Hendrik Kruseman van Elten (1829 - 1904)

Landscape painter and etcher Hendrik Dirk Kruseman van Elten was born in Holland, studied art in Haarlem with Lieste, followed by additional instruction in Brussels and Amsterdam and emigrated to the United States in 1865. He was elected to the National Academy of Design in 1871, attaining Academician status in 1883; a founding member of the New York Etching Club in 1877; and a full member of the British Society of Painter-Etchers. Best known for his river landscapes, his work is held by the Rijksmuseum and The Metropolitan Museum of Art among others. In 1897 he returned to Europe and died at Paris.

On The Shepang River

Etching on laid paper, 1880; edition not stated. Image size 7-7/8” x 5” ; sheet size 12” x 8¾”. Published by Estes & Lauriat, Boston. Signed and dated below the image. A fine impression in very good condition; minor smudging and foxing in the borders.

$150

Elly Van Den Hoeven (1939 - 2004)

Printmaker, illustrator, and designer Elly Van Den Hoeven was born at Den Bosch, The Netherlands. She studied at the State Academy of Fine Arts in Amsterdam and, moving to Amsterdam in 1952, had a long free-lance career illustrating children's books, designing tapestries, and creating wood engravings for book plates, the medium for which she is most widely recognized.

Assisi City Gate

Wood engraving, 1957; edition not stated. Image size 4” x 7¼”; sheet size 7-5/8” x 10”. Signed in the block. A very good impression in overall fine condition.

$40

Enrico Vannucci (1900 - 1990)

Etcher and painter Enrico Vannuccini began his career as an illustrator for an advertising agency in Milan and subsequently moved to Rome, where he met several leading artists. While Vannuccini also produced larger format etchings and paintings, he is best remembered for his bookplate designs, which he executed on commission from many of the leading collectors and bibliophiles of the era. Vannuccini ultimately settled in Griante, Italy and lived and worked there for the rest of his life.

La Famiglia

Etching, 1952; edition not stated. Image size 8-1/8” x 6”; sheet size 10-1/8” x 8”. Titled and signed by the artist in the lower margin. Very good overall condition.

SOLD

Jozef Paul Verrees (1889 - 1942)

Wayside Shrine, Fiesole

Etching, ca. 1920; edition not stated. Image size 5” x 7¼”; sheet size 9” x 12”.

$75

Jan Pieter Veth (1864 - 1925)

Dutch Painter, poet, art critic, and university lecturer Jan Veth was born in Dordrecht, Netherlands. He received his art education at the Rijksakademie van Beeldende Kunsten in Amsterdam. After graduation, he worked with the painter Anton Mauve. He was best known as a portrait painter, most especially for his portrayal of Max Liebermann and other contemporaries including Lambertus Zijl, Frank van der Goes, and Antoon Derkinderen.

Veth was elected a member of the Royal Netherlands Academy of Arts and Sciences in 1923, and died in Amsterdam two years later.

Portrait of Josef Israels

Lithograph, 1896; edition not stated. Image size 8-7/8” x 10¼”; sheet size 10-9/16” x 14¼”. Published in “Pan,” Vol. III, no. 2. An affectionate portrait of the noted Dutch landscape artist Josef Israels (1824 - 1911). Fine.

$120

Robert Franz von Neumann (1888 - 1976)

Regionalist painter and printmaker Robert Franz von Neumann was born in Rostock, Germany. He studed at the Royal Academy in Berlin; with Franz Bunke in Weimar; and at the Crafts Museum in Berlin with Emil Doepler. He emigrated to the United States in 1926 and settled in Milwaukee, Wisconsin. He taught at the Layton School of Art in Milwaukee and the Art Institute of Chicago. In 1930, von Neumann began teaching at Milwaukee State Teachers' College (now the University of Wisconsin - Milwaukee), a post that he had held for twenty-nine years at the time of his retirement. Von Neumann was an active painter and printmaker throughout his life; his work included portraits, landscapes, and maritime subjects, all rendered with honesty and sympathy for the everyday people whom he so often portrayed. He died at Milwaukee.

Hauling The Net

Lithograph, 1944; edition of 250. Image size 14-3/4" x 1-¼" with full margins. Published by Associated American Artists, New York. Signed in pencil by the artist at the right lower margin. Very good condition with moderate toning.

$650

Plowing Along the Shore

Lithograph, ca. 1940; edition of 50. Image size 9-3/4" x 12-3/4"; sheet size 12½" x 16-3/4". Titled, numbered 18/50 and signed in pencil by the artist in the lower margin. A rich, beautifully detailed impression in fine condition.

SOLD

George Canning Wales (1868 - 1940)

George Canning Wales was born in Boston and studied architecture at the Massachusetts Institute of Technology. He operated his own architectural firm from 1893 to 1924. Wales studied etching with William Paxton, produced his first work in 1917, and mounted his first exhibit at Goodspeed's Book Shop in 1921. Wales became an adept lithographer in the early 1920s. His prints are in the permanent collections of many museums and institutions including The Boston Public Library, Library of Congress, the New York Public Library, The British Museum, and the Victoria and Albert Museum.

Outbound

Etching, 1922; edition not stated. Image size 5-3/4” x 4”; sheet size 9” x 5-5/8”. Published by The Print Connoisseur, Volume III, Number 1, January, 1923. Very good condition, moderately toned by exposure to acidic protective tissue.

$90

Lynd Kendall Ward (1905 - 1985)

Lynd Ward was an illustrator, graphic artist, and author, born in Chicago, Illinois. He attended Teachers College of Columbia University, majoring in fine arts, followed by study under Hans Alexander Mueller at the State Academy of Graphic Arts in Leipzig in 1926 and 1927. It was in Germany that Ward became acquainted with pictorial stories of Frans Masereel; upon his return to the United States, he set to work on his own wordless novel, Gods' Man, which was published in 1929. Ward's narrative in wood engravings was enthusiastically received, and was followed by five more wordless novels in the next eight years.

Ward was, in addition, a very successful book illustrator and worked for many different authors and publishers, producing work using a variety of media. His own works embodied his strong social consciousness. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). Ward remained active and prolific through he remaining years of his career. In 1974, he moved to Reston, Virginia and lived there until his death.

Now That The Gods Are Dead - A rare proof set

In 1932, Equinox Cooperative Press (1932 - 1937), founded by Lynd Ward, published its first title, an essay by Llewellyn Powys titled Now That The Gods Are Dead. The book was published in an edition of 400 hand-sewn copies and bound in striped batik. It contained four illustrations printed directly from the original wood engravings in blue/green ink accompanying the black text. The book was signed on the colophon page by both author and illustrator.

In addition, twenty sets of the four proofs were printed on tissue in black ink; each proof was signed and numbered in pencil by Lynd Ward and tipped into its own folder. Our set of four proofs is numbered 13/20; All are fine impressions; the tissue shows characteristic rippling that does not affect the sight area.

Our proof set is also accompanied by a fine un-numbered copy of Now That The Gods Are Dead that was likely intended for use in marketing the book; The original solicitation/order post card is laid in.

SOLD

Self Portrait

Wood engraving, 1946; edition not stated. Image size 8" x 10" with full margins. Titled and signed by the artist in the lower margin. Framed using archival materials. Fine.

SOLD

Untitled

Wood engraving on tissue, ca. 1927; edition of 50. Image size 4” x 5-7/8”; sheet size 6-3/4” x 10¼”. Numbered 3/50 and signed in pencil by the artist in the lower margin. Very good condition with small ink spots to right of image. A very early expressionist style work, probably executed when Ward was a student at the Leipzig Academy in 1926/27, where he studied with Hans Alexander Mueller. Framed using archival quality materials. Rare.

SOLD

Mars, Venus, And Snare

Wood engraving, 1968; edition not stated. Image size 12” x 18¼”; sheet size 19½” x 22”. Titled and signed in pencil by the artist in the lower margin. Very good condition, with mild toning in previous mat aperture.

SOLD

Plate 23 from Prelude To A Million Years

Unsigned wood engraving, ca. 1942. Image size 3¼" x 5¼" with full margins. An illustration from Ward's wordless novel, Prelude To A Million Years, published by the Equinox Cooperative Press in 1933. This was a keepsake print by the L. F. White Company, a small shop on 21st Street in New York, and was issued to its customers for the 1942 holiday season. Lewis White was active in the New York printing world, and his influence in that circle extended far beyond the confines of his establishment. For a time in the late 1940s, John De Pol was employed there; one of his early woodcuts, depicting an antique press, was the frontispiece for a reprint of a speech that Lewis White delivered to the Typophiles in New York. A chummy world, indeed. One wonders who thought that this particular print would convey the holiday spirit quite as effectively as another choice might have done.

$275

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 5"

$325

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 5"

SOLD

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 5"

SOLD

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 4"

$325

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 6"

$325

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 3" x 5"

$275

Plate from Gods' Man

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 5"

$300

Plate from Madman's Drum

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3-3/4" x 5-3/8"

$325

Plate from Madman's Drum

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3" x 5".

$300

Plate from Madman's Drum

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3" x 5"

$300

Plate from Madman's Drum

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3-3/4" x 5-3/8"

$300

Plate from Hot Countries

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Hot Countries by Alec Waugh, published in 1930 by Farrar & Rinehart, New York, measures 4" x 5½"

$325

Plate from Hot Countries

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Hot Countries by Alec Waugh, published in 1930 by Farrar & Rinehart, New York, measures 2-5/8" x 3-5/8"

$300

Plate from Waif Maid

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Waif Maid by Ward's wife, May MacNeer, published in 1930 by Macmillan, New York, measures 3-3/4" x 5½"

$325

Plate from Waif Maid

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Waif Maid by Ward's wife, May MacNeer, published in 1930 by Macmillan, New York, measures 3-3/4" x 5½"

$325

Plate from Midsummer Night

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 3-3/4" x 5½"

$350

Plate from Midsummer Night

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 4" x 5½"

SOLD

Plate from Midsummer Night

In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 2½" x 3-3/8"

SOLD

Cup of Sky

Wood engraving on Japan paper, 1985; edition not stated. Image size 11¾” x 19-7/8”; sheet size 16” x 24-3/8”. Estate signed in the lower margin. A fine, nuanced impression in fine condition.

SOLD

Proof for Plate II of Now That The Gods Are Dead

Wood engraving on tissue and mounted to a paper support, 1932. Proof outside edition of 20. Image size 3¼” x 6-1/16”, Published by Equinox Cooperative Press. This is one of four illustrations created by Lynd Ward for Llewellyn Powys’ essay Now That The Gods Are Dead, the first title published by Equinox Cooperative Press in an edition of 400 copies. Ward was founder of the press, which published sixteen titles between 1932 and 1937. The proof is signed by ward in the lower margin. A fine impression in overall very good condition, with minor rippling above and below the image proper.

$525

Asa Coolidge Warren (1819 - 1904)

City of Buffalo

Engraving on wove paper by William Wellstood (1819 - 1900) from original drawing by the the artist; edition not known. Image size 9-1/8” x 5½;” sheet size 12-7/8” x 9½.” Published by D. Appleton & Co., New York, 1892, from the series Picturesque America or, The Land We Live In. A fine impression in overall fine condition.

$45

Earl M. Washington (1962 - )

A talented engraver and block printer who, in collaboration with others, marketed a large number of proofs purportedly created by his late grandfather and by many of the leading wood engravers of the twentieth century, including Lynd Ward and Eric Gill. A lively synopsis of this tangled affair can be found in an article by Alan Abrams in the September 20, 2004 issue of Forbes Magazine, titled Catch Me If You Can.

I bought these examples of Washington’s work several years ago with no illusions about their authenticity, thanks to the seller’s candor. Period work or modern, I thought then - and think now - that they are first rate re-imaginings of a bygone era, worth a place in a broad-minded collector’s inventory. Just don’t take them too seriously.

Dance Floor

Wood engraving, ca. 2005; edition not stated. Image size 5-3/8” x 7-3/8”; sheet size 8” x 11-1/8”. Signed “Sc. E.M. Washington” and dated 1934 in pencil in the lower margin. A fine impression in fine condition.

$150

Negro Gangster

Wood engraving, ca. 2005. Image size 5½” x 8”; sheet size 9” x 12”. Inscribed “SC E.M. Washington” and dated 1929 in pencil in the lower margin. A fine impression in fine condition.

$125

B U A

Wood engraving, 2007; edition not stated. Image size 6¼” x 9¾”; sheet size 9” x 12”. Inscribed “E. M. Washington” and dated 2007 in pencil in the lower margin. Fine overall condition.

$100

Larry S. Wasiele (1956 - )

Artist and illustrator Larry Wasile attended the Westminster School and studied at The Rhode Island School of Design. He worked as an illustrator in New York City and subsequently moved to Storrs, Connecticut, where he works as a free-lance artist.

Snowy Owl

Offset Lithograph, ca. 1985; edition of 250. Overall size 20¼" x 27". Signed and numbered in pencil by the artist in the lower margin of the image. Overall fine condition.

$75

Herbert Ogden Waters (1903 - 1996)

Herbert Waters, a printmaker and wood engraver, was born in Shantou, China, where he completed his secondary education. He then came to the United States and graduated from Denison University in Granville, Ohio, followed by studies at the Pennsylvania Museum School of Industrial Art in Philadephia, the Art Institute of Chicago, and Harvard University. He taught art in public school under the auspices of the Works Progress Administration's Federal Arts Project, and later at the University of New Hampshire at Durham, and at the Holderness School in Plymouth, New Hampshire. He died at Campton, New Hampshire.

Self Portrait

Wood engraving, 1985. Printed by Hampshire Typothetae on Mohawk Superfine High Finish Cover, numbered/200, for the portfolio Face To Face, a gathering of self-portraits by leading contemporary wood engravers. Signed by Waters in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$75

Carol Wax (1953 - )

Print maker, art historian and teacher Carol Wax was born in New York City on June 17, 1953. She earned a Bachelor of Music Degree in 1975 from the Manhattan School of Music and worked as a professional flautist until 1980. Summer printmaking courses in the mid-1970s led to intensive studies between 1976 and 1982 at the Pratt Graphics Center in New York City, where she was introduced to mezzotint engraving and extensively studied the history of the mezzotint, originally devised to reproduce paintings and retain their tonal subtleties, coming to embrace it personally as a technique with great expressive potential .

In the artist's own words “My imagery is inspired by commonplace objects that I perceive as sentient or mystical. I'm especially fascinated by vintage appliances or devices with organic forms that I exaggerate to evoke fantastic creatures or monuments. Or, in the same way seventeenth century Dutch still-lifes allegorically symbolized the impermanence of life and beauty, I may render outdated machinery as icons representing the transient nature of technology and consumer trends, contemplating how perceptions of objects evolve from state-of-the-art, to artifact, to art.” In 1990 Harry N. Abrams, Inc. of New York published her The Mezzotint: History and Technique. Wax's prints are held by numerous institutions including The Metropolitan Museum of Art; The Brooklyn Museum of Art; The Philadelphia Museum of Art; The New York Public Library; and the Smithsonian Institution.

Singer 1

Mezzotint, 1984; edition of 75. Image size 8½” x 12”' sheet size 15” x 19-3/4”. Titled, numbered 21/75, and signed in pencil by the artist in the lower margin. A fine impression in fine overall condition.

$1,200

Albert James Webb (1891 - 1975)

Albert James Webb (1891 – 1975)

Painter, etcher, and lithographer Albert Webb was born and died in New York City. He studied at the Art Students’ League and in the early years of his career Webb was principally a painter. With the advent of the Great Depression, he found employment as a printmaker in the New York branch of the W.P.A. artists’ project, and it was during this period, ca. 1935 – 1940 that Webb produced etchings and lithographs, depicting everyday life in the great city.

Three Old Fashions

Etching, ca. 1936; edition not stated. Image size 9-7/8” x 8”; sheet size 131/8” x 10-3/8”. Titled and signed in pencil by the artist in the lower margin. Overall fine condition.

$575

Market Argument

Lithograph, ca. 1938; edition not stated. Image size 12¼” x 14-7/8”; sheet size 16” x 21¾”. Titled and signed in pencil by the artist in the lower margin; A rich impression with the New York City WPA Art Project stamp in lower left margin. Tape remnants in corners and modest discoloration beyond the sight area.

$950

Market Argument

Lithograph, ca. 1938; edition not stated. Image size 12¼” x 14-7/8”; sheet size 16” x 23”. Titled and signed in pencil by the artist in the lower margin; A very good impression without the WPA stamp. Some wrinkling, losses, and discoloration in the sheet margins; the sight area is clean and bright.

$775

Reilly's Place

Lithograph, ca. 1935; edition not stated. Image size 16½” x 10-5/8”; sheet size 18¼” x 13-5/8”. Titled and signed in pencil in the lower margin by the artist. A fine impression in overall very good condition, with mild toning in the sight area.

$425

Max Weber (1881 - 1961)

Modernist painter and printmaker Max Weber was born in Bialystok, Russia. His family emigrated to the United States, settling in Brooklyn, New York. Weber studied at the Pratt Institute under Arthur Wesley Dow. He spent the next four years teaching in Virginia and Minnesota before moving to Paris. There he studied under Jean-Paul Laurens at the Académie Julian, at the Académie Colarossi, and at Académie de la Grande Chaumière. Weber's work was strongly influenced by Picasso and Braque.

Returning to New York Weber was taken under wing by Alfred Stieglitz, founder of Gallery 291, and it is at this time that his artistic reputation flourished. Weber eventually broke with Stieglitz and supported himself with his art and by teaching. In 1930, his work was selected for a one-man show at the Metropolitan Museum of Art. His mature style, the product of years of experimentation, acquired an Expressionist character and reflected the artist's social consciousness. He remained active until his death at Great Neck, New York.

Figure Composition #38 (Bathers)

Lithograph, 1931; edition not stated. Image size 12” x 16½”; sheet size 15½” x 22½”. Signed in pencil by Weber lower right corner. Fine.

$1,200

Reynold Weidenaar (1915 - 1985)

Reynold Weidenaar was a lifelong resident of Grand Rapids, Michigan. He studied at the Kendall School of Design and at the Kansas City Art Institute with Jackson Lee Nesbitt. He received a Guggenheim Fellowship in 1944 and the Louis Comfort Tiffany scholarship in 1949. Throughout his career, he produced over 200 intaglio prints, but is best known for both his black-and-white and color mezzotints.

Reverie

Mezzotint, 1941; edition of 250. Image size 10¾” x 12-7/8”; sheet size 13½” x 15-7/8”. Published by Associated American Artists, New York. Titled and signed by the artist in pencil in the lower margin. Fine.

$1,400

Bridge Builders, Makinac Straits

Mezzotint, 1956; edition of 243; Image size 6-7/8” x 12-3/4”; sheet size 12-3/4” x 20-3/4”. Published by the Society Of American Etchers, New York. A superb impression.

SOLD

Last Run

Etching and aquatint, 1950; edition of 250. Image size 10-7/8" x 7-3/8"; sheet size 12-7/8" x 9-7/8". Published by Associated American Artists, New York. Titled and signed in pencil by the artist in the lower margin. Fine

SOLD

The Barn's On Fire!

Etching, ca. 1940; edition not stated. Image size 2-11/16” x 2¼"; sheet size 5” x 4-5/8” Titled and signed in pencil by the artist in the lower margin. A very good impression of this early work.

SOLD

Stow Wengenroth (1906 - 1978)

Artist and lithographer Stow Wengenroth was born in Brooklyn, New York. He studied at the Art Students League of New York with John Fabian Carlson and George Bridgman and subsequently at the Grand Central School of Art under Wayman Adams. In 1938, he was elected an Associate of the National Academy of Design and a full Academician in 1941, and a member of the National Institute of Arts and Letters in 1942. Wengenroth was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers. The author of several influential books on lithography, his work is found in virtually all major American collections including the Metropolitan Museum of Art and Whitney Museum of American Art in New York, and the Library of Congress.

Wengenroth's work, almost exclusively in black and white, used light and shadow to convey nuance and detail in his depictions of both urban and pastoral New England settings. He died at Rockport, Massachusetts.

Roof Garden, New York

Lithograph, 1933; edition of 25. Image size 5-3/8” x 7½”; sheet size 8” x 11½”. Signed by Wengenroth in pencil in the lower margin. A fine impression displaying masterful use of light and shadow, in fine overall condition. This very scarce print has appeared at auction only twice in the past quarter century. Stuckey 34.

$4,900

City Street (New York, New York)

Lithograph, 1933; edition of 25. Image size 9-5/8" x 12½"; sheet size 15¾" x 21½". An early and scarce lithograph showing the view from Wengenroth's apartment at 139 MacDougal Street in Brooklyn. A rich, nuanced impression by the great master printer, George Miller in overall fine condition. The sheet is uniformly and very faintly toned overall, and there is a small spot at the very right-hand edge of the sheet, otherwise fine. Stuckey 36.

$4,200

Quiet Pond (Monhegan, Maine)

Lithograph, 1946; edition of 85. Image size 15-7/16" x 10¼" with full margins. Edition statement and artist's signature in pencil in the lower margin. A fine impression in fine condition. Archival mat and mount in a custom wooden frame ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio. Stuckey 154

$1,250

Sunlit Dunes

Lithograph, 1951, edition of 60. Image size17¾” x 11¼”; sheet size 19-7/8” x 14-1/8”. A fine impression of the shoreline at Ogunquit, Maine executed in December, 1951, in very good overall condition, with slight adhesive darkening along the upper edge. Stuckey 200.

SOLD

Forest Ferns (Greenport, New York)

Lithograph, 1969; edition of 60. Image size 15-7/16" x 9" with full margins. Edition and artist's signature in pencil in the lower margin. A fine impression of this beautifully detailed scene in fine condition. Archival mount and custom frame, ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio. Stuckey 323.

$875

Delaware Church, New Castle

Lithograph, 1975; edition of 60. Image size 13-7/8” x 9-1/8”; sheet size 17½” x 13-1/8”. Signed in pencil by the artist in the lower margin. Fine overall condition. Stuckey 358.

$475

Late Afternoon, Eastport, Maine

Lithograph, 1931; edition of 50. Image size 9” x 11¾”; sheet size 11-3/8” x 15-7/8”. Signed by the artist in the lower margin. Fine overall. Stuckey 3.

$525.00

Low Tide, Eastport, Maine

Lithograph, 1931; edition of 51. Image size 12-5/8” x 9”; sheet size 16” x 11-5/8”. Signed in pencil by Wengenroth in the lower margin. Fine. Stuckey 6

SOLD

Early Summer, Bayport, New York

Lithograph, 1938; edition size 112. Image size 12¾” x 9-1/8”; sheet size 15¾” x 11¼. Signed in pencil by the artist in the lower margin. Fine overall condition. Stuckey 74.

SOLD

James Abbott McNeill Whistler (1834 - 1903)

Born in Lowell, Massachusetts, painter and etcher James A. M. Whistler first studied art in Russia, where his father had temporarily moved the family. He entered and was soon dismissed from West Point, then became a draftsman working on topographical maps at the Coast and Geodetic Survey. He moved to Paris for formal study with Charles-Gabriel Gleyre and met Gustave Courbet, who, together with Whistler's personal fascination with Japanese prints, proved a dominant influence upon Whistler's evolving style.

His first series of etchings appeared in 1853 and were widely praised. In 1859, having moved to London, he began to publish his famous series of etchings of everyday life along the Thames. In time, his oriental bias began to inform both his etchings and paintings. Whistler's amorphous and fanciful landscape paintings of the mid-1870s, which he described as “nocturnes”, provoked indignant reviews by conservative critics, provoking a successful but costly lawsuit for slander against John Ruskin, which bankrupted Whistler. He traveled to Venice and there produced another famous series of etchings, which helped to restore his fortunes.

Returning to London in 1895, his popularity with the British people restored, Whistler's work met with eager and enthusiastic demand. Failing health led to a decline in his productivity, and he died there in 1903.

Drouet

A richly inked etching and drypoint in black on cream laid paper, 1859; second of two states. Image size 6” x 8-7/8” with full margins. Signed and titled in the plate. Drouet was a sculptor, collector, and lifelong friend. Kenedy 55; Glasgow 35.

SOLD

Billingsgate

Etching in dark brown ink on cream laid Japan paper, 1859; edition not stated. image size 8-7/8” x 6”; sheet size 10-7/8” x 8”. Signed and dated in the plate. Ninth state of nine, prior to cancellation. A superb, well-inked impression with all the fine lines distinct. Kennedy 47; Glasgow 51.

$3,700

Leigh Wiener (1929 - 1993)

The son of a newspaper reporter, Leigh Wiener grew up in New York City. A close family friend, news photographer Arthur Felig – better known as Weege – was influential in his education by teaching the young man how to capture the essence of a scene. Wiener proved his innate talent by making his first commercial sale to Collier’s magazine at the age of 14.

He moved to Los Angeles in 1946, finding work as a library clerk for the Los Angeles Times. He ultimately became a staff photographer and enjoyed his first great success with a symbolic 1949 photograph – the empty swing of a young girl who had fallen into a well and died – that was used by newspapers across the country.

Wiener was also a successful freelance photographer for virtually all of the leading illustrated periodicals of the day, including Life, Fortune, and Sports Illustrated. With George Fenneman, he co-hosted "Talk About Pictures," an award-winning teleision show about photography that included interviews with many leading masters. He extensively documented the American industrial landscape and photographed every president from Truman to Reagan. His work is included in several photography books, and is represented in the collections of several museums, including The National Portrait Gallery in Washington, D.C. He died in Los Angeles.

Mahalia Jackson

Negative created at Columbia Recording Studios, June 1961. Silver gelatin print on Kodak Ektalure paper, 1985; print size 11" x 14". Edition of 100 plus 10 proofs. This print numbered 4/100, the last actually issued; a total of 17 prints at this size were made and signed prior to Leigh Wiener's death. A total of 24 prints were produced at a size of 16" x 20," of which 10 were issued. Photographer's stamp and signature on reverse. A rich portrait of the celebrated singer in fine condition. Archival mount and custom frame with an overall size of 19-3/8" x 16¼". Ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio.

$5200

Lawrence Nelson Wilbur (1897 - 1988)

Painter and printmaker Lawrence Nelson Wilbur was born in Whitman, Massachusetts. He moved to Boston where he began his training as a photoengraver. He moved to Los Angeles in 1921, where he worked in the engraving department of the Los Angeles Times. Relocating to New York in 1925, Wilbur was employed as a finisher by several of New York’s finest engraving shops and by several of the leading magazines of the era.

Wilbur enrolled at the Grand Central Art School, where he studied under N. C. Wyeth and Harvey Dunn.a number of Lawrence Nelson Wilbur traveled to Boston and Los Angeles before settling in New York. In 1925, he enrolled in the Grand Central Art School where he studied under Harvey Dunn, N.C. Wyeth, and Pruett Carter. As a photo-engraving finisher, he worked for the finest engraving shops in New York, and a number of major magazine publishers headquartered there. The combination of his graphic arts skills and his serious pursuit of training in the fine arts formed the basis for his career as a talented draftsman, printmaker, and painter.

His works have been collected by the Metropolitan Museum of Art in New York; the National Gallery of Art and the Library of Congress in Washington, D.C.; the Philadelphia Museum of Art; and many other institutions. Wilbur received numerous awards for his art, including the Audubon Artist’s medal of honor for a self-portrait in oil in 1957. He was a member of the Salmagundi Club of New York, the Painters and Sculptors Society of New Jersey, and Society of America Graphic Artists. He died in New York City.

Along the Docks - New York

Etching and aquatint, 1985; edition of 50. Image size 13¾” x 10”; sheet size 18-5/8” x 15”. Numbered 6/50, titled, and signed in pencil by Wilbur. Annotated “fourth and final strate - from a 1936 watercolor by the artist.” and the instruction “OK Follow this proof”, signed by Wilbur. A beautifully inked impression in near-fine condition.

$550

View of Gloucester Harbor

Etching and aquatint, 1985; edition of 55. Image size 9-15/16” x 8”; sheet size 12½” x 10-5/8”. Signed in the plate and signed “Lawrence Nelson Wilbur SAE” in pencil in the lower margin. Annotated “National Academy print exhibition” in pencil at the bottom of the sheet. A fine, richly inked impression. Minor soiling in the margin and adhesive remnants at the upper corners of the sheet.

$425

Ship Building, Gloucester

Etching,m 1943; edition of 30. Image size 11” x 7-5/8”; sheet size 12-13/16” x 9-5/8”. Signed and dated in the plate and signed in pencil by the artist in the lower margin. A rich impression with minor soiling in the margins, in overall near fine condition.

$425

Ebb Tide, Gloucester, Massachusetts

Etching on Fabriano Rosapina mould-made paper, 1942; edition not stated. Image size 16-5/8” x 9”; sheet size 19¼” x 12”. Signed and dated in the plate, and signed in pencil by the artist in the lower margin. A fine impression in near-fine overall condition. Moderate soiling in the upper margin and three diagonal pressure printing creases in the upper portion of the plate.

$575

Gloucester Harbor

Etching on laid paper, 1942; edition not stated. Image size 3” x 2-7/16”; sheet size 4-3/8” x 4”. Signed in pencil by the artist in the lower margin. An excellent impression with moderate toning within the perimeter of the mat opening.

SOLD

Along The Docks - New York

Etching and aquatint, 1985; edition of 50. Image size 13¾” x 10”; sheet size 18-5/8” x 15”. Numbered 6/50, titled, and signed in pencil by Wilbur. Annotated “fourth and final strate - from a 1936 watercolor by the artist.” and the instruction “OK Follow this proof”, signed by Wilbur. A beautifully inked impression in near-fine condition.

$550

The Spire - New York

Etching, 1985; edition of 100. Image size 11-1/8” x 14-7/8”; sheet size 18-3/16” x 22-5/8”. Titled, numbered, and signed in pencil by the artist in the lower margin. Fine.

$725

Under the Bridge

Etching, 1988; edition of 27. Image size 12¼” x 9-9/16”; sheet size 16¼” x 14-5/8”. Titled, numbered 3/27, estate signed “Lawrence Nelson Wilbur (SW)”, and dated 1988 in pencil. Overall fine condition.

$475

Under the Bridge

Etching, 1988; edition of 27. Image size 12¼” x 9-9/16”; sheet size 22-1/8” x 19¼”. Titled, numbered 22/27. Estate signed “Lawrence Nelson Wilbur (SW)”, and dated 1988 in pencil. Overall fine condition.

$700

Edward Adrian Wilson (1886 - 1970)

Illustrator, lithographer, painter and woodblock artist Edward A. Wilson was born in Glasgow, Scotland. He moved with his family to Rotterdam, and then to Chicago, where he studied at the Art Institute of Chicago, and later with Howard Pyle. He settled in New York City and summered on Cape Cod enjoying a long and productive career. He illustrated more than seventy books, and is especially well known for his many commissions from the Limited Editions Club. In addition, Wilson also created numerous lithographs and woodcuts. He died at Dobbs Ferry, New York.

Cutty Sark

Woodcut in four colors, 1926; edition not stated. Image size 6½” x 5”; sheet size 9” x 5-5/8”. Published in The Print Connoisseur, Volume VI, Number 4, October, 1926. Fine condition.

$125

Hog Back Meeting House

Lithograph, 1949; edition of 250. Image size 13-1/4” x 9-3/4” with full margins. Published by Associated American Artists, New York. A fine impression, lightly sunned in mat aperture.

SOLD

John William Joseph Winkler (1890 - 1979)

Etcher John Winkler was born in Vienna and emigrated to the United States in 1907 where he first worked as an itinerant laborer. In 1911 he enrolled in the San Francisco Art Institute, where he studied etching and where he published his first work consisting of San Francisco scenes. He worked in France and London in the early 1920s, producing a series of etchings depicting pastoral landscapes, cathedrals, and daily life in Normandy and, following the footsteps of Whistler, a series of etchings depicting life along the Thames. In 1929, Winkler returned to California and enlarged the scope of his European work; during his lifetime, he produced more than six hundred plates. His work, produced in small editions, is held by numerous libraries and museums in the U.S. and Europe. Winkler died at El Cerrito, California.

La Marchande Des Légumes

Etching, 1924; edition not stated. Image size 3-3/4" x 4-3/4"; sheet size 5-3/4" x 9". Published in The Print Connoisseur, Volume IV, Number 3, July, 1924. Fine.

$125

Oriental Quarters

Etching, 1921; edition of 30. Image size 5-7/16” x 4”; sheet size 8-3/8” x 6½”. Signed in the plate. Fine overall condition; tape remnants in upper corners.

$475

La Maison des Saintes, Rouen

Etching, 1926; edition not stated. Image size 7¼" x 12¼"; sheet size 11¾" x 16¼". Signed in pencil by the artist in the lower margin. Very good overall condition.

$225

Two Figures on Telegraph Hill

Etching, 1919; edition not stated. Image size 5¾" x 5-11/16"; sheet size 8½" x 9½". Signed in pencil by the artist in the lower margin. Fine.

$375

Johannes Wohlfart (1900 - 1975)

Printmaker and teacher Johannes Wohlfart was born in Vienna and studied at the Vienna Academy, where he later taught. He is primarily identified as a minor figure in the German Expressionist school. His work is held by numerous Austrian and German institutions. Wohlfart died at Vienna.

Blindenzug (Procession of the Blind)

Woodcut, 1927; edition not stated. Image size 8½" x 11"; sheet size 11¼” x 15¾”. Published by Vervielfaltigende Kunst, Vienna. Titled and signed in pencil by the artist in the lower margin. A strong, richly inked impression in overall fine condition.

$325

William Wolfson (1894 - 1966)

William Wolfson, a painter, printmaker and commercial illustrator, was born in Pittsburgh, Pennsylvania. He studied at Carnegie Institute in Pittsburgh and at both the National Academy of Design and the Art Students League (under Robert Henri) in New York City, and with Arthur Watson Sparks, George Willoughby Manyard, and Frank Vincent DuMond.. His work is associated with the Ashcan School of social realism. Wolfson taught at the Carnegie Institute of Technology (now Carnegie Mellon University), and later at the Otis Art Institute in Los Angeles, California. Wolfson produced a significant body of artwork for Reader's Digest during the 1940s, and his paintings and lithographs are held by numerous public and private institutions. Willam Wolfson died at Los Angeles, California.

Six A. M.

Woodcut, 1930; edition not stated. Image size 5” x 7”; sheet size7-3/4” x 10”. Signed in the block; titled and signed in pencil b the artist in the lower margin. Fine.

SOLD

The Wreckers

Woodcut, 1932; edition not stated. Image size 6” x 5”; sheet size 12” x 9”. Titled and signed by the artist in the lower margin. Fine condition.

$225

Franklin T. Wood (1877 - 1945)

Born in Hyde Park, Massachusetts (later incorporated into the City of Boston), Franklin T. Wood initially studied at the Cowles Art School in Boston before transferring to the Art Students League in New York City. He traveled to Europe for further study, and launched his career as a commercial illustrator, producing work for a number of periodicals including The Youth's Companion and Frank Leslie's Illustrated Newspaper. In addition, Wood published a series of etchings that received high praise from his peers. In 1915, he moved to Rutland, Massachusetts where he remained for the rest of his life. That same year, he exhibited a group of etchings at he Panama-Pacific International Exposition in San Francisco, followed by shows at the Bibliotheque Nationale, Paris and the Victoria and Albert Museum, London.

Old Man Of Taormina

Etching, 1925; edition not stated. Image size 3½” x 4½”; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume V, Number 3, July, 1925. A very warm impression; diagonal crease at bottom of image extending about 1/4" into the plate area.

SOLD

Samuel Johnson Woolf (1880 - 1948)

Born in New York City into a family long active in the arts, Woolf was a portrait artist and printmaker. He studied at the Art Students League and at the National Academy of Design under Kenyon Cox and George deForest Brush. He is best known for his portraits, some commissioned by Collier's magazine, and others paired with interviews that appeared in The New York Times in the 1920s. Wolf served as an artist-correspondent during both World Wars I and II. His work was widely exhibited and resides in the permanent collections of numerous public and private institutions. He died at New York City.

Franklin Delano Roosevelt

Lithograph, 1944; edition of 250. Image size 7” x 12½”; sheet size 12” x 16”. Published by Associated American Artists, New York. Very good condition, moderate toning.

$225

Dwight D. Eisenhower

Lithograph, ca. 1945; edition of 250. Image size 10¼” x 12”; sheet size 12” x 16”. Published by Associated American Artists, New York. Very good condition.

$175

Stanley Wingate Woodward (1890 - 1970)

Stanley Wingate Woodward (1890 – 1970)

Painter, etcher, and illustrator Stanley Woodward was born in Malden, Massachusetts and studied at the School of the Museum of Fine Arts in Boston. He was primarily an illustrator for magazines such as Collier's, taught at several schools including the Ringling Art School in Sarasota, Florida, and wrote significant works on marine painting. He lived for many years in Rockport, Massachusetts. The distinctive natural beauty of the New England coast inspired his passion for nautical subjects, which comprise the majority of his work. He exhibited at major galleries including the National Academy of Design and the Corcoran Gallery of Art, and died at Rockport.

The Old Homestead

Etching, ca. 1935; edition not stated. Image size 7-1/8” x 9¼”; sheet size 10½” x 12¾”. Initialed in the plate and signed in pencil by the artist in the lower margin. A fine impression in fine overall condition.

$225

The Old Spite House (Thomas Wood house, Marblehead, MA)

Etching, ca. 1940; edition not stated. Image size 5-7/8” x 8-13/16”; sheet size 9” x 11-3/8”. Signed in pencil by the artist in the lower right-hand margin. It is said that Thomas Wood, angered by what he took to be the unequal division of his father's estate in favor of his older brothers, built this house, which still stands, near the foot of Orne Street just tall and wide enough to block their views of Marblehead harbor. A fine impression in near-fine overall condition. The original pencil drawing of The Old Spite House made by Stanley Woodward is in the collection of the Museum of Fine Arts, Boston.

$250

John Buckland Wright (1897 - 1954)

Noted wood engraver and artist John Buckland Wright was born in Dunedin, New Zealand and moved to England with his widowed mother in 1908. He initially studied architecture but decided instead to pursue a career in art. He lived in Brussels during the 1920s and immersed himself in the flourishing arts community there, moving to Paris in 1929 he joined Atelier 17 under Stanley William Hayter. Returning to London in 1939 Buckland Wright taught at Camberwell and, after 1952, at the Slade School.

Buckland Wright worked primarily as a printmaker, illustrating numerous private press books. His naturally elegant style, coupled with his abiding interst in the female form, created a distinctive and sensuous style for which he was justly famous during his life and ever after. His work is represented in the collections of the Museum Meermanno in The Hague, Bibliothèque nationale de France, the Victoria and Albert Museum, and the Tate Gallery.

The Forest Pool

Wood engraving, 1939; edition of 200. Image size 7-3/4” x 6-3/8” sheet size 11” x 8-3/4”. Numbered and signed by the artist in pencil in the lower margin. Published by The Woodcut Society, Kansas City, Missouri. A beautifully printed, sensuous image in fine condition.

SOLD

Paul Wunderlich (1927 - 2010)

German painter and printmaker Paul Wunderlich was born in Eberswalde and studied at the Art School at Eutin Castle in Schleswig-Holstein, and studied graphic art at the Hochschule fur Bildende Kunste in Hamburg, extending his training by another semester to work under Willem Gremm. In 1951 he was offered a teaching post at the school, which he held until 1961. During this period he studied with both Emil Nolde and Oskar Kokoschka. In 1963 he became Professor for the Graphic Arts and Painting. His realist approach of his early prints gave way to Fantastic Realism in a series of works whose frank eroticism provoked strong controversy at the time. Wunderlich has exhibited his paintings and prints worldwide. He was the recipient of numerous awards. His work is held in many private and institutional collections. He died in Provence.

Löwenmaul (Lion's mouth)

Color lithograph, 1969; edition of 100. Image size 15" x 18½ with full margins. Published by Rembrandt Verlag, Berlin. Fine.

$675

William Lionel Wyllie (1851 - 1931)

Painter and etcher William Lionel Wyllie Wyllie was born in London. His father and Lionel Smythe, an older half-brother were accomplished artists and encouraged William in his pursuit of artistic training, beginning at the Heatherly School of Fine Art, followed in 1866 at the Royal Academy, where he studied under Landseer, Millais, and Leighton. In 1869, the eighteen-year-old Wyllie won the Turner Gold Medal for his painting Dawn after a Storm.

Throughout his career as an illustrator and freelance artist, Wyllie exhibited his work at numerous venues, and became a member leading associations including the Society of British Artists, the Royal Institute of Painters and the New English Art Club. Wyllie became an associate Member of the Royal Academy, becoming a full member in 1907. He was also a member of the Royal Society of Painter-Etchers and Engravers.

Wyllie was the most distinguished marine artist of his day. His strong interest in maritime subjects led to a close association with the Royal Navy. In fact, Wyllie was buried with full naval honors in 1931.

The Clyde at Govan

Etching on laid paper, 1913; edition not stated. Image size 19-7/16” x 7-15/16”; sheet size 23-1/4” x 14-3/4”. Published by W. B. Howell & Co., London. Signed by Wyllie in pencil in the lower margin. A beautifully inked impression in fine condition.

SOLD

William Anthony Wynne (1922 - 2021)

Born in Scranton, Pennsylvania, William Anthony Wynne was an American author, freelance photographer, photojournalist at the Cleveland Plain Dealer, and research photographer for NASA. He died at Westlake, Ohio.

Judy Garland

Silver gelatin print, 1967. Image size 13½” x 10¾” on a 14” x 11” sheet. Inscribed on front by Garland “To Bill Wynne / Thank you / Love / Judy”. Good overall condition. From the William Wynne estate.

$250

Irma the Body

Photographic print mounted to hardboard, 1966. Overall size 30” x 40”. Signed by Wynne on front and titled and dated on the reverse. From Burlesque Series 2. From the William Wynne estate. Very good overall.

$750

Henry Ziegler (1899 - 1968)

Painter, illustrator, and etcher Henry Ziegler was born in Sherman, Texas. He studied at the Art Students League in New York, where he studied etching with Joseph Pennell and painting with William R. Leigh. He is best known for his western etchings, illustrations, and paintings. His commissions included a series of forty-nine etchings for the 1927 book Cowboy Stuff, published in a first edition of 12 copies and a trade edition of 500 copies in 1928. His etchings were exhibited at the art competition of the 1936 Summer Olympics in Berlin. Ziegler’s western etchings and monoprints were included in The Cowboy in American Prints, published in 1985 by Ohio University Press. His work is held in the collections of The Fine Arts Museums of San Francisco, the Great Plains Art Museum, Smithsonian Institution, National Portrait Gallery, and Georgetown University. Henry Ziegler died in New York City.

Portrait of Joseph Pennell

Drypoint and aquatint, ca. 1925; edition not stated. Image size 4-7/8” x 6-7/8”; sheet size 7½” x 10”. Signed in pencil by both Pennell and Ziegler in the lower margin and inscribed “To Mabel Fairfax Smith from H. J. Z. aboard 20th Century (Limited) from Chicago to NYC.” Mabel Fairfax Smith Karl was a noted printmaker. Overall good condition, with rippling induced by the depth of the plate impression and some minor staining in the lower extremity of the sheet, but an interesting and amusing triple association piece.

$275

Jerzy Zielezinski (1914 - 1982)

Jerzy Zielezinski, painter and artist, was born in Poland. He was arrested as a political prisoner and sent to the Warsaw Ghetto by the German occupation authorities and was ultimately transported to the concentration camp at Dachau where he remained until the camp was liberated. In 1946, he produced two portfolios of drawings based on sketches depicting his experiences both at Warsaw and Dachau. The first, K. Z. Album (Prisoner Album), presents his visual account of the Warsaw Ghetto, while the second, Twenty-four Drawings from the Concentration Camps in Germany documents his observations at this notorious camp. Zielezinski made his way to the United States, where he changed his name to George Ziel, and enjoyed a highly successful career. He worked principally as a cover artist whose vivid and highly stylized paintings adorned the covers of many of the pulp fiction paperbacks published in the 1940s and 1950s. George Ziel died in Connecticut.

Transport

Rotogravure, 1946; edition of 1000. Image size 28.5 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The New Arrival

Rotogravure, 1946; edition of 1000. Image size 19.6 x 25.8 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Before The Bath

Rotogravure, 1946; edition of 1000. Image size 28.4 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

I Am Hungry

Rotogravure, 1946; edition of 1000. Image size 25.9 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Night Shift

Rotogravure, 1946; edition of 1000. Image size 26 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

When Will It Be My Turn?

Rotogravure, 1946; edition of 1000. Image size 19.8 x 26 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Foreman

Rotogravure, 1946; edition of 1000. Image size 24.7 x 19.7 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

SOLD

Punishment

Rotogravure, 1946; edition of 1000. Image size 19.7 x 25.6 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Suicide

Rotogravure, 1946; edition of 1000. Image size 19.7 x 28.6 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

“If Only,,,”

Rotogravure, 1946; edition of 1000. Image size 19.8 x 26.8 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

“Work shall make you free”

Rotogravure, 1946; edition of 1000. Image size 27.8 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Garroted

Rotogravure, 1946; edition of 1000. Image size 28.5 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Delirium

Rotogravure, 1946; edition of 1000. Image size 19.7 x 28.8 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Shadows On The Square

Rotogravure, 1946; edition of 1000. Image size 26.2 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The Capo

Rotogravure, 1946; edition of 1000. Image size 19.7 x 26.5 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

I Am Cold

Rotogravure, 1946; edition of 1000. Image size 28.2 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The Womens' Roll Call

Rotogravure, 1946; edition of 1000. Image size 19.7 x 28.5 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The Hospital

Rotogravure, 1946; edition of 1000. Image size 26.5 x 19.7 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Small Criminals

Rotogravure, 1946; edition of 1000. Image size 19.7 x 26.6 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The Prominents

Rotogravure, 1946; edition of 1000. Image size 19.7 x 26.6 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

The Shot

Rotogravure, 1946; edition of 1000. Image size 19.8 x 28.3 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

To The Wire!

Rotogravure, 1946; edition of 1000. Image size 19.8 x 25.5 cm; sheet size 30 x 40 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$150

Evacuation

Rotogravure, 1946; edition of 1000. Image size 27.7 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Strange Incident

Rotogravure, 1946; edition of 1000. Image size 25 x 19.8 cm; sheet size 40 x 30 cm; printed and published by F. Bruckmann, KG, Munich. From the portfolio (Number 763) entitled 24 Drawings From The Concentration Camps In Germany. A searing depiction of all aspects of camp life with an impact not unlike that of Goya a century earlier. Good condition

$50

Anders Zorn (1860 - 1920)

Anders Zorn was born in Mora, Sweden, and pursued his art studies at the Royal Academy of Fine Arts in Stockholm. Until 1887, Zorn worked exclusively with watercolors, and began to gain recognition for his masterful and sensitive paintings. Demand for his portraits increased, but in order to improve his fortunes, Zorn left Sweden for four years and traveled to England and Spain, where his international reputation as a portraitist brought him greater artistic success and financial security.

He married in 1885, and for the next twelve years lived first in London and then in Paris. Zorn began painting in oils during this period, and received even greater acclaim for his mastery of this medium. During this period, Zorn began to produce etchings based upon his study of Rembrandt's work; he ultimately produced nearly three hundred etchings, which are highly prized for their masterful use of light and shadow. In 1889, Zorn was awarded the Legion of Honor during the Paris World Exhibition of 1889. Anders and Emma Zorn returned to Mora in 1896. Much of his work subsequent to their homecoming features the land and people of his surroundings. His health began to fail and he died in 1920.

Madonna

Etching, 1900. Third state of four (Delteil 150 / Asplund 151 / Zorn Gallery 151). A rich, warm impression of a beautiful image in fine condition. Framed in 2013 using archival materials.

$2,300

Edö

Etching on cream laid paper, 1907. Signed lower right corner. A fine, warm impression. Zorn Gallery 214

$2,400.00

Betty Nansen

Etching, 1905 on Van Gelder; fourth of four states (Hjert 128, Asplund 190, Zorn Gallery 190). Image size 6-7/8" x 9-3/4"; sheet size 11¼" x 15". Signed and dated in the plate and signed in pencil by Zorn in the lower margin. A rich, nuanced impression in marvelous overall condition. Betty Nansen (1873 - 1943) was a celebrated Danish actress and director; one of Copenhagen's principal theaters bears her name. Matted and framed using archival quality materials.

$3,800

The Letter

Etching on cream laid paper, 1913; edition not stated. Image size 8½” x 7”; sheet size 12” x 9-3/4”. Second state of 2. A finely nuanced impression signed by Zorn in pencil in the lower margin. Asplund 254; Hjert/Hjert 160 / Zorn Gallery 254.

$2,400

En Dalkarl (Lavards Anders)

Eetching, 1919; edition of 50. Image size 4-3/8" x 6-1/8"; sheet size 12" x 15-7/8". Signed in pencil by Zorn in the lower margin. A beautifully inked impression with all detail. Fine, with small adhesive remnants along the upper edge of the sheet. Asplund 283; Hjert 168; Zorn Gallery 283.

$1,400

The Three Graces

Etching on cream laid paper, 1910; edition of 50, second state. Image size 4-5/8” x 6-3/16”; sheet size 8-1/8” x 12-7/8”. Signed in pencil by the artist beneath the lower right-hand corner of the image. At viewing distance, a nearly photographic effect is created by Zorn’s spare and suggestive linework. Fine overall condition, with adhesive remnants from prior mountings at the perimeter of the sheet and a soft handling crease to the left of the image.

$ 3,400