Spring in the Marsh
VERA ANDRUS
American, (1896-1979)
Lithograph, 1935, Fusco Four Modern 19, edition 20. 9 3/4 x 12 7/8 in. Signed, titled, dated and numbered in pencil. This is a fine impression with full margins. The condition is very good apart from remnants of two old hinges at the top corner edges of the sheet. Andrus studied in Minneapolis and became a lifelong friend of Wanda Gag. She studied at the Art Students League in New York and she worked with George Miller who printed her lithographs. She's an underrated printmaker and the catalogue raisonné by Tony Fusco and Robert Four is a great addition to our understaning of her work. This was published in 2022.
$850

Loop-The-Loop
JOHN TAYLOR ARMS
American, (1887-1953)
Etching and aquatint printed in color, 1920, Fletcher 89, edition of 25 printed in color. 5 7/8 x 4 in. Signed, titled and dated "1921." This is a fine impression with probably the full margins. The condition is quite fine apart from a very faint suggestion of light toning within an earlier mat opening. There were two trial proofs and an edition of 20 in black and white.
$850

Down the River
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1938, Fath 33, edition 250. 12 1/2 x 9 15/16 in. Signed on the stone, lower right. Signed in pencil. This is a very fine impression with full margins; the deckle edge is showing on all sides. Excellent condition. The scene depicted is somewhere along the White River in the Ozarks. This print is also called the Young Fisherman.
$4,500

The Seed
JOHN BIGGERS
African American, (1924-2001)
Lithograph, 1983, edition 100. 17 1/8 x 23 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed on ARCHES watermarked paper. The margins are full with a deckle edge on all four sides. The condition is excellent. Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983, the year of this print. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and the influence of his many trips to Africa is clearly evident.
$6,500

Woman with Irises (La Femme aux Iris)
GEORGE BOTTINI
French , (1874-1907)
Lithograph printed in colors, 1898, Southard 28, edition 50. 15 x 13 1/4 in. Signed and dated on the stone, lower center. This is a fine impression with full margins. The condition is excellent. This lovely, art nouveau lithograph was printed by Sagot in Paris. Fifty impressions were printed with the remarque of two dragonflies and one hundred were printed without the remarque. Pencil signed impressions are hard to come by. One is located in the Petit Palais in Geneva. Provenance: Michel Romand (1929-2013), the great grandson of Edmond Sagot (1857-1917).
$2,500

Woman Drying her Hair
ROSS BRAUGHT
American, (1898-1983)
Lithograph, 1950, edition only 18. 20 5/8 x 15 1/4 in. Signed, dated ("1950"), titled and numbered in pencil. This is a superb impression of this rare print. The margins are full and the condition is excellent. This beautifully drawn, surrealist style image reflects Braught's skills as a draughtsman. Braught attended the Pennsylvania Academy of Fine Arts from 1918 to 1921. He moved to Woodstock, NY, in 1928 where he was introduced to the art of lithography. Braught was head of the painting Department at the Kansas City Art Institute from 1931-35 and his work was highly regarded. After a few years working in the British Virgin Islands, he returned and taught at Cornell from 1936-1939 and later was back at the Kansas City Art Institute until his retirement in 1962. Braught's work has been overlooked over the years but fortunately Hirsch & Adler Galleries gave him a major show and catalogue in 2000. Braught was a uniquely talented artist and a true visionary in both lithography and painting.
$2,500

Allen Street El
BERNARD BRUSSEL-SMITH
American, (1914-1989)
Wood engraving, 1941, Teller 12, edition 140. 4 1/16 x 6 1/16 in. Signed, titled and numbered in pencil. This is a fine impression printed on a fairly thin wove paper. The margins are full and the condition is excellent. New York artist Bernard Brussel-Smith was born in Greenwich Village, New York City, in 1914. He studied art at the Pennsylvania Academy of Fine Arts in Philadelphia and the New School for Social Research in New York. It was during his time at the New School that Brussel-Smith became interested in wood engraving and began a career in this demanding art form. The Allen Street El is now a creation of the past. It was demolished in 1942.
$700

Doge's Palace (Venice)
DAVID YOUNG CAMERON
Scottish, (1865-1945)
Etching and drypoint, 1902, Rinder 326 (ii/II), edition unknown. 9 7/8 x 15 5/8 in. Signed in the plate, upper left corner. Signed in pencil. This is a superb impression of this large, uncommon print. The paper is a thin Japan and the margins appear to be full and untrimmed. The condition is fine apart from slight light toning within an earlier mat opening. The Palace is famous for being the seat of power of the Venetian Republic for over one thousand years. It's a masterpiece of Venetian gothic architecture. Provenance: Craddock & Barnard, London. (their original mat).
$2,200

By the Arks
FEDERICO CASTELLON
American, (1914-1971)
Lithograph, 1941, Freundlich 10d, AAA 426; edition 250. 9 x 12 in. Signed on the stone, lower right. Signed in pencil. Here we have a fine impression printed on RIVES watermarked paper. The margins are full and the condition is fine. (The remnants of the two original AAA hinges are at the top corners, recto.) Castellon refers back to his childhood and time in Spain in this lithograph. Spanish boatbuilders with docked boats they are repairing take refuge from the sun under the hanging fishnets. One fisherman extends his hand to a woman, a vendor who carries a basket on her hip, as the other fisherman watches.
$650

Financial District
HOWARD COOK
American, (1901-1980)
Lithograph, 1931, Duffy 155, edition 75. 13 3/8 x 10 3/8 in. Signed and dated in pencil. Inscribed by Cook, "to George Miller." This is a superb impression with full margins. The condition is excellent. (There's a small one inch pen line at the bottom margin.) This outstanding New York image is possibly an impression apart from the edition of 75 as it's not numbered below the image. George Miller printed most of Cook's lithographs at his workshop in New York. His workshop was located at 3 East 14th Street at that time.
$9,500

Egg of a Common Tern (Ei van een Grote Stern)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1973, Rijksmuseum CD 73-13; edition 20. 2 7/8 x 2 5/8 in. Signed and numbered "15" in pencil. This is a fine, delicate impression of this superb small scale print. The margins are full and the condition is fine. (The edges of the sheet, verso, have paper tape all around from an earlier mount.)
$450

Shadows on the Agawa, No. 2
KERR EBY
American, (1889-1946)
Etching, 1929, Giardina 139 (iii/III), edition 90. 11 1/8 x 10 3/4 in. Signed and numbered in pencil. This is a fine, atmospheric impression with full margins. The condition is fine apart from an extremely faint suggestion of light toning within an earlier mat opening. This is barely discernible. The scene depicted was on either the Agawa River or Agawa Lake, both located north of Lake Superior in Ontario, Canada.
$800

Untitled (NY Subway)
JESúS ESCOBEDO
Mexican, (1918-1978)
Lithograph, 1946, edition unknown. 8 3/4 x 12 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is fine apart from minor staining in the outer margins in two areas. 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. Escobedos's work is discussed in Mexico and Modern Printmakers, A Revolution in the Graphic Arts, edited by John Ittmann (2007), pages 204-207, published by the Philadelphia Museum of Art.
$1,300

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

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

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

Dawn Came
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1946, Newsome pg. 59, AAA 788, edition 250. 9 1/2 x 12 5/8 in. Signed and dated in pencil. Here we have a fine impression of this dramatic print. The margins are full and the condition is fine apart from a soft ripple in the upper right corner margin area. Huntley's work is discussed at length in Paths to the Press, Printmaking and American Women Artists 1910-1960 (2005) by Elizabeth Seaton et al. (see pages 160-161). "Dawn Came" won the prize for best American lithograph of 1946 in the First Annual Print Club Competition of Associated American Artists.
$600

Steel
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1957, Newsom pg. 93, edition 50. 11 3/4 x 15 3/4 in. Signed and dated, lower right. This is a fine impression in fine condition. The margins are full. Huntley lived in New York and studied at the Art Students League. She produced her first lithograph in 1930 and worked closely with George Miller, the printer. In 1948 she purchased a lithographic press and started doing her own printing. This exceptional work is something of a companion piece to "Steam," another industrial print. Huntley's work is discussed at length in Paths to the Press, Printmaking and American Women Artists 1910-1960 (2005) by Elizabeth Seaton et al. (see pages 160-161). This work was done after she moved to Chicago in 1955.
$1,650

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

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