Coal Heavers
JAMES ALLEN
American, (1894-1964)
Etching, 1935, Ryan 65, McRae 65; edition unknown. 11 7/8 x 9 7/8 in. Signed in pencil. This is a superb impression with full margins. The condition is fine. This uncommon print is located in the Smithsonian, the National Gallery of Art, and the Crystal Bridges Museum of American Art. There is now an online catalogue by Lynn McRae published by the Stanford University Libraries.
$4,500

St. Nicholas, Prague
STANLEY ANDERSON
British, (1884-1966)
Drypoint, 1929, Meyrick & Heuser 184 (iii/III); edition 85. 11 3/8 x 8 3/4 in. Signed in the plate, lower right. Signed, titled and numbered in ink. This is a superb impression with full margins. The condition is fine apart from minor wrinkling along the top edge of the sheet. A finished pencil drawing is located in the Victoria and Albert Museum.
SOLD

La Plaza Mayor, Segovia
STANLEY ANDERSON
British, (1884-1966)
Drypoint, 1927, Meyrick & Heuser 178 (iv/IV); edition 80. 9 1/2 x 7 9/16 in. Signed in the plate, lower left. Signed, titled and numbered in pencil. This is a fine impression with full margins. The condition is fine other than for a subtle suggestion of toning within an early mat opening.
$550

Blue Poppies
JEAN ARMITAGE
British, (exhibited 1919-1938)
Woodcut printed in colors, circa 1930, edition 50. 12 7/8 x 7 3/4 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine other than for a soft wrinkle here and there, primarily in the margins. The influence of Japanese printmaking is here in evidence. Her work is executed with great skill, especially as seen here. She studied with the illustrator J.D. Batten at the Byam Shaw School of Art and exhibited with the Royal Institute of Painters in Water Colours. This information was provided by the British Museum and they own two example of her woodcuts.
SOLD

My Family No. 2
GEORGE BELLOWS
American, (1882-1925)
Lithograph, 1921, Mason 116, edition 56. 10 1/8 x 8 in. Signed and titled "Family Group" by the artist. Signed by the printer, Bolton Brown. This is a very fine impression printed on thin china paper. The margins are fairly modest but this is possibly the untrimmed sheet as printed. The condition is very good other than for two small old hinges at the top corners with traces of the old adhesive showing through and a soft wrinkle along the bottom edge of the sheet, well away from the image. This second version of this subject, done in reverse of the first, is more fully developed and beautifully designed.
$3,000

Chicken and Pulque (Pollo y Pulque)
GEORGE BIDDLE
American, (1885-1973)
Transfer lithograph, 1928, Pennigar 89, Trotter 55; edition 50. 12 x 12 in. Signed, numbered and dated in pencil. This is a fine impression with wide margins. The condition is fine. This is from Biddle's Mexican Series. Pulque is a beer-like agave drink which predates the arrival of the Spanish by at least 1,500 years. In 1928 Biddle accompanied Diego Rivera on a sketching trip around Mexico.
$550

Avenue du Bois
PIERRE BONNARD
French, (1867-1947)
Lithograph printed in colors, 1899, Bouvet 59, edition 100. 12 x 18 in. Unsigned. This is a fine impression with very good colors. The margins are full with a deckle edge on all sides. Excellent condition. This is a lovely work from the series Quelques Aspects de la Vie de Paris; a set of twelve plates plus the cover. Bonnard was the printer under the direction of Clot, according to Bouvet. The set was published by Vollard. This and other works from the series were pencil signed on occasion.
$6,750

Venice
EMMA BORMANN
Austrian, (1887-1974)
Linocut printed in colors, undated (possibly 1923)., Johns pg. 80, edition unknown. 9 x 14 in. Signed and titled in pencil. Here we have a very fine impression with full margins. The condition is excellent. This stellar view of Venice exists in color variations. This rare work is one of several views of Italy that she did in addition she made trips to: Vienna, Stockholm, Rome, Florence, Prague, Tokyo, Shanghai, New York, Washington, DC, Pittsburgh and on and on. She worked in woodcut and linocut and they can be difficult to tell apart.
$2,200

Flamingos
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Woodcut (linocut?), 1920s, edition unknown. 8 3/8 x 7 3/4 in. Signed and inscribed in pencil "handdruck." This is a fine impression printed on thin wove paper The margins are full. The condition is very good apart from slight toning at the outer edges of the sheet, well away from the image.
$2,000

Piñon Trees and Spanish Peaks, Colorado
GEORGE ELBERT BURR
American, (1859-1939)
Etching printed in colors, 1906-07, Seeber 42, edition perhaps 50. 6 1/8 x 9 3/8 in. Signed in pencil, lower left. This is a superb impression of this uncommon early color etching. The margins are probably full and the condition is fine. (There's stray printer's ink on the verso which is faintly showing on the right margin.) This was Burr's "first experiment in color" after moving to Denver in 1906. He was forty-seven. He was also a gifted watercolor painter and he viewed color etching as an ideal means to transition from one medium to the other. This rare print is illustrated on the cover of the Seeber catalogue raisonné.
$2,800

The Dolphins
DAVID YOUNG CAMERON
Scottish, (1865-1945)
Etching, 1892, Rinder 115 (ii/II); edition unknown. 10 x 4 in. Signed, dated and titled in the plate and with the added etched word "Amsterdam." This is a superb impression of this rare early work. The margins are modest and the condition is fine. The is the first print for Cameron's North Holland Set which consists of 22 subjects. According to Rinder, there were ten complete sets and a few separate impressions of some subjects.
$650

Ponte dei Baratteri, Venice
EDGAR CHAHINE
French, (1874-1947)
Etching and drypoint, 1923, Tabanelli 375 (iii/III); edition 100. 12 5/8 x 8 5/8 in. Signed and titled in pencil. This is a fine impression printed with plate tone. The margins are full. The condition is fine apart from slight toning along the extreme edges of the sheet.
$800

Walpi
HOWARD COOK
American, (1901-1980)
Woodcut, 1927, Duffy 73, edition 50 (40 printed). 10 x 12 in. Signed, dated and titled in pencil. This is a fine, rich impression printed on thin Japanese paper. The margins are full but modest in size. The condition is excellent. Walpi is an ancient, continuously inhabited Hopi village established around 900 AD. The site is located in Arizona.
$2,500

I Love a Parade
ALLEN CRITE
African American, (1910-2007)
Lithograph, 1948, edition 15. 7 5/8 x 9 3/4 in. Signed, dated, titled and numbered in ink. This is a superb impression of this extremely rare print. The margins are full and the condition is fine. Crite was was born in New Jersey but lived most of his life in Boston where he studied at the School of the Museum of Fine Arts. He was one of the preeminent Boston African American artists and lived in the historic South End. He was employed by the Federal Arts project. Crite was interested in social commentary and he depicted life as he observed it in the neighborhoods of Boston, especially in the vicinity of where he lived. His later work was primarily religious in nature. This exceptional print is found in the collection of the Metropolitan Museum of Art and the National Gallery of Art among others. It's entry # 27 in Alone in a Crowd, Prints of the 1930s-40s by African-American Artists from the Collection of Reba and Dave Williams (1993). This catalogue accompanied the exhibition of one hundred and five prints which traveled to about sixteen museums.
$5,000

Hounds and Coyote
JOHN STEUART CURRY
American, (1897-1946)
Lithograph, 1931, Cole 12, edition 25. 10 x 14 in. Signed and dated on the stone, lower left. Signed, dated, titled and numbered (25 prints) in pencil. This impression is dedicated in pencil to fellow artist Harry Wickey and his wife, "To the Wickeys and best luck." The margins are full. The condition is good apart from occasional light foxing and small old hinges at the top corners of the sheet.
$1,000

Blue Valley Fox Hunt
JOHN DEMARTELLY
American, (1903-1980)
Lithograph, 1937, Zink 10, edition 250. 12 3/4 x 16 1/2 in. Signed in pencil. This is a fine impression as published by Associated American Artists in New York. The margins are wide and the condition is very good. There's a trace of an old adhesive around the outer edges of the margins, verso, not showing on the front. De Martelly taught printmaking at the Kansas City Art Institute and he became a close friend of Thomas Hart Benton. In fact, the reclining figure in this print is Benton.
$1,750

The Couple
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, 1920s, edition perhaps 25-50. 7 3/4 x 8 in. Signed in pencil and also signed in red ink with the artist's monogram. This a fine impression printed on thin Japanese paper. The margins are full and the condition is fine. The artist attached the print to a sheet of tan paper at the top corners which created the effect of a nighttime atmosphere. 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, expressionist, and captivating (yet understated) sense of humor often pervades Belgian aesthetics during the 1920s and 1930s. Ensor was an influence on this generation.
$650

The Deadly Sins, Dominated by Death (Les Péchés Capitaux, Dominés par la Mort)
JAMES ENSOR
Belgian, (1860-1949)
Etching, 1904, Taevernier 126, Elesh 126, only state; edition unknown. 5 1/2 x 3 5/8 in. Signed in the plate, lower right. Signed, dated and titled in pencil. The print is also counter signed on the verso by the artist. This is a very fine impression printed on simili-Japan paper. The sheet is exceptionally large measuring 19 5/8 x 12 5/8 in. The condition is fine apart from an exceedingly faint suggestion of toning within an earlier mat opening. This work was the introductory image for the portfolio called "The Deadly Sins" which consisted of eight etchings by Ensor and a preface by Eugène Demolder. Demolder describes it in the following terms, "The frontispiece brings the seven deadly sins together under a symbolic death's head with black-feathered wings." (Unidentified collector's mark, verso.)
$5,800

The Return (Retour)
GEORGES DE FEURE
French, (1868-1943)
Lithograph printed in colors, 1897, Millman pg.125; from a large edition. 12 7/8 x 9 7/8 in. Signed and dated on the stone along the left side. This is a fine impression with fresh colors. The margins are full and the condition is fine. This notable art nouveau work was issued in L'Estampe Moderne, No. 2 and their blindstamp is in the lower right corner of the sheet (Lugt 2790).
$1,200

Wiston River
FRANK MORLEY FLETCHER
British/American, (1866-1949)
Woodcut printed in colors, circa 1900-1905, edition 100. 8 3/8 x 14 1/2 in. Signed, titled and numbered in pencil. This is a superb, luminous impression with probably full margins. The condition is fine apart from very thin pieces of brown paper tape along the edges of the sheet. This stellar early work was done in his native Lancashire, England. Color variations exist with this and his other prints which add much diversity to his rather limited oeuvre. There's no formal catalogue raisonné of his woodcuts but there's an excellent article by Nancy Green in the following: Second Impressions; Modern Prints and Printmakers Reconsidered, edited by Clinton Adams, volume 16 of the Tamarind Papers, 1996, University of New Mexico Press, pages 37-48.
$6,000