Composition in Red and Green
WOBBE ALKEMA
Dutch, (1900-1984)
Linoleum cut, 1926-1978, Bool / Peterson G 34, edition 75. 7 1/4 x 5 3/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine apart from a few soft handling creases in the outer margins. This is from the second edition of 75 printed in 1978 and is so numbered "26/78." The very early impressions are impossible to find as they were proofs only. Alkema was originally trained as a cabinetmaker and he eventually worked with an architectural firm in Groningen. He joined De Ploeg and produced many remarkable works of geometric abstraction in painting as well as printmaking. His paintings from the 1920s are important today and his prints are equally desirable. Alkema was also associated with the Belgian Constructivists including Jozef Peeters and the writer, Paul van Ostaijen. Alkema was a member of de Ploeg for only a year or so. He had two exhibitions in 1978; one at the Stedelijk and the other at the Gemeentemuseum in the Hague. Furthermore, the Groninger Museum had an exhibition and published a major book on the artist in 2009. This work is illustrated on page 96, also from the later edition done in 1978.
$1,800

Destroyers in Wet Basin at the Federal Shipbuilding and Drydock Company
JOHN TAYLOR ARMS
American, (1887-1953)
Etching, 1943, Fletcher 377 (iiiIII), edition 875. 10 x 17 1/2 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is fine apart from old hinges at the top corners, verso. Most of the impressions were printed by Charles S. White. The scene is South Kearney, N.J. depicting the U.S.S Radford, Quick and Mervine in 1942. Arms served in the Navy during WWI.
$900

La Loma (Taos)
GUSTAVE BAUMANN
American, (1881-1971)
Woodcut printed in colors, 1919-1931, Chamberlain 62, from a projected edition of 100. 9 1/2 x 11 1/4 in. Signed, titled and numbered "28/100" in pencil and with the hand in heart chop mark. This is a superb impression with full margins. The condition is excellent. There is no apparent watermark. According to the catalogue, "Impressions inscribed "26/100" and higher are quite different from earlier impressions. An impression inscribed "51/100" in the New Mexico Museum of Art (Plate 62.2) has the addition of black, which lends brilliance and clarity to the scene." Our impression is quite similar to the one in this Museum and was evidently printed in 1931. The highest known numbered impression is "65/100". (Note: The La Loma Plaza Historic District is an old neighborhood in Taos, New Mexico that was listed with the National Register of Historic Places in 1982.)
$14,000

The Fence Mender
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1940, Fath 40, edition 250. 9 7/8 x 13 7/8 in. Signed on the stone, lower right. Signed in pencil. This is a very fine impression with full margins. The paper bears a GCM watermark and the condition is excellent. This scene was based on a trip to Nebraska. The "Fence Mender" was a study for a small painting which has not been located, according to Fath.
$3,500

Hart's Farm, Clayhidon, Devon
ROBERT BEVAN
British, (1865-1925)
Pencil and charcoal on paper, circa 1917, a unique drawing. (sight) 10 x 8 3/8 in. (the full sheet measures 11 3/4 x 13 in.) Signed in the lower right "RPV" with the artist's stamp. This is the study for his lithograph (and oil painting) of the same subject. (See Dry 27.) Bevan was a British painter and lithographer. During the 1890s he traveled a good deal and he met Gauguin at Pont-Aven in 1894. In 1900 he settled in London, where he became a member of Sickert's circle (he was a founding member of the Camden Town Group in 1911 and of the London Group in 1913). His work was much influenced by Gauguin's bold color and flat patterning, and in his last years his style became increasingly simplified and schematic. He is best known for paintings featuring horses. Provenance: Thomas Agnew & Sons, London (their label, verso) and Brown & Darby, London (their label verso). This fine drawing was exhibited at the British Art Fair, 2023.
$7,500

Roman Sunset, Trinità dei Monte
MUIRHEAD BONE
Scottish, (1876-1953)
Charcoal pencil, 1921, 14 5/8 x 10 in. Signed, titled "Rome" and dated lower left corner. This stellar drawing depicts a view of this Catholic church which was founded in 1502 by Louis XII. The drawing is mounted to a thin support sheet which extends outward and is attached to another more sturdy support. The condition is excellent. The print is sold framed according to museum standards.
$3,500

Swans (The Family Outing)
CONRAD BUFF
American, (1886-1975)
Lithograph, 1937, edition 75. 9 3/4 x 8 in. Signed and dated with printed letters and numbers. Numbered in pencil. Here we have a fine impression of this uncommon print. The margins are wide and the condition is very good. There are old adhesive stains in the margins not near the image. The edition was printed by George Miller in New York. Buff was born in Switzerland and moved the the US at the age of nineteen. He moved to Los Angeles and became good friends with Maynard Dixon, the celebrated painter. Buff was best known as a painter of landscapes but he also produced a fine group of lithographs. Swans is an exceptional print and the subject is uncommon for him. This print was supposedly published by the American Artist's Group but given the rarity of it, that may not be the case. We sold an impression many years ago that was also numbered. An impression is in the National Gallery and the Amon Carter Museum. Ex-collection: Reba Williams, New York.
$700

Shore Leave
PAUL CADMUS
American, (1904-1999)
Etching, 1935, Davenport 40, edition 50. 10 3/8 x 11 5/8 in. Signed in pencil. In the lower left corner margin it states, "Paul Cadmus, 5 St. Luke's Place, NYC" in another hand.) This is a very fine impression with full margins. The condition is also fine. (There's an unidentified collector's mark in red in the lower right corner.) There were 35 impressions printed in 1979.) The Whitney Museum owns the 1933 oil painting which relates to this stellar print.
$8,000

8:30 Express
LETTERIO CALAPAI
American, (1902-1993)
Wood engraving, 1943-44, edition 27 plus proofs. 5 1/4 x 8 1/2 in. Initialed in the block, lower right. Signed, titled and numbered in pencil. This is a superb impression printed on thin wove paper. The margins are full and the condition is excellent. This potent image of a packed New York subway scene combines the expressionist "edge" of the wood engraving medium with a tilted perspective suggesting chaos and disorder. Impressions of this print are located at the Art Institute of Chicago, The Metropolitan Museum of Art, The National Gallery of Art and the Yale University Art Gallery among others.
$1,400

Sara Wearing her Bonnet and Coat
MARY CASSATT
American, (1844-1926)
Lithograph, circa 1904, Breeskin 198, edition possibly around 100. 20 x 16 1/4 in. Signed on the stone. This is a fine impression printed on Ingres d'Arches laid paper watermark MBM (France). The margins are full and the condition is fine apart from short soft ripples at the edges of the sheet away from the image. Provenance: Ambrose Vollard, Paris, Henri M. Petiet, Paris, to a private collection.
SOLD

Bridge Over Mad River (Vermont)
ASA CHEFFETZ
American, (1896-1965)
Wood engraving, 1948, AAA 957, edition 250. 5 1/4 x 7 3/8 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is excellent apart from old AAA hinges at the top corners. Cheffetz lived and worked in Springfield,MA. He studied at the School at the Museum of Fine Arts in Boston and also at the National Academy of Design in New York. He was primarily self taught as a wood engraver and printed his own works.
$450

Aanwas in Rhijnauwen met Dakpannen (New Growth in Rhijnauwen, with Roof Tiles)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1980, RKD CD 80-3 (iii/III); edition 50. 10 1/2 x 14 1/4 in. Signed and numbered "3" in pencil. Here we have a fine impression printed with delicate plate tone. The margins are full and the condition is excellent. This large work is exemplary of his many landscape etchings.
$1,000

Subway
FRITZ EICHENBERG
American, (1901-1990)
Wood engraving, 1934, edition 200. 6 1/4 x 4 3/4 in. Signed and titled in pencil. This is a fine impression printed on wove paper with the watermark FRANCE. The margins are full and the condition is fine apart from extremely slight light toning within an earlier mat opening.
$1,400

City Lights
FRITZ EICHENBERG
American, (1901-1990)
Wood engraving, 1934, edition 200. 6 1/4 x 4 3/4 in. Signed, titled, numbered and dated in pencil. Here we have a fine, rich impression printed on white wove paper. The margins are full and the condition is fine. (There's a very faint suggestion of light toning within an earlier mat opening.)
$1,400

Two Rabbits (Twee Konijnen)
FRANS EVERBAG
Dutch, (1877-1947)
Etching and aquatint printed in colors, circa 1926, Vervoorn/ Museum Kempenland 122, edition unknown. 7 1/8 x 9 in. Signed in pencil and inscribed "épreuve d'artiste." This is a fine impression of this charming print. The impression is fine and the condition is fine. (There's a faint suggestion of toning to the sheet.) This print exemplifies Everbag's great skills as a color intaglio printmaker. He was producing these plates at a time when color prints were the exception in the Netherlands and his color etchings were certainly among the best work done at the time. His earliest works were mezzotints after old masters. His mature work consists primarily of views of Amsterdam, flower studies, birds and other animals. His last important exhibition was at the Museum Kempenland in Eindhoven in 1988. Everbag's prints are consistently good and they are especially sought after by collectors in his native country.
SOLD

Arches
URSULA FOOKES
British, (1906-1991)
Linocut printed in colors, circa 1930, small edition. 9 1/4 x 6 3/4 in. Unsigned. This is a fine impression printed on a thin oriental paper. The margins are full. The condition is fine. "Fookes studied at the Grosvenor School of Modern Art from 1929 to 1931, under Claude Flight. She exhibited in the annual British Linocut exhibitions at the Redfern and Ward Galleries in the 1930s, and also showed her work with the Society of Women Artists and the New English Art Club. Also during the 1930s Fookes painted and travelled abroad, often with the artist Pauline Logan, who shared a studio with her in Pimlico. In 1939, Fookes moved to Hampshire where she did war work before travelling to Europe in 1945 to spend a year running a mobile canteen for troops. The Imperial War Museum in London holds the diary she kept during that time. She retired to Wiveton in North Norfolk. In Norfolk she developed a keen interest in bird-watching and her output as an artist greatly diminished but interest in her work revived after her death. Examples of her work are held by the Art Institute of Chicago." (biography courtesy of The Court Gallery website.)
$3,000

Viaduct (also called Cloisters and Collonade)
URSULA FOOKES
British, (1906-1991)
Linocut printed in colors, circa 1930, from a small edition. 9 1/2 x 6 1/2 in. Unsigned. This is a fine impression printed on thin oriental paper. The sheet is mounted to a darkish gray support sheet which was done by the artist. The condition is fine. This stellar work is from the estate of the artist. Other works by Fookes are available.
$3,000

Poplar Trees and Telephone Poles
URSULA FOOKES
British, (1906-1991)
Linocut printed in colors, circa 1930, from a small edition. 8 x 6 in. Unsigned. This is a fine impression of this nicely designed image. The paper is a thin oriental which is mounted to a dark gray support sheet. This was done by the artist. The condition is fine. This impression is from the estate of the artist.
$3,000

Mediterranean Village
URSULA FOOKES
British, (1906-1991)
Linocut printed in colors, circa 1930, from a small edition perhaps 50. 9 1/2 x 7 1/2 in. Unsigned. This is a superb, luminous impression printed on thin oriental paper. The margins are narrow and the condition is excellent. "Fookes studied at the Grosvenor School of Modern Art from 1929 to 1931, under Claude Flight. She exhibited in the annual British Linocut exhibitions at the Redfern and Ward Galleries in the 1930s, and also showed her work with the Society of Women Artists and the New English Art Club. Also during the 1930s Fookes painted and travelled abroad, often with the artist Pauline Logan, who shared a studio with her in Pimlico. In 1939, Fookes moved to Hampshire where she did war work before travelling to Europe in 1945 to spend a year running a mobile canteen for troops. The Imperial War Museum in London holds the diary she kept during that time. She retired to Wiveton in North Norfolk. In Norfolk she developed a keen interest in bird-watching and her output as an artist greatly diminished but interest in her work revived after her death. Examples of her work are held by the Art Institute of Chicago." (biography courtesy of The Court Gallery website.)
$3,000

Lantern and Fireplace
WANDA GAG
American, (1893-1946)
Wood engraving on maple, 1931-33, Winnam 83 (iii/III); edition 200. 7 1/4 x 5 3/8 in. This is a very fine impression printed on thin Japanese paper. The margins are probably full and untrimmed. The condition is fine apart from remnants of an old adhesive along the right edge. The third state, as we have here, was printed in 1932 and 1933. The block was started in 1931 with the first two states. This outstanding print is listed as being in nine museums. The drawing study is located in the New Jersey State Museum.
$1,800