In Check
STANLEY ANDERSON
British, (1884-1966)
Engraving, 1931, Meyrick & Hauser 197 (v/V); edition 80. 6 1/4 x 8 in. Signed in pencil and inscribed below "edition 80 proofs." This is a superb impression with full margins. The condition is fine apart from a soft crease vertically along the left margin, well away from the image. The setting here is Snow's Coffee House in the theatre district near the Strand Hotel. Here we have a superb example of Anderson's work.
$950

Guianan Toucanets (Pfefferfresser)
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Linocut printed in colors, 1929, edition unknown. 10 5/8 x 9 1/8 in. Signed in pencil. Here we have a fine impression with wide margins. The condition is excellent. This stellar work was published in a special edition of the 1920 Gesellschaft für Vervielfältigende Kunst, Vienna. Note: The gray block in the lower right corner bears the initials of the artist but in this case it's extremely hard to read for some reason.
$1,650

Opium
MAX BRUNING
German, (1887-1968)
Drypoint, circa 1920-30, edition unknown. 14 x 7 in. Signed and titled in pencil. Here we have a superb impression with full margins. The condition is excellent. Bruning was a student of Frans van Stuck. His work during this early period was a combination of art deco and decadent symbolism. He was commissioned as a war artist and thereafter settled in Berlin. Many of his copper plates were destroyed during the war. His prints are now rare as what we have here. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine.
$1,200

The Large Cottages (Les Grandes Chaumières)
FELIX BUHOT
French, (1847-1898)
Drypoint, aquatint and roulette, 1881, Bourcard/Goodfriend 150 v/VI), edition unknown. 5 1/2 x 10 3/4 in. Signed in the plate with the artist's small red stamp (Lugt 978). Signed in pencil and inscribed, "épreuve d'artist imprimée par Delâtre." This is a superb, luminous impression printed on antique paper with an elaborate watermark. The margins are full and the condition is fine.
$2,200

The Knight did not Die on the Crusade (Le Chevalier n'est pas Mort à la Croisade)
MAURICE DENIS
French, (1870-1943)
Lithograph printed in colors, 1898, Cailler 112, edition 100. 15 1/4 x 11 in. Initialed on the stone, top center. Signed in pencil. This a fine and typically subtle impression with full margins. The condition is fine other than for a small circular stain in the extreme right margin and minor rippling to the sheet. This impression is from the collection of Henri M. Petiet (Lugt 5031). This is plate five from "L'Amour" suite which was published by Ambrose Vollard.
$3,000

Dusk has the Sweetness of Old Paintings (Les Crépuscules ont une Doucer d' Ancienne Peinture)
MAURICE DENIS
French, (1870-1943)
Lithograph printed in colors, 1898, Cailler 109, edition 100. 15 1/4 x 10 7/8 in. Signed and dated on the stone, lower right. Titled on the stone below the image at left. Signed and numbered in pencil. This is a superb impression with extremely fresh colors. The margins are full. The condition is fine. This lovely work is plate six from L'Amour Suite, published by Vollard and printed by Auguste Clot, Paris. Ex-collection: Henri M. Petiet (Lugt 5031).
$3,500

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 Graveyard
WILLIAM GILES
British, (1872-1939)
Woodcut with metal relief etching, 1910-20, edition possibly 50. 9 5/8 x 20 in. Signed in the block, lower left. Signed and numbered in pencil. This a very fine impression of this uncommon print. The condition is very good apart from two paper tape hinges on the top margin. Minor rippling along the top of the sheet. Full margins. Technically, Giles was amazing. He did a few pure woodcuts but he also eventually introduced zinc plate relief printing and they are difficult to tell apart. Both techniques are evident in many prints. He was inspired by Frank Morley Fletcher and William Blake. He became president of the Society of Graver Printers in Colour in the mid 1920's.
$2,200

Dandelion
WILLIAM GREENGRASS
British, (1896-1970)
Linocut printed in colors, 1936, edition 50. 10 x 8 1/8 in. Signed, dated, titled and numbered in pencil. This is a fine impression with wide margins. Old tape hinges at the four corners and top and bottom, verso, not affecting the image. Also, two small cello hinges at the top corners, recto. Greengrass enrolled at the Grosvenor School of Modern Art in 1930 and he studied with Claude Flight. He was a curator at the Victoria & Albert Museum in London.
$3,600

Cat at the top of a Dark Staircase
AREND HENDRIKS
Dutch, (1901-1951)
Etching and aquatint, 1930s-1940s, edition 35. 11 x 7 5/8 in. Signed and numbered in pencil; also inscribed "eigen druk." This is a superb impression with substantial margins. The condition is fine apart from minor abrasions in the outer margins which are insignificant. Hendriks was a Dutch painter and graphic artist. He trained as a teacher in Haarlem and at the Hague Drawing Institute. He taught graphic art at the Academy of Visual Arts in the Hague. He was a superb technician and excelled in intaglio printmaking.
SOLD

Anangkè (Fate)
RICHARD ROLAND HOLST
Dutch, (1868-1938)
Lithograph, 1892, edition only 30. 14 x 12 3/4 in. Signed, dated and numbered in ink. Initialed and dated in the plate. This is a superb impression with full margins. The printed surface is flawless. Minor, subtle foxing in the margins. In the lithograph ‘Anangkè’ (‘Fate’) the artist depicts himself in a way that is full of religious and mythical connotations. It is based on the myth of Prometheus, the bringer of civilization, who stole the fire of the gods. Prometheus was punished by the gods, who chained him to a rock where a vulture ate his liver out every day that grew back every night. The theme of the print must be closely connected to the artist’s own situation and most certainly to the life of Vincent van Gogh. It is therefore no coincidence that Roland Holst dedicated a copy to Vincent van Gogh (this copy is in the collection of the Stedelijk Museum, Amsterdam) and another copy to Theo van Gogh’s widow, Jo van Gogh-Bonger. The print was shown first at the 6th exhibition of the Nederlandsche Etsclub (Dutch Etching Club) in Februari-March 1893, where it was praised by the fellow artist Jan Veth, who published an extensive review. The exhibition also showed a print by Jan Toorop with the same subject matter, where Anangkè (Fate) is personified by a woman. The print of R.N. Roland Holst was published in only 30 copies by the art gallery C.M. van Gogh in Amsterdam. In the newspaper De Amsterdammer we read on 3 March 1893 that the print of Anangkè of Roland Holst was sold at the exhibition of the Etsclub. The print has been described as a one of the most important Dutch symbolist prints, inspired by Van Gogh’s reed-pen drawings (for instance in the sky with the three stars) and Jan Toorop's treatment of the waves. The image of the suffering Prometheus has a haunting quality. The figure with the thorn crown also resembles Christ. Provenance: Wouter van Leeuwen, Amsterdam. From his 2001 catalogue, The "Nieuwe Kunst," entry # 51.
$6,000

Beach (Bath) Time (L'Heure du Bain)
JEAN-EMILE LABOUREUR
French, (1877-1943)
Engraving, 1929, Laboureur 401 (iii/III), edition 102. 9 x 7 7/8 in. Initialed in the plate, lower left. Signed and numbered in pencil. Here we have a fine impression with wide margins. Fine condition. This print was published by the Société des Peintres-Graveurs Francais (Lugt 1195a) and their blindstamp is in the lower left corner margin. The scene depicted is at La Baule in France.
SOLD

Twin Silos
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1936, McCarron 119, eddition of 23 including 6 trial proofs. 7 1/4 x 8 3/8 in. Signed in the plate, lower left. Signed in pencil. Here we have a fine impression in fine condition. The margins are wide. This print is a Connecticut scene done in Cornwall. This is a rare print.
$3,800

Cup with Pipe (Kop met Pijp)
LOU LOEBER
Dutch, (1894-1983)
Etching and aquatint, 1927, proofs only. 10 3/8 x 8 in. Unsigned but from the estate of the artist. Titled and inscribed trial proof (proefdruk) and not for sale (niet te koop). Inscribed "III" below which suggest one of the trial proofs. The margins are full and the condition is fine. Provenance: the estate of the artist and this impression was exhibited in a retrospective exhibition, De Stijl van Lou Loeber, (Cataloge Kunst aan de Dijk, Kortenhoef, 2017, page 41. This print is identical in composition to a painting by Loeber (1928) and a drawing by Dirk Koning (1927). Loeber attended the State Academy of Fine Arts (Rijksakademie) in Amsterdam from 1915-1918 but left early as she considered it too conservative. Her work was inspired by Piet Mondrian, Theo van Doesburg and Bart van der Leck. Essentially, she found her spiritual home with the Dutch De Stijl group. She married the artist Dirk Koning in 1931.
SOLD

La Rue Réaumur
MAXIMILIEN LUCE
French, (1858-1941)
Lithograph printed in colors, circa 1894, edition about 60. 12 3/8 x 16 in. Signed in blue pencil in the lower right. Just below the image at right is remarque of a portrait of the man. This is a superb, luminous impression with full margins. The condition is excellent. The print is numbered, initialed and stamped in the lower right corner by the publisher Gustave Pellet. (Lugt 1194 and 1190). Ex-collection: H.M. Petiet (Lugt 5031).
$2,600

Tekening (Drawing)
KAREL MAES
Belgian, (1900-1974)
Linocut, 1922 or slightly before, a proof impression before publication in Het Overzicht. 6 3/4 x 5 1/2 in. Initialed in the block, lower left. This is a fine impression with probably the full margins. Fine condition apart from a few tiny repairs at the top edge of the sheet. This is a superb example of Belgian avant garde printmaking. The provenance is quite interesting: There's a stamp on the verso which says "De Distel, Emiel Maeyens, Antwerpen." De Distel is is the name of a building in Antwerp where Emil Maeyens established a firm in artists supplies. He regularly advertised in in the modernist periodical "Het Overzicht" in which Karel Maes and Josef Peeters published their prints. We suspect he also sold copies of the periodical and he could well have collected and/or sold proofs when they could be located. Maes is one of the preeminent Belgian modernists and was closely associated with Jozef Peeters, Pierre-Louis Flouquet, Rene Magritte and Victor Servranckx, among others. This work is from his best period and his paintings of this era also focus on geometric abstraction. Most of his linoleum cuts were published in journals in the 1920s in black and white only. From 1922 onward, Maes began to design furniture, carpets, and posters.
SOLD

Grandmother's Flowers (actually known as Garden Flowers)
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, intended edition of 100. 10 1/4 x 7 1/4 in. Signed in the image in pencil and signed and titled in pencil below on the support sheet. This is a fine, vibrant impression with fresh colors. The print is trimmed to the image and mounted to a sturdy card stock support which was clearly done by the artist. The condition is very good. For some reason Patterson titled this print differently. The intense work involved in rubbing the colors into the back of the sheet from the blocks is perfectly demonstrated here. The end result is almost sculptural. Due to the labor intensive nature of printing just one impression, and given the scarcity of her prints, we doubt that the full editions were ever printed.
$5,000

In the High Hills
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 80a, intended edition of 100. 11 x 8 7/8 in. Signed, titled and numbered in pencil. This is a very fine impression of this compelling image. The margins are full and the condition is fine apart from a couple of minor printing creases, so typical of her work. This lovely impression is one of so many color variants seen in not only this print but in most of Patterson's oeuvre. She was an avid experimenter with color from one block to the next.
$6,000

A Salt Creek, Cape Cod
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1915-20, Bakker 57a, intended edition of 100. 9 x 7 in. Signed, titled and numbered in pencil "2/100". This is a fine impression of this extremely rare print. The margins are full. The condition is fine apart from three pieces of paper tape on the verso edges which were intended as hinges. This exceptional Cape Cod scene with the winding waterway reflects the enduring influence of Arthur Wesley Dow. (Patterson studied with Dow at the Pratt Institute in New York beginning in 1895.)
SOLD

Mist on the Thames
JOSEPH PENNELL
American, (1857-1926)
Aquatint, 1903, Wuerth 247, edition probably 35 proofs. 8 1/2 x 10 3/8 in. Signed and numbered in pencil "32." The margins are probably full and untrimmed and the condition is fine. The paper is a soft, fairly thin laid. This uncommon, beautiful print was done the year Whistler died. It's a subject which reminds us of Whistler, certainly, and the painterly, tonal effects are also reminiscent of Whistler's watercolors and oils of the Thames.
$2,200