In Check
STANLEY ANDERSON
British, (1884-1966)
Engraving, 1931, Meyrick & Hauser 197 (v/V); edition 80. 6 1/4 x 8 in. Signed in pencil and inscribed below "edition 80 proofs." This is a superb impression with full margins. The condition is fine apart from a soft crease vertically along the left margin, well away from the image. The setting here is Snow's Coffee House in the theatre district near the Strand Hotel. Here we have a superb example of Anderson's work.
$850

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.
$600

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

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

Opium
MAX BRUNING
German, (1887-1968)
Drypoint, circa 1920-30, edition unknown. 14 x 7 in. Signed and titled in pencil. Here we have a superb impression with full margins. The condition is excellent. Bruning was a student of Frans van Stuck. His work during this early period was a combination of art deco and decadent symbolism. He was commissioned as a war artist and thereafter settled in Berlin. Many of his copper plates were destroyed during the war. His prints are now rare as what we have here. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine.
$1,200

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

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 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

Gleaming Sands
WILLIAM RUSSELL FLINT
British, (1880-1969)
Drypoint, circa 1930, edition unknown. 13 3/8 x 8 1/2 in. Signed in the plate, lower right. Signed and numbered "xxviii" in ink. This is a stellar impression printed with tone. The margins are full and the condition is fine apart from old hinges at the top, verso. The paper bears a partial WHATMAN watermark. Flint was born in Edinburgh and he was a remarkable draughtsman from the beginning of his career. He started as a medical illustrator and later worked as an illustrator for the London Daily News. At his peak, he excelled in watercolor, oil painting and printmaking. Gleaming Sands is representative of his best work in drypoint.
$1,000

Incoming Fog
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, probably 1930-31., edition unknown. 10 x 10 7/8 in. Signed and titled in pencil. This is a superb impression printed on her typical, fibrous wove paper. The margins are full and the condition is fine. This stellar work is illustrated on page 83 of Behold the Day, The Color Block Prints of Frances Gearhart, published by the Pasadena Museum of California Art, edited by Susan Futterman. The prints were made primarily from linoleum blocks but the artist liked to call them "block prints".
$9,000

Mount Hood
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, undated (circa 1930), edition unknown. 6 1/8 x 4 in. Signed and titled in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is very good apart from three hinges at the top edge of the sheet. Gearhart often referred to her prints as simply "block prints" and they were mostly printed from linoleum blocks as opposed to wood. Furthermore, the inks are oil-based and not watercolor. The editions are generally unknown but the prints are less common than one might think, especially the earlier work.
$5,750

The Graveyard
WILLIAM GILES
British, (1872-1939)
Woodcut with metal relief etching, 1910-20, edition possibly 50. 9 5/8 x 20 in. Signed in the block, lower left. Signed and numbered in pencil. This a very fine impression of this uncommon print. The condition is very good apart from two paper tape hinges on the top margin. Minor rippling along the top of the sheet. Full margins. Technically, Giles was amazing. He did a few pure woodcuts but he also eventually introduced zinc plate relief printing and they are difficult to tell apart. Both techniques are evident in many prints. He was inspired by Frank Morley Fletcher and William Blake. He became president of the Society of Graver Printers in Colour in the mid 1920's.
ON HOLD

Manhattan Roofs
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Drypoint, circa 1940., small edition. 11 7/8 x 9 7/8 in. Signed in pencil. This is a very fine, rich impression with full margins. The condition is very good. The artist created about forty prints in her lifetime, largely architectual and industrial in nature. Between her time in Cleveland and New York, her best work was created. The is no proper catalogue raisonné of her work.
$2,200

Old Locks at Eddyville (NY)
ALBERT HECKMAN
American, (1893-1971)
Lithograph, circa 1928, edition 25. 10 7/8 x 16 7/8 in. Signed, titled and numbered in pencil. This is a fine impression with full margins. The condition is fine apart from a couple of soft wrinkles in the upper right corner of the sheet. Heckman taught at Hunter College from 1930-1958. He spent his time between NYC and Woodstock, NY. This print is illustrated in the Clinton Adams book, American Lithographers 1900-1960, page 124.
$800

Cat at the top of a Dark Staircase
AREND HENDRIKS
Dutch, (1901-1951)
Etching and aquatint, 1930s-1940s, edition 35. 11 x 7 5/8 in. Signed and numbered in pencil; also inscribed "eigen druk." This is a superb impression with substantial margins. The condition is fine apart from minor abrasions in the outer margins which are insignificant. Hendriks was a Dutch painter and graphic artist. He trained as a teacher in Haarlem and at the Hague Drawing Institute. He taught graphic art at the Academy of Visual Arts in the Hague. He was a superb technician and excelled in intaglio printmaking.
SOLD