pittsburgh, Los Angeles, Toronto and Chicago. (There's a wonderful web site which has been organized by the artist's daughter, Luce: nicolaseekman.com.) As seen in the work of Henri van Straten, Victor Delhez and Nicolas Eekman, among others; a macabre, expressionist, and captivating (yet understated) sense of humor often pervades Belgian aesthetics during the 1920s and 1930s. Ensor was an influence on this generation.
SOLD

Mother and Child
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, circa 1925, edition perhaps 50. 7 x 5 5/8 in. Signed in red ink with the artist's monogram. Also signed in pencil and inscribed "épr.d'art" (épreuvre d'artiste).This is a rich impression printed on tissue thin oriental paper. The condition is fine apart from a few subtle printing creases which are hardly noticeable. The condition is fine overall and the sheet is attached along the top edge to a larger sheet of brown laid paper, mostly likely by the artist. An outstanding recent book has been published about Eekman: Nicolas Eekman; Peintre et Graveur," by Emmanuel Bréon, Norma Editions (2021). Text is in French and English.
$500