Pont Guillaume, Chartres
STANLEY ANDERSON
British, (1884-1966)
Etching and drypoint, 1915, Meyrick & Heuser 85, edition unknown. 6 5/8 x 8 in. Initialed in the plate, lower left. Signed in pencil. This is a very fine impression printed on cream laid paper. The margins are full and the condition is excellent. According to the catalogue, "This is a view along the Rue de la Porte Guillaume towards the 15th century barbican gate and bridge named after Guillaume de Ferrières, Vidame de Chartres."
SOLD

Venus and Adonis
STANLEY ANDERSON
British, (1884-1966)
Etching, 1924, Meyrick & Heuser 158; intended edition of 50. 7 7/8 x 10 in. Signed in ink. Titled and numbered "edition 50 proofs" below in ink. Here we have a fine impression in fine condition. The margins are full. The plate was published by Colnaghi, however, according to the catalogue, "The plate itself would become a casualty of the Blitz, during which Anderson's London studio was destroyed. Only a few prints had been pulled."
$750

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

Came's House (Woodstock)
GEORGE C. AULT
American, (1891-1948)
Lithograph, 1934, edition 25. 14 x 10 in. Signed, dated and numbered in pencil. This is a fine impression in very good condition. The margins are slightly uneven but this appears to be the full sheet as printed. This rare print by the artist reflects his interest in precisionist painting and drawing. Came's house was also done in an oil version and it depicts the Woodstock home of Ault's friend and patron, Cambridge Lasher. This impression was exhibited at the Arkansas Arts Center, November 30-December 30, courtesy of James Reinish Gallery & Associates, NY.
$2,200

The Preview
ABE BLASHKO
American, (1920-2011)
Lithograph, 1939, edition 35. 16 3/4 x 11 in. Signed on the stone, lower left. Signed, titled and numbered in pencil. This is a strong, rich impression of this large work. The margins are wide and the condition is quite good apart from a skillfully repaired tear in the lower margin, center, just to the image. Blashko had a one-man show of twenty five drawings at the Seattle Art Museum in 1938. He was then only eighteen years old. He worked as a longshoreman at the Seattle docks and eventually moved to NY where he published cartoons and continued making prints, drawings and paintings. He had a major retrospective at the Susan Teller Gallery in 1987. His work is included in several museum collections including the National Gallery of Art.
$1,500

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

Une Dacquoise (Anais)
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1922, Fletcher 29 (iii/III), edition 76. 6 1/2 x 4 1/2 in. Signed in the plate at the top. Signed in pencil. This is a fine, vibrant impression with full margins. The paper is a fine laid and the watermark reads ENGLAND. The condition is very good with only a faint suggestion of toning within an early mat opening. The print comes with an old Kleemann Gallery(NY) label.
$800

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

Tree in the Sun
EMILE CLAUS
Belgian, (1849-1924)
Lithograph, circa 1900, edition 100. 21 x 16 7/8 in. Initialed in the stone, lower left. Signed and numbered in pencil. This is a fine impression of this stellar Belgian luminist print. Printed on a chine appliqué, the margins are probably full. The condition is very good apart from residue of a tape adhesive on the edges and a few skillfully repaired splits on the right side, not into the image. Influenced by Claude Monet, Claus developed a distinctly luminist style and in 1904 he started the artist group "Vie et Lumière." Claus is considered the pioneer of Belgian luminism and this print relates closely to one of his paintings. He was friendly with Auguste Rodin and Émile Zola. He made very few prints.
$2,500

Dog
HOWARD COOK
American, (1901-1980)
Wood engraving, 1929, Duffy 107, edition 100 (forty printed). 6 1/8 x 3 1/4 in. Signed in pencil and inscribed, "Greetings from Howard Cook - my self portrait." This is a very fine impression printed on thin japan paper and mounted at the top to a heavier support sheet. Fine condition. This was possibly intended as a holiday card and with the addition of "self portrait," I suspect the title of simply "Dog," does not tell the whole story here.
SOLD

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).
$4,000

White Water
KERR EBY
American, (1889-1946)
Etching, 1929, Giardina 135 (viii/VIII), edition 90. 8 7/8 x 14 1/4 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is fine apart from a subtle area of toning in the upper right margin. The paper bears a partial VAN GELDER ZONEN watermark. The catalogue states the scene depicted was done in Canada or New England.
$600

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

Three to Make Ready
DON FREEMAN
American, (1908-1978)
Lithograph, 1933, McCulloch 73, edition 35 or fewer. 11 5/8 x 13 3/4 in. Signed on the stone, lower left. Signed, dated and titled in pencil. Also inscribed, "with best regards to Grant Reynard." This is a fine, rich impression with wide margins. The condition is quite good apart from traces of old tape adhesive on the verso in a few isolated spots, formerly used as hinges.
$1,650

Vernal Falls, Yosemite
FRANZ GERITZ
American, (1895-1945)
Woodcut printed in colors, 1936, edition unknown. 12 x 8 1/2 in. Signed in pencil. This is a fine impression with rich colors. The margins are narrow but substantial enough. There's a tiny pinhole or paper imperfection in the waterfall which is hard to see at normal viewing distance. Geritz was born in Budapest and came to the US in 1909. He was a California artist and specialzed in woodcuts primarily.
SOLD

Grizzily Giant, Mariposa Grove
FRANZ GERITZ
American, (1895-1945)
Woodcut or linoleum cut, 1936, unknown. 12 1/4 x 8 5/8 in. Signed, dated and titled in pencil. Here we have a fine impression of this large work. The margins are probably full. The condition is very good apart from a small spot of foxing to the left of the image and backing along the top edge verso from earlier hinging. There's a small hole in the paper on the left margin away from the image.
$1,400

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