The Builders
JAMES ALLEN
American, (1894-1964)
Etching, 1932, Ryan 62, edition 100. 9 3/54 x 11 3/4 in. Signed in pencil. This is a superb impression with full margins. The condition is fine other than for a faint trace of an old tape adhesive along the top edge, verso, not evident from the front. This stellar print is illustrated in American Prize Prints of the Twentieth Century by Albert Reese (1949). It was on the cover of The Herald Tribune Magazine (9/3/33) and also on the cover of Sunday Review, Brooklyn Eagle (3/25/34). Allen shared a studio with Howard Cook in Paris and upon his return to New York, he studied with Joseph Pennell and William Auerbach-Levy.
SOLD

Coal Heavers
JAMES ALLEN
American, (1894-1964)
Etching, circa 1935, Allen 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 apart from a trace of an old adhesive along the top edge verso, not evident on the front. This uncommon print is located in the Smithsonian, the National Gallery of Art, and the Crystal Bridges Museum of American Art.
$5,500

Ponte Pietra, Verona
ROBERT S. AUSTIN
British, (1895-1973)
Etching, 1925, Dodgson 56, edition 76. 5 1/8 x 4 3/4 in. Signed in the plate and signed in pencil. This is a fine, rich impression printed on cream laid paper. The margins are full and the condition is fine other than for a faint suggestion of toning within an earlier mat opening. Austin studied with Frank Short and is rightfully considered one of the preeminent printmakers working in England between the wars. He was a master craftsman with the copper plate and was gifted as a figurative artist as well as an etcher of architectural subjects. Austin was the recipient of many rewards throughout his career and his fine work clearly stands the test of time.
$750

Planting
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1939, Fath 28, edition 250. 9 7/8 x 12 5/8 in. Signed on the stone, lower right. Signed in pencil. Here we have a fine impression in fine condition. Full margins. (This print came in the original AAA mat with the original hinges at the top corners.) The print is based on a drawing from 1938 done in southern Arkansas.
$3,500

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 fine impression with full margins. The condition is fine and the print came with the original AAA mat and label. The scene depicted is somewhere along the White River in the Ozarks. This print is also called the Young Fisherman.
$3,800

Cradling Wheat
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1939, Fath 27, edition 250. 9 1/2 x 12 in. Signed on the stone, lower left. Signed in pencil. This is a fine impression with full margins. The condition is also fine. (This print came in the original AAA mat and the original hinges are still present.) The lithograph was done after a painting which is now in the St. Louis Art Museum. The scene depicted is the hill country of east Tennessee.
$5,500

Haystack
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1938, Fath 21, edition 250. 10 1/4 x 12 3/4 in. Signed on the stone, lower left. Signed in pencil. Here we have a fine impression with full margins. The print came in the AAA mat and the original hinges are still at the top corners. The print was based on a drawing from 1928 and the subject is a North Carolina hill farm.
$4,500

Windy Night, Stockholm
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1935, Dodgson 457 (x/X); edition 93. 11 3/4 x 7 5/8 in. Signed in the plate, lower left. Signed in pencil. This is a fine impression printed on a sturdy Japanese paper. The margins are full and the condition is quite good. The Royal Opera House is depicted in the background of this dynamic and somewhat haunting scene. In this, the final state, eighty impressions were printed.
$1,650

Leopard
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Woodcut (linocut?) printed in colors, circa 1922, edition unknown. 8 3/8 x 6 1/4 in. Signed in pencil. This is a fine impression with vibrant colors. The paper is a thin Japanese which is usually her choice for printing the blocks. The margins are modest on the top and both sides. The condition overall is very good apart from a couple of soft wrinkles near the top of the image and rippling from the printing process in the bottom edge. She produced this same image in reverse.
$1,500

Command
ARTHUR BRISCOE
British, (1873-1943)
Etching, 1937, Hurst 316, edition 50. 8 3/8 x 13 3/4 in. Signed and numbered in ink. This is a fine impression printed on slightly tinted WHATMAN paper with full margins. The condition is excellent. Briscoe's preeminent interest was in depicting ships of all kinds and their crews working on board. His knowledge of how to etch waves and complicated sails and rigging is unsurpassed.
$1,000

Viba
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1929, Fletcher 63, edition 111 8 1/2 x 6 3/4 in. Signed in the plate, lower right. Signed in pencil. This is a superb impression of the published state. The margins are full and the condition is fine other than for two old paper hinges at the top corners and the slightest suggestion of toning within an earlier mat opening. (Fletcher describes seven states with no descriptive variations among states three to seven.)
$1,700

James McBey
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1931, Fletcher 69 viii or IX/IX), edition 111 10 1/2 x 7 1/2 in. Signed and titled in the plate. Signed in pencil. Here we have a superb impression printed on white wove paper. The margins are full with the possible exception of the lower margin apparently slightly trimmed. The condition is fine apart from the faintest suggestion of toning within an earlier mat opening. This, along with his portrait of Henry Rushbury, are two of Brockhurst's finest portraits of his contemporaries.
$2,000

Henry Rushbury
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1930, Fletcher 66 (xii or xiii/XIII), edition 111. 10 x 7 3/8 in. Signed and titled in the plate. Signed in pencil, lower right, and signed by the sitter in pencil, lower left. This is a superb impression printed on a light cream wove paper. The margins are full and the condition is fine. (There's just a very faint suggestion of toning from an earlier mat opening. There are two older paper hinges on the left edge, verso.) This exceptional work has two collector marks; E.F.A. (not in Lugt) and an Arabic script in an oval printed in red ink which we cannot identify. This is either state XII or XIII with the name of the sitter in the plate. It's unusual to have Rushbury's pencil signature on the print.
$2,200

Deux Landaises (Anais and Marguérite)
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1923, Fletcher 38 (viVII), edition 76. 8 x 6 in. Signed in the plate, upper right corner. Signed in pencil. Brockurst has written 6th state, G.L.B. in the lower margin and he also initialed the back of the sheet. This is a superb, beautifully inked impression printed on antique laid paper. The margins are full and the condition is fine. (The lower right corner margin shows a slight crease and there's a very modest stain in the upper right corner, well away from the image.
$950

The Crown (La Tiare)
FELIX BUHOT
French, (1847-1898)
Etching, drypoint and aquatint, 1888, Bourcard-Goodfriend 173 (iv/IV) 15 5/8 x 12 7/8 in. Signed in pencil and with the artist's large red owl stamp (Lugt 977) in the lower left corner. This is a superb impression rich in tone and contrasts. The paper is a cream Japanese and the margins are probably full. Excellent condition. There's an annotation by Buhot along the bottom of the sheet: Tirage //300 épr.//25 ép. D'artiste//3 ép.sur Japon. Here Buhot depicts the crown offered to pope Léon XIII for his jubilee. It was made by the goldsmith François-Désiré Froment-Meurice who knew Buhot. The artist depicts his son in the foreground.
$3,800

Soarning Steel
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1929, Chamberlain/Kingsland 79, edition 125. 12 3/8 x 9 5/8 in. Signed and numbered in pencil. Titled below by the artist. This is a superb impression with full margins. The condition is excellent. Here the artist depicts the Chicago Daily News building under construction. (Note: The catalogue lists an edition of 125 impressions but our impression is numbered from an edition of 100.)
$1,500

Mexican Landscape
HOWARD COOK
American, (1901-1980)
Etching and aquatint, 1933, Duffy 177, edition 250. 8 7/8 x 11 7/8 in. Signed in pencil. This is a fine, luminous impression with full margins. The condition is excellent. There was an edition of thirty impressions and Associated American Artists published a 1941 edition of 250 which was titled Desert Tree. (See AAA index # 431).
$2,200

New York Night
HOWARD COOK
American, (1901-1980)
Lithograph, 1931, Duffy 162, edition 75 (35 printed). 10 x 12 in. Signed on the stone, lower left. Signed and dated in pencil. This is a superb, luminous impression with full margins. The sheet shows a deckle edge on all sides. The condition is excellent. This stellar lithograph ranks among his finest views of the New York skyline.
PRICE ON REQUEST

Au Square
HENRI EVENEPOEL
Belgian, (1872-1899)
Lithograph printed in colors, 1897, edition unknown. 13 x 9 1/8 in. Signed on the stone in the upper left corner. This is a very fine impression with fresh colors. The margins are full. The condition is fine. This famous fin-de-siècle image is Evenpoel's best known print. It was published by L'Estampe Moderne, issue No. 7, in November 1897, and printed by Champenois. The blindstamp of the publication is in the lower right corner (Lugt 2790). The artist's blossoming career was cut short when he passed away at the age of twenty-seven.
$2,850

White Chrysanthemum in a Bluegreen Vase (Witte Chrysanten in Blauwgroene Vaasje...)
FRANS EVERBAG
Dutch, (1877-1947)
Etching and aquatint printed in colors, done before 1923, Vervoorn 97, edition unknon but perhaps 50. 18 x 16 1/4 in. Signed in pencil, lower right. Inscribed, épreuve d'artiste," lower left. This is a fine, rich impression with full margins. The condition is fine apart from the slightest trace of an old mat line. This large work 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 Holland 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 Holland.
$2,500