Perseus and Andromeda
JOHANNES AARTS
Dutch, (1871-1934)
Woodcut, circa 1905, Wielick H77, edition unknown. 9 3/8 x 7 in. Signed in the block with the monogram, lower left. Signed in pencil. This is a very good impression of this rare print. The margins are wide and the condition is fine. We believe this woodcut shows the story of Perseus and Andromeda. Perhaps Aarts showed the head of Medusa and Pegasus just to combine the most important images of the Perseus cycle. In other depictions of the story, Perseus and the head of Medusa are left out. Wielick catalogued this as Perseus and the Head of Medusa and the Rijksmuseum titles their impression as Perseus and Andromeda. Our website shows a similar print which we previously sold, Wielich H-75, titled as Perseus with the Head of Medusa. Aarts was born in the Hague and moved to Amsterdam in 1911 were he became an influencial teacher at the Rijksacademie. (He replaced Pieter Dupont who died prematurely in 1911.)
$850

Neptune Washington
RON ADAMS
African American, (1934-2020)
Lithograph, 1996, edition 70. 30 1/8 x 22 1/4 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed to the edges of the sheet. The margins are full and the condition is excellent. Adams was born in Detroit and studied at UCLA, the University of New Mexico and elsewhere. In addition to being a gifted draughtsman and lithographer, Adams became a successful printer. He became a master printer at Gemini G.E.L. in Los Angeles and later moved to Santa Fe, New Mexico, where he founded Hand Graphics, Ltd.; a successful printing company. There he collaborated with Judy Chicago, John Biggers and Charles White, among many other artists. This print was published as part of the Resounding Heart portfolio.
$3,000

Directed Movement (Gerichte Beweging)
WOBBE ALKEMA
Dutch, (1900-1984)
Etching and aquatint, 1931, Bool/Petersen G42; small edition. 5 1/4 x 5 5/8 in. Signed in pencil and also inscribed, "Aug. 1931." This is a fine impression of this rare and exceptional print. The margins are wide and the condition is fine. Apart from a few early printings as we have here, the plate was reprinted in 1974 with different colors across about thirty-seven impressions. Alkema is best known for his connections with the Belgian constructivist artists including Jozef Peeters and Felix de Boeck. Stylistically here, Kandinsky comes to mind.
$1,650

Untitled (Zonder Titel)
WOBBE ALKEMA
Dutch, (1900-1984)
Drypoint, 1930, Bool/Petersen G39; edition only 6 plus a few proofs. 4 x 4 1/8 in. Signed and dated in pencil. This is a fine impression printed on a sturdy cream wove paper. The margins are full and the condition is fine apart from a couple of printing creases in the lower margin and occasional soiling. Ex-collection: Jan Altink (1885-1971), the prominent de Ploeg artist.
$1,400

Composition with Green and Red
WOBBE ALKEMA
Dutch, (1900-1984)
Linoleum cut, 1926, Bool/Petersen G34, edition 75. 8 x 5 1/2 in. Signed and dated in pencil "26/78" and numbered "18/75." This is a fine impression with full margins. The condition is excellent. According to the raisonné, there was no edition printed in 1926 and eight proofs were pulled in 1958. This impression is from the 1978 edition of seventy-five. Even these 1978 impressions are not common today. Alkema was originally trained as a cabinetmaker and he eventually worked with an architectural firm in Groningen. He joined De Ploeg (albeit for a brief period) 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 primarily associated with the Belgian modernists such as Josef Peeters.
$2,400

Geometric Abstraction
WOBBE ALKEMA
Dutch, (1900-1984)
Linoleum cut highlighted with white, circa 1958, edition unknown. 4 3/8 x 5 3/8 in. Initialed in ink, lower right. This is a fine impression printed on gray paper and attached to a blue support sheet. The margins are trimmed to just outside the image most likely by the artist. The condition is fine. Throughout his career Alkema remained focused on the art of geometric abstraction in painting as well as printmaking. Alkema was a member of de Ploeg for only a a year or so. He was more aligned with the Belgian artists who worked in his style.
$1,100

Landscape with Farmhouses
JAN ALTINK
Dutch, (1885-1971)
Woodcut, 1926, edition unknown. 9 3/8 x 14 3/4 in. Signed and dated in ink, lower right. Here we have a fine, rich impression printed on a sturdy cream wove paper. The margins are full and the condition is good. (There's a repaired break just outside the image in the upper left corner. There are traces of old cellotape adhesive in the margins, one of which extends on the bottom to just outside the image.) This potent and very rare woodcut exemplfies Altink at his best in this medium. He also worked in etching and lithography and excelled as a painter. He was born in Groningen and studied at the Minerva Academy. He one of the founders of "de Ploeg" and remained a member of the group into the 1960s.
SOLD

Aspiration, La Madeleine, Verneuil-sur-Avre
JOHN TAYLOR ARMS
American, (1887-1953)
Etching, 1939, Fletcher 329, edition 419 plus a few proofs. 15 1/2 x 10 in. Signed and dated in pencil. Inscribed "v" as in fifth state. Also inscribed, "sp" meaning a special proof. This is a fine, rich impression with full margins. The condition is excellent. This exemplary and large work was the recipient of eight prizes between 1941 and 1949.
$1,400

Nude (Naakt)
HERMAN F. BIELING
Dutch, (1887-1964)
Woodcut (linocut?), 1920, edition unknown. 17 3/4 x 8 5/8 in. Signed, titled and dated in ink. Printed by the artist and so inscribed. This is a superb impression of the large work. The margins are full and the condition is fine. Bieling was a Rotterdam artist who founded an artistic group called "De Branding" (meaning surf or breakers in Dutch). He had connections with art groups including De Stijl and Der Sturm. Bieling was also an organizer of shows which included his work and those by Kurt Schwitters, Piet Mondriaan and many other cutting edge artists. He was an active proponent of modernism in Dutch painting and printmaking during the 1920s and 1930s. Much of his work was lost during a major fire in his studio in 1930.
$1,200

Dancers (Danseres)
HERMAN F. BIELING
Dutch, (1887-1964)
Linoleum cut, 1922, small edition. 12 1/2 x 9 in. Signed, titled and dated in ink. Here we have a fine impression printed on a thin light tan paper. The margins are full. The condition is fine apart from slight wrinkling along the left edge of the sheet. Often, as we see here, Bieling's images are comprised of dynamic geometric forms and lines to enhance the overall composition and primary subject.
$800

Nude (Naakt)
HERMAN F. BIELING
Dutch, (1887-1964)
Linoleum cut, 1920, edition unknown. 14 1/2 x 7 3/8 in. Signed, dated and titled in ink. Printed by the artist and so inscribed. This is a fine, rich impression with full margins. The condition is fine apart from minor handling creases in the margins. Bieling did a series of these nude figure studies in the 1920s.
$900

The Trevi Fountain, Rome
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1913, Dodgson 304, edition 87 comprising 19 states. 15 7/8 x 10 1/4 in. Signed in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. The first state dates from 1913 and the subsequent work was done in 1928. The Trevi Fountain was designed by Nicola Salvi and it was constructed between 1732 and 1762. Salvi died in 1751 and four different sculptors where hired to complete the decorations.
$1,650

The Old Palace, Culross
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1909, Dodgson 261, edition 27. 7 3/4 x 10 1/2 in. Signed in pencil. This is a superb impression printed on Japanese paper. The margins are full and the condition is very good apart from faint light toning within an earlier mat opening. There are two small old hinges at the top corners, recto. This uncommon print by Bone is exquisite and beautifully printed, rich with burr.
$850

Une Jetée en Angleterre
FELIX BUHOT
French, (1847-1898)
Etching, drypoint, aquatint and roulette, 1879, Bourcard/Goodfriend 132 (ii/VIII), edition unknown. 11 3/4 x 7 7/8 in. Initialed in the plate, lower right. With the large red owl stamp (Lugt 977) just above the dolphins at the bottom; lightly inked or slightly faded. This is a superb, luminous impression printed on chine applique. The margins are wide and possibly full. The condition is fine. (The composition here is almost a reversal of Débarquement en Angleterre (B/G 130).
$4,000

Ivory Medicine Box (Pharmacie Ivoire)
FELIX BUHOT
French, (1847-1898)
Etching, 1885, Bourcard-Goodfriend 13 (ii/IV?); edition unknown. 7 1/2 x 5 7/8 in. Signed in the plate, lower left. Signed in pencil and also signed with the artist's large red owl stamp (Lugt 977). This is a fine impression of this uncommon print. The paper is a thick Japanese paper. This is likely and intermediate second state, with the shading complete but before annotations were added in three of the four corners. This exquisite work is from Buhot's Japonism series based on several objects in the collection of Philippe Burty.
$1,400

Birthday Party
MARGARET BURROUGHS
African American, (1915-2010)
Linoleum cut, 2002, edition 10 plus later proofs. 16 1/8 x 19 3/8 in. Signed, dated and titled in ink. This is a good impression printed on a sturdy wove paper. The margins are narrow along the top and bottom but this appears to be the full sheet as printed. The condition is fine. This large and charming image was created in 1960 and printed in an edition of only ten impressions. This is a later printing from 2002. Margaret Burroughs was a pioneering African American artist, writer and activist. She co-founded the Ebony Museum in Chicago which is now the DuSable Museum of African American History. An impression of this print is in the Art Institute of Chicago. Burroughs also produced a 1986 etching of the same subject.
SOLD

Transubstantiation
LETTERIO CALAPAI
American, (1902-1993)
Etching and aquatint, 1951, edition 50. 15 7/8 x 9 7/8 in. Signed, dated, titled and numbered in pencil. This is a fine, rich impression with probably the full margins. The condition is excellent. Calapai was born in Boston and studied there. He moved to New York in 1928 and later was active in the WPA program. As an outstanding student of Hayer at Atelier 17, he matured as an artist and then moved to Buffalo to teach printmaking and then again, moved to New York in 1960 and opened a printmaking workshop in Greenwich Village. His teaching continued throughout his career and he later settled in Chicago to teach at the University of Illinois.
$1,500

City Canyon
LETTERIO CALAPAI
American, (1902-1993)
Wood engraving, 1950, edition 75. 10 3/4 x 6 1/2 in. Initialed in the block, lower right. Signed and titled in pencil and also inscribed "artist's proof." This is a fine impression with substantial margins. The condition is fine. The artist's embossed stamp is in the lower right.
$800

Hornets
JAKOB DEMUS
Austrian, (b. 1959)
Diamond drypoint, 1989, de Heer 202, edition 30. 5 1/8 x 5 7/8 in. Signed, dated and numbered in pencil. Also inscribed, "II ét" (2nd state). This is a fine impression with wide margins. The condition is excellent. "I embarked on this engraving on my thirtieth birthday, in a mood that was bad-tempered and humorous, already beyond desperation, with the sting of Aristophanes." (JD)
$850

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