Pont Guillaume, Chartres
STANLEY ANDERSON
British, (1884-1966)
Etching and drypoint, 1915, Meyrick & Heuser 85, edition unknown. 6 5/8 x 8 in. Initialed in the plate, lower left. Signed in pencil. This is a very fine impression printed on cream laid paper. The margins are full and the condition is excellent. According to the catalogue, "This is a view along the Rue de la Porte Guillaume towards the 15th century barbican gate and bridge named after Guillaume de Ferrières, Vidame de Chartres."
SOLD

Venus and Adonis
STANLEY ANDERSON
British, (1884-1966)
Etching, 1924, Meyrick & Heuser 158; intended edition of 50. 7 7/8 x 10 in. Signed in ink. Titled and numbered "edition 50 proofs" below in ink. Here we have a fine impression in fine condition. The margins are full. The plate was published by Colnaghi, however, according to the catalogue, "The plate itself would become a casualty of the Blitz, during which Anderson's London studio was destroyed. Only a few prints had been pulled."
$750

Came's House (Woodstock)
GEORGE C. AULT
American, (1891-1948)
Lithograph, 1934, edition 25. 14 x 10 in. Signed, dated and numbered in pencil. This is a fine impression in very good condition. The margins are slightly uneven but this appears to be the full sheet as printed. This rare print by the artist reflects his interest in precisionist painting and drawing. Came's house was also done in an oil version and it depicts the Woodstock home of Ault's friend and patron, Cambridge Lasher. This impression was exhibited at the Arkansas Arts Center, November 30-December 30, courtesy of James Reinish Gallery & Associates, NY.
$2,200

November Morn
FRANK BENSON
American, (1862-1951)
Etching and aquatint, 1931, Ordeman 316, Paff 316; edition 150. 10 x 8 in. Signed in pencil. this is a superb impression with full margins. The condition is excellent. This is a beautifully designed print and shows Benson's remarkable talents as a graphic artist. He enjoyed making prints as much as working in oil painting and watercolor.
$1,500

Morphine Addicts (Morphinomanes)
ALBERT BESNARD
French, (1849-1934)
Etching, 1887, Coppier 62,Delteil 65, only known state; edition unknown. 9 1/8 x 14 1/2 in. Signed in pencil, lower right. This is a very fine impression printed with plate tone. The margins are wide and probably full. The condition is fine apart from very slight lightening of the paper within an earlier mat opening. This very rare print is in the collection of the Metropolitan Museum in NY and is described as follows on their website, "Besnard's deeply incised etching lines cast his feline women in dark shadows and gave them a tragic accent. Melancholy, bored, and dramatically alluring (in a Gloria Swanson way), they help to define for us the decadence of the century."
SOLD

The Styx
WIM BEUNING
Dutch, (1914-1986)
Lithograph, 1944 (?), edition unknown. 11 1/8 x 14 1/2 in. Signed date and titled in pencil. This is a fine impression with full margins. The condition is very good other than for a small printing crease, lower center, just touching the image and slight soiling in the margins. Beuning studied at the Koninklijke Academie for Beeldende Kunsten in the Hague and he was a painter as well as a printmaker. He was a member of the Pulchri studio. In Greek mythology, Styx is a deity and a river located in the Underworld.
SOLD

Fair in de Doelen (Kermis in de Doelen)
HERMAN F. BIELING
Dutch, (1887-1964)
Woodcut, 1922, edition unknown. 8 7/8 x 12 1/4 in. Signed, dated and titled in pencil. Here we have a fine impression in fine condition. The margins are full. Bieling was a Rotterdam artist and a founder of De Branding, an avant-garde artists association. He had a studio fire in 1933 and there lost much of his early work. De Doelen was a fair venue in Rotterdam but it was destroyed by the Nazis in 1940. (It was rebuilt in 1966 as a convention center.)
$500

The Preview
ABE BLASHKO
American, (1920-2011)
Lithograph, 1939, edition 35. 16 3/4 x 11 in. Signed on the stone, lower left. Signed, titled and numbered in pencil. This is a strong, rich impression of this large work. The margins are wide and the condition is quite good apart from a skillfully repaired tear in the lower margin, center, just to the image. Blashko had a one-man show of twenty five drawings at the Seattle Art Museum in 1938. He was then only eighteen years old. He worked as a longshoreman at the Seattle docks and eventually moved to NY where he published cartoons and continued making prints, drawings and paintings. He had a major retrospective at the Susan Teller Gallery in 1987. His work is included in several museum collections including the National Gallery of Art.
$1,500

Guianan Toucanets (Pfefferfresser)
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Linocut printed in colors, 1929, edition unknown. 10 5/8 x 9 1/8 in. Signed in pencil. Here we have a fine impression with wide margins. The condition is excellent. This stellar work was published in a special edition of the 1920 Gesellschaft für Vervielfältigende Kunst, Vienna. Note: The gray block in the lower right corner bears the initials of the artist but in this case it's extremely hard to read for some reason.
$1,650

Une Dacquoise (Anais)
GERALD BROCKHURST
British/American, (1890-1978)
Etching, 1922, Fletcher 29 (iii/III), edition 76. 6 1/2 x 4 1/2 in. Signed in the plate at the top. Signed in pencil. This is a fine, vibrant impression with full margins. The paper is a fine laid and the watermark reads ENGLAND. The condition is very good with only a faint suggestion of toning within an early mat opening. The print comes with an old Kleemann Gallery(NY) label.
$800

The Large Cottages (Les Grandes Chaumières)
FELIX BUHOT
French, (1847-1898)
Drypoint, aquatint and roulette, 1881, Bourcard/Goodfriend 150 v/VI), edition unknown. 5 1/2 x 10 3/4 in. Signed in the plate with the artist's small red stamp (Lugt 978). Signed in pencil and inscribed, "épreuve d'artist imprimée par Delâtre." This is a superb, luminous impression printed on antique paper with an elaborate watermark. The margins are full and the condition is fine.
$2,200

Eulalia Barthold
PAUL CADMUS
American, (1904-1999)
Drypoint, circa 1926, Davenport 16, small edition. 14 3/4 x 12 in. Initialed in the plate, left of center, near the chair. Signed in pencil and inscribed "collection of the artist." This is a superb impression of this rare and fashionable early work. The sitter was a cousin of the artist. The condition is basically fine apart from a repair in the lower left corner margin and a couple of printing wrinkles in the left edge of the image which are inconspicuous. This impression is from the estate of the artist, left to his partner of many years, Jon F. Anderson. The print is inscribed "collection of the artist."
$2,000

Tree in the Sun
EMILE CLAUS
Belgian, (1849-1924)
Lithograph, circa 1900, edition 100. 21 x 16 7/8 in. Initialed in the stone, lower left. Signed and numbered in pencil. This is a fine impression of this stellar Belgian luminist print. Printed on a chine appliqué, the margins are probably full. The condition is very good apart from residue of a tape adhesive on the edges and a few skillfully repaired splits on the right side, not into the image. Influenced by Claude Monet, Claus developed a distinctly luminist style and in 1904 he started the artist group "Vie et Lumière." Claus is considered the pioneer of Belgian luminism and this print relates closely to one of his paintings. He was friendly with Auguste Rodin and Émile Zola. He made very few prints.
$2,500

Dog
HOWARD COOK
American, (1901-1980)
Wood engraving, 1929, Duffy 107, edition 100 (forty printed). 6 1/8 x 3 1/4 in. Signed in pencil and inscribed, "Greetings from Howard Cook - my self portrait." This is a very fine impression printed on thin japan paper and mounted at the top to a heavier support sheet. Fine condition. This was possibly intended as a holiday card and with the addition of "self portrait," I suspect the title of simply "Dog," does not tell the whole story here.
SOLD

The Knight did not Die on the Crusade (Le Chevalier n'est pas Mort à la Croisade)
MAURICE DENIS
French, (1870-1943)
Lithograph printed in colors, 1898, Cailler 112, edition 100. 15 1/4 x 11 in. Initialed on the stone, top center. Signed in pencil. This a fine and typically subtle impression with full margins. The condition is fine other than for a small circular stain in the extreme right margin and minor rippling to the sheet. This impression is from the collection of Henri M. Petiet (Lugt 5031). This is plate five from "L'Amour" suite which was published by Ambrose Vollard.
$3,000

Dusk has the Sweetness of Old Paintings (Les Crépuscules ont une Doucer d' Ancienne Peinture)
MAURICE DENIS
French, (1870-1943)
Lithograph printed in colors, 1898, Cailler 109, edition 100. 15 1/4 x 10 7/8 in. Signed and dated on the stone, lower right. Titled on the stone below the image at left. Signed and numbered in pencil. This is a superb impression with extremely fresh colors. The margins are full. The condition is fine. This lovely work is plate six from L'Amour Suite, published by Vollard and printed by Auguste Clot, Paris. Ex-collection: Henri M. Petiet (Lugt 5031).
$4,000

Windmill in Garnwerd (Molen in Garnwerd)
JOHAN DIJKSTRA
Dutch, (1896-1978)
Etching and aquatint, undated (1920s-1930s), edition unknown. 15 x 10 3/4 in. Signed in pencil and also inscribed, épreuve d'artiste. This is a superb impression of this rare and exceptional print. The paper is a sturdy white wove and the margins are about 1" on all sides. Fine condition. Dijkstra was a founding member of the Dutch expressionist movement known as "De Ploeg," (The Plow) which was established in Groningen in 1918. Indeed, expressionism was international. Dijkstra, along with Jan Wiegers, Jan Altink and others, were keenly aware of the German contingent of the expressionist movement and Wiegers became very close friends with Kirchner while he was living in Davos, Switzerland. Dutch expressionism is often overlooked but it represents an integral part of early 20th century Dutch artistic heritage. The Groninger Museum today possesses a large collection of prints, drawings and paintings by these artists. De Ploeg prints were printed in small editions due to the rather limited audience at the time.
$2,500

White Water
KERR EBY
American, (1889-1946)
Etching, 1929, Giardina 135 (viii/VIII), edition 90. 8 7/8 x 14 1/4 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is fine apart from a subtle area of toning in the upper right margin. The paper bears a partial VAN GELDER ZONEN watermark. The catalogue states the scene depicted was done in Canada or New England.
$600

Accordian Player
NICOLAS (NICO) EEKMAN
Belgian, (1889-1973)
Woodcut, undated (1920s-1930s), edition 110. 16 1/4 x 8 in. Signed and numbered in pencil. Signed in ink with the artist's red monogram stamp. This is a fine impression of this large woodcut printed on very thin Japanese paper. The margins are probably full. The condition is very good apart from four small brown paper hinges at the corners and obscure traces of foxing here and there. 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 and thoroughly captivating sense of humor often pervades Belgian aesthetics during the 1920s and 1930s. Ensor was an influence on this generation.
$1,500

Three to Make Ready
DON FREEMAN
American, (1908-1978)
Lithograph, 1933, McCulloch 73, edition 35 or fewer. 11 5/8 x 13 3/4 in. Signed on the stone, lower left. Signed, dated and titled in pencil. Also inscribed, "with best regards to Grant Reynard." This is a fine, rich impression with wide margins. The condition is quite good apart from traces of old tape adhesive on the verso in a few isolated spots, formerly used as hinges.
$1,650