Aesthetic Pleasure
PEGGY BACON
American, (1895-1987)
Drypoint, 1936, Flint 126, edition 174. 6 x 8 1/2 in. Signed, dated and titled in pencil. This is a superb impression with full margins. The condition is excellent. This outstanding print is found in the Whitney Museum, the Brooklyn Museum, the Achenbach Foundation for the Graphic Arts, the McNay Art Museum and others.
$1,800

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

Yellowlegs No. 4
FRANK BENSON
American, (1862-1951)
Drypoint, 1928, Paff 284, Ordeman 284; edition possibly 150. 7 7/8 x 9 7/8 in. Signed in pencil. This is a superb impression with full margins. The condition is excellent apart from traces of old hinges at the two top corners. There are five trial proofs and the total edition is not listed in Paff. Ordeman suggests and edition of 150 but this is not a common print.
$1,100

Plodding Home
FRANK BENSON
American, (1862-1951)
Etching, 1924, Paff 234, Ordeman 234; edition 150. 2 3/4 x 2 in. Signed in pencil. Here we have a fine impression printed on a light cream paper. The margins are substantial. The condition is fine. This small but beautifully rendered print is in demand by sporting collectors.
$1,000

White Calf
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1945, Fath 67, edition 250. 10 x 12 3/4 in. Signed on the stone, lower left. Signed in pencil. Here we have a fine impression with wide margins. The condition is excellent. This work was done at Chilmark on Martha's Vineyard. Impressions of this print are located at the Whitney Museum of American Art, the Museum of Fine Arts, Houston, the National Gallery of Art and the Nelson-Atkins Museum of Art, among others.
$2,500

The Three Barges
ARTHUR BRISCOE
British, (1873-1943)
Etching, 1925, Hurst 139, edition 75. 7 1/4 x 10 7/8 in. Signed, dated and titled in the plate. Signed and numbered in pencil. This is a fine impression printed with tone. The margins are full and the condition is excellent. According to Hurst, "on the skyline lies Gravesend, viewed from the old Tilbury Hotel". (Gravesend is in northwest Kent along the Thames River."
$550

Making a Passage
ARTHUR BRISCOE
British, (1873-1943)
Drypoint, 1924, Hurst 84, edition 75. 6 1/4 x 9 3/4 in. Signed and numbered in ink. This is a fine, luminous impression printed on a cream wove paper. The margins are full and the condition is fine. (There's subtle, small spot of foxing just to the right of the image.)
$550

Wisconsin Forest (also called Cut-Overland)
BERNARDA BRYSON (SHAHN)
American, (1903-2004)
Lithograph, 1935-36, Wien 14, edition unknown. 9 5/8 x 12 1/2 in. Signed and titled in pencil. This is a fine impression of this very rare print. The margins are wide and the condition is very good. (There's some glue residue along the top edge of the sheet from an early mount. There's also a small repaired tear in the lower right margin not affecting the image.) This outstanding work is from her early series called, The Vanishing American Frontier. This series of historical lithographs was created for the Resettlement Administration of FDR. As described by Wien, "This lithograph of deforestation and its implied aftermath - land erosion and river pollution - starkly portrays the consequences of the rapacious appetite of growing America and its subjugation of long-term environmental concerns to the short-term interests of the lumberyards. The ecological subject matter of this lithograph is close to the artist's heart." This print is in the collection of the Crystal Bridges Museum of American Art and the National Gallery in Washington, DC.
SOLD

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.
SOLD

Wood Interior
HOWARD COOK
American, (1901-1980)
Wood engraving, 1931, Duffy 171, edition about 150 (?) 6 1/2 x 4 1/8 in. Signed, dated and numbered in pencil. This is a fine impression printed on thin light cream wove paper. The margins are wide and the condition is fine. (There's just the faintest suggestion of toning within an earlier mat opening.) This is from the deluxe edition of 100 from The Checkerboard published by Weyhe Gallery in 1931.
$900

I Love a Parade
ALLAN 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.
$4,500

Gumbo Lane
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 36, intended edition of 100 (50 printed by George Miller). 10 x 12 3/4 in. Initialed "w" on the stone, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. "This slightly surreal scene captures Wanda Gág’s rapture over the garden at her rural retreat Tumble Timbers. She nicknamed the garden Gumbo Lane. It produced nothing more exotic than lima beans and Swiss chard, but to Gág it was something primal and passionately alive. The plants sprout eyes, the wooden posts rear up like snakes, and the grape arbor appears ready to charge. The little building at upper right was the outhouse for Tumble Timbers..." (Tumble Timbers was located in rural Glen Gardner, New Jersey.) The above quotation is from the entry for this print on the Mineapolis Institute of Art's website. It was written by Marla Kinney. This outstanding print was selected as one of the Fifty Prints of the Year by the American Institute of Graphic Arts.
SOLD

City Signs
HANANIAH HARARI
American, (1912-2000)
Screenprint, 1938, from a small edition printed in 1938. 18 1/8 x 11 7/8 in. Signed, titled and dated in pencil. This is a fine impression printed on cream colored paper with full margins. The condition is excellent. (There's a small repaired tear in the top margin, well away from the image.) Harari was employed by the mural project of the New York City WPA. He was a founding member of the American Abstract Artists Group and studied the screenprint medium with Anthony Velonis. As for City Signs, "Harari exploited the screenprint's suitability for achieving flat planes of colour. He allowed the non-printed areas of the paper support to form an integral part of the composition." (see page 171 of The American Scene; Prints from Hopper to Pollock by Stephen Coppel (2008). City Signs is illustrated and further discussed in this British Museum catalogue. This memorable work is also illustrated in American Screenprints by Reba and Dave Williams, Pg. 35 (1987). This work was included in the seminal exhibition, Artists for Victory, held at the Metropolitan Museum of Art in 1942. There was a second edition of 30 printed in 1990. (This was the year the artist died.) These late impressions are somewhat garish and not as desirable as the rare, early ones. Other early impressions are in the Smithsonian American Art Museum and the National Gallery of Art. Our impression is a slight color variant and according to Susan Teller, who worked with the estate, the artist was known to be an experimenter.
$3,800

Approaching New York
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1933, Newsom pg. 31, edition unknown. 7 7/8 x 12 3/8 in. Signed and dated in pencil "Victoria Hudson." This is a fine impression printed on BFK RIVES watermarked paper. The margins are full and the condition is excellent. Hutson was her last name at this time and she married Ralph Huntley in 1934. During this period in New York she was employed by the WPA program.
$1,500

Texas Nomads
PETER HURD
American, (1904-1984)
Lithograph, 1937, Meigs 41, edition 40. 12 x 16 1/2 in. Initialed in the stone, lower right. Signed, numbered and titled in pencil. This is a superb impression of this large and uncommon print. The margins are full. The condition is fine apart from minor wrinkling along the top margin edge and two small repaired tears at the top edge as well. Hurd studied with N.C. Wyeth and later married the painter's eldest daughter, Henriette. He was also a graduate of the Pennsylvania Academy of Fine Arts. This is a superb example of his work.
$3,500

Three Kids and a Horse
PAUL LANDACRE
American, (1893-1963)
Wood engraving, 1943, Wien 246, Zeitlin & Ver Brugge 93; edition 100. 7 1/2 x 10 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine. Here we have a nice example of his work in the wood engraving medium.
$3,500

Cathedral Spires
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut, undated (circa 1920-25?), edition unknown. 12 3/4 x 10 1/2 in. Signed and titled in pencil. This is a stellar impression of this extremely rare and stunning print. The margins are full and the condition is fine. Lindenmuth was one of the original members of the Provincetown printers group and he specialized in scenes of boats and fishermen in the Cape Cod area. He was employed by the WPA during the 1930s. Cathedral Spires are located in Custer State Park in the Black Hills of South Dakota. Birger Sandzen produced a very similar block print of this subject in 1922.
$1,400

Night and the Salute, Venice
SIDNEY M. LITTEN
British, (1887-1934)
Etching and drypoint, 1928, edition perhaps 80. 10 1/4 x 16 3/4 in. Signed in pencil. This is a superb, luminous impression printed on a greenish-blue paper. The margins are full and the condition is excellent. Litten studied with Frank Short at the Royal College of Art. He exhibited at the Walker Galleries and the Royal Academy. This is a large and exceptional example of his work.
$550

Venetian Steps
SIDNEY M. LITTEN
British, (1887-1934)
Etching and drypoint, 1928, edition 80. 10 3/4 x 15 in. Signed and numbered "xxviii" in pencil. Here we have a fine, luminous impression with full margins. The condition is excellent. Impressions of this print are located at the Detroit Institute of Arts and the Princeton University Art Museum.
$550

Reading I (Lezende I)
LOU LOEBER
Dutch, (1894-1983)
Linocut, 1930, edition 100. 5 7/8 x 4 3/4 in. Signed, dated and numbered in pencil. Titled below probably by another hand. Here we have a fine, dark impression printed on a fibrous Japanese paper. The margins are full and the condition is fine. (There's a soft crease across the top margin well away from the image.) Loeber attended the State Academy of Fine Arts (Rijksakademie) in Amsterdam from 1915-1918 but left early as she considered it too conservative. Her work was inspired by Piet Mondrian, Theo van Doesburg and Bart van der Leck. Essentially, she found her spiritual home with the Dutch De Stijl group. She married the artist Dirk Koning in 1931. She produced another, slightly larger version of this same subject.
$2,100