Sigmund Abeles (1934 - )

Born in Brooklyn, New York, Sigmund Abeles is an American artist and art educator. Abeles taught art for 27 years at various institutions including Swain School of Design, Wellesley College, Boston University, the National Academy, and the Art Students League of New York. He is currently Professor Emeritus at the University of New Hampshire, and is the recipient of numerous grants and awards for printmaking, drawing, painting, and sculpture. His work can be found in many public institutions including the Museum of Fine Arts, Boston, Art Institute of Chicago, Metropolitan Museum of Art, Philadelphia Museum of Art, and the Whitney Museum of American Art.

Study for Vietnam Summer / Napalm

Color etching on wove paper, 1967. Image size 15-7/8” x 23¾;” sheet size 22” x 30”. Signed and titled “Artist’s Proof” in pencil on the mat. Fine overall impression; slightly darkened and creased at the edges of the sheet well away from the sight area.

$1850

Study for Vietnam Summer

Color etching on heavy wove paper, 1967; edition not stated.. Image size 15-7/8” x 23¾”; sheet size 22” x 30”. Artist’s proof signed in pencil in the lower margin. Image fine, with slight darkening and creasing at the edges of the sheet.

$1,850

Philosophy Student

Etching on wove paper, 1965; edition of 350. Image size 9” x 6;” sheet size 14” x 11”. Signed and numbered 160/350 by the artist in pencil in the lower margin. Fine.

$225

Philosophy Student

Etching on wove paper, 1965; edition of 350. Image size 9” x 6” sheet size 14” x 11.” Signed and numbered 160/350 in the lower margin. A fine impression in overall fine condition.

$275

Albert Abramovitz (1879 - 1963)

Painter and printmaker Abramovitz was born in Riga, Latvia and studied art at the Imperial Art School in Odessa and, in Paris, at the Académie de la Grande Chaumière. Abramovitz became a member of the Paris Salon in 1911 and of its jury in 1913; he also became a member of the Societaire Salon d'Automne and won widespread recognition and acclaim, including the Grand Prize at the 1911 Universal Exposition in Rome and Turin..

In 1916, Abramovitz emigrated to the United States, and held his first one-man show at the Civic Club in Manhattan in 1921. He lived briefly in Los Angeles in the late 1920s, but ultimately settled in Brooklyn, New York. His work was widely exhibited across the United States in subsequent years and was distinctive both for his unusual technique and radical socio-political point of view. Between 1935 and 1939, Abramovitz produced work for the Federal Arts Project Works Progress Administration in New York. His works are in the collections of the Smithsonian Museum of American Art, the British Museum, the Metropolitan Museum of Art, the New York Public Library, the Spencer Museum of Art, the University of Michigan Museum of Art, the Victoria and Albert Museum, and the Library of Congress. Abramovitz died at East Meadow, New York.

Rickets

Wood engraving, ca.1933; edition not stated. Image size 6” x 4-3/8”; sheet size 8-11/16” x 6-15/16”. Signed in pencil by the artist in the lower margin; artist’s monogram in lower right-hand corner of the image. Minor and unobtrusive creasing at the lower corners of the impression likely caused during printing else fine.

$1,500

American Trip

Woodcut, 1932; edition not stated. Image size 7-13/16” x 6-7/16”; sheet size 9½” x 8-3/8”. Signed in pencil by the artist in the lower margin, with the artist’s monogram in the lower right-hand corner of the image. A very good impression on wove paper. Unobtrusive color staining on reverse of sheet and narrow loss at right-hand edge of sheet, well away from the sight area.

$750

Political Rally

Wood engraving, ca. 1936; edition not stated. Image size 10-1/8” x 11¾”; sheet size 12” x 14-1/16”. A beautifully inked impression reflecting the artist's adept use of light and shadow to energize this highly kinetic image. Abramovitz's initials in the block and his signature in pencil in the lower margin. Near fine overall.

SOLD

Gone

Wood engraving, ca. 1935; edition not stated. Image size 5¾” x 5½”; sheet size 7-15/16” x 6-3/8”. Artist’s monogram in block and signature in pencil below the image. A beautifully inked, detailed impression in fine condition.

$875

Street Corner, New York

Wood engraving, ca. 1932; edition not stated. Image size 8½” x 10-7/8”; sheet size 11½” x 13½”. A classic depression scene, beautifully inked and in overall very good condition. Initialed in the block and titled and signed in pencil by Abramovitz in the lower margin.

$975

Letter From Overseas

Wood engraving, ca. 1943; edition not stated. Image size 8½" x 9-1/8"; sheet size 11" x 13¼". Well-inked and printed on translucent paper, with small tape remnants in the upper corners, well away from the sight area. Artist's initials in the block, titled and signed by Abramovitz in the lower margin. Minor creases outside of the sight area. Very good.

$450

Drilling

Wood engraving, ca. 1935; edition not stated. Image size 8” x 10½”; sheet size 10½” x 12-5/8” Titled and signed in pencil by the artist in the lower margin. Very good overall condition, with tape remnants in corners and a small loss in the lower right-hand corner. Museum-quality archival mat and mount.

$900

Untitled Mining Scene

Wood engraving, ca. 1935; edition not stated. Image size 9½” x 6½”; sheet size 12” x 9”. Signed in pencil by the artist in the lower margin. Very good condition, with uniform toning, moderate wrinkling at edge and a small closed tear in the left margin well away from the image. Museum-quality archival mat and mount.

$475

Boats at Rest

Wood engraving, 1932; edition not stated. Image size 7-1/8” x 5-1/8”; sheet size 11” x 8¾”. Signed in pencil by the artist in the lower margin. A very good impression with soiling at the edges of the sheet well away from the sight area. Museum-quality archival mat and mount.

$375

Concrete Mixer - Moscow

Wood engraving, 1935; edition not stated. Image size 6-11/16” x 5-9/16”; sheet size 9½” x 7-11/16”. Titled and signed in pencil by the artist in the lower margin. This engraving is one of several images he created following his visit to the Soviet Union in 1935. A very good impression.The sheet has adhesive residue from prior mounting, losses in the upper corners, a crease in the upper margin, and minor rippling in the lower margin. Museum-quality archival mat and mount.

$675

Man With Drill - Moscow

Wood engraving, 1935; edition not stated. Image size 6½” x 8”; sheet size 10” x 11¼”. Titled and signed by the artist in pencil in the lower margin.This engraving is one of several images he created following his visit to the Soviet Union in 1935. A fine impression, with adhesive residue and creases on the left side of the sheet that are visible in the sight area. Museum-quality archival mat and mount.

$575

Nightwork on Metro (Moscow)

Wood engraving, 1935; edition not stated. Image size 12” x 9-1/8”; sheet size 14½” x 11-3/8”. Titled and signed by the artist in pencil in the lower margin. This engraving is one of several images he created following his visit to the Soviet Union in 1935.A richly detailed image in very good overall condition. Museum-quality archival mat and mount.

SOLD

Nightwork Moscow

Wood engraving, 1935; Image size 11¾” x 9-7/8”; sheet size 14-7/8” x 12½”. Titled and signed in pencil by the artist in the lower margin. This engraving is one of several images that Abramovitz created following his visit to the Soviet Union in 1935. A fine impression in very good overall condition. There is a small closed tear in the upper margin, well away from the sight area, and minor rippling at the perimeter of the sheet. Museum-quality archival mat and mount.

$750

Old Man

Wood engraving, ca. 1932; edition not stated. Image size 4½” x 4½”; sheet size 6-1/8” x 6-3/8”. Signed in pencil by the artist in the lower margin. A sensitive portrait, one of several images created by Abramovitz depicting European shtetl life, most probably as it was in his native Latvia. A fine impression in very good overall condition. Museum-quality archival mat and mount.

SOLD

Shul

Wood engraving, ca. 1931; edition not stated. Image size 8-1/8” x 6-5/8”; sheet size 10½” x 9-3/8”. Signed in pencil by the artist in the lower margin. The scene appears to be that of a group of men gathered for study and relaxation in their local shul, a Yiddish word derived from the German schul, or school. This is one of several such works that Abramovitz created to commemorate his heritage. There is faint but unobtrusive staining on the left margin, and a narrow, vertical void in the center of the image resulting from a stress fracture in the wood block, plainly visible in the above image. A beautifully detailed scene rich in character and in otherwise very good condition. Museum-quality archival mat and mount.

$950

The Rabbi

Wood engraving, ca. 1932; edition not stated. Image size 5½” x 7”; sheet size 8¼” x 9-5/8”. Signed in pencil by the artist in the lower margin. One of several engravings by Abramovitz depicting Jewish village life in Europe in the late 19th and early 20th centuries. A finely rendered and printed image in very good condition on translucent paper with diagonal crease in the upper left and minor faint wrinkling in the margins, all outside the image. Museum-quality archival mat and mount.

$425

Winter

Linoleum cut, 1932; edition not stated. Image size 6-5/8” x 4-3/8”; sheet size 8¼” x 5-5/8”. Titled, signed, and dated in pencil by the artist in the lower margin. The scene is emphatically not of New York, where Abramovitz created the engraving, but rather in an eastern European shtetl, one of many such views that the artist created around this time. A very good impression, with minor wrinkling and light soiling in the margins. Museum-quality archival mat and mount.

SOLD

Under the Elevated

Wood engraving, ca. 1932; edition not stated. Image size 4-5/8” x 6-5/8”; sheet size 9-5/8” x 11½.” A very good, highly detailed impression printed on heavy cream wove paper with parallel serpentine watermark lines in the manner of laid lines. Overall very good condition.

$725

From The Factory

Woodcut, ca. 1937; edition not stated. Image size 5-7/8” x 8”; sheet size 8-13/16” x 11¼”. Signed in pencil by the artist in the lower margin. Fine overall condition.

$425

Civil War

Wood engraving, ca. 1935; edition not stated. Image size 4½” x 6”; sheet size 8-3/4” x 11¼” . Titled and signed in pencil by the artist in the lower margin; artist’s monogram in lower right-hand corner of the image. “WPA Federal Art Project, NYC” stamp on reverse. A fine impression in fine condition.

$1,500

Depression

Wood engraving, ca. 1933; image size 6-1/16” x 4-1/16”; sheet size 7-1/8” x 5¾”. Signed in pencil by the artist in the lower margin; artist’s monogram in the lower right-hand corner of the image. A fine impression on thin paper with small losses in the upper corners from prior mounting. Faint creasing in the lower margins, none of the foregoing affecting the sight area.

$1,400

Mother, Child, and Skeleton

Wood engraving, ca. 1935; image not stated. Image size 6-1/16” x 4½”; sheet size 11-1/8” x 8¾”. Signed in pencil by the artist in the lower margin; artist’s monogram in lower right-hand corner of the images. Federal Art Project, W.P.A. NYC stamp on reverse. A fine impression in overall fine condition. Small losses in upper corners of sheet.

$1,500

The Hold-up

Woodcut on laid paper, ca. 1932. Image size 5-1/2” x 6-7/8”; sheet size 8-1/4” x 11-1/8”. Signed in pencil by the artist in the lower margin. A very good impression, the block selectively wiped prior to printing in order to create nuanced effects if light and shadow Two closed tears and a light brown stain at left edge of the sheet, well away from the sight area.

$650

Peter Ackermann

Born in Jena in 1934, Peter Ackermann studied at the Free University of Berlin from 1954 to 1956, and at the University of Fine Arts, Berlin, from 1956 to 1962. After completing his studies, he worked as a freelance artist in Karlsruhe. In 1966, Ackermann was honored with the German Art Critics Award. In 1971, he received the Villa Romana Prize and in 1972 and 1973, was a Guest Lecturer at the Academy of Fine Arts in Karlsruhe.

From 1976 to 1977, Ackermann was Professor at the University of Fine Arts, Berlin, and in 1977 was Pofessor at the of Fine Arts in Karlsruhe.

Ackermann died at Valecchie, Italy, in 1977.

Der grosse Vorhang

Etching, 1969. Numbered 74/100 and signed lower RH corner in pencil. Image size 13-3/4" x 16-3/4"; overall sheet size 16½" x 21-5/8". Published by Rembrandt Verlag. A rich, dark impression in fine condition.

$550

Ansel Adams (1902 - 1984)

Photographer, author, lecturer, and environmental activist Ansel Adams was born in San Francisco, California, the only child of older parents. In his early years, his somewhat withdrawn personality contributed greatly to Adams’ love of solitude and the natural landscape, beginning with his intimate familiarity with the Golden Gate region where the family home was located.

His early enthusiasm for the piano led to formal lessons, which imparted structure and discipline to the largely undisciplined young man and fostered his desire for a musical career, which Adams gradually abandoned in favor of photography, retaining and adapting the method and discipline of musical performance to his camera work and to his subsequent teachings on that subject.

Adams joined the Sierra Club in 1919, and as an active member, passionate conservationist and environmentalist he first developed his distinctive eye and technical skills recording club activities with his Brownie box camera on numerous field outings. He joined the Sierra Club Board in 1934. In 1927, he met Albert Bender of San Francisco a well to do patron of the arts, who befriended, encouraged, and supported Adams, launching him on his long career as a photographer. Subsequent influences included Mary Austin, Paul Strand, and Edward Weston. Best known for his images of the Sierra, Yosemite, and the American Southwest, Adams’ images are distinguished by their striking clarity, artistically enhanced by the careful refinement of tonality in the printmaking process.

Adams was an indefatigable lecturer and author, and produced a body of writing in collaboration with many associates. Beaumont and Nancy Newhall, in particular, worked with Adams to establish the first department of photography at the Museum of Modern Art in New York City, and Adams collaborated with Nancy on several iconic books on photography in the 1950s and 1960s. He remained active and influential for over five decades, and died at Carmel, California.

Liliane De Cock

Silver gelatin print, 1970; edition not stated. Image size 8¾" x 12¾" (full bleed); mount size 14" x 17-15/16." Signed in pencil by Adams, with his studio stamp on the reverse of the mount. Faintly toned in the sight area of the mount, with a 4¾" long adhesive remnant at the upper edge of the mount.

This is a beautiful portrait by Ansel Adams of his then assistant, Liliane De Cock, who was born in Antwerp in 1939. She emigrated to the United States in 1960, and from 1963 until 1972, when she married Douglas Morgan and moved with him to New York state, she was the great photographer's full-time assistant.

In 1972, she also became a Guggenheim Fellow, leading to an independent career as a highly-regarded photographer in her own right as well as editor of photography books and a juror of photography competitions. She died at her home in Wiscasset, Maine in 2013.

Extremely scarce, with only one auction appearance known.

$ 2,500

Ignacio Aguirre (1900 - 1990)

Painter, printmaker and teacher Ignacio Aguirre was born on December 23, 1900 in San Sebastián in Mexico’s Jalisco province. Politically active during the early 20th century, he found employment in the administrative branch of the Mexican government. During that period, Aguirre’s interest in art was inspired by the work of his friends Manuel Rodriguez Lozano and Julio Castellanos, and by Diego Rivera, with whom he studied in the 1920s.

A stint as a scenarist gave way to teaching drawing and painting beginning in the early 1930s. Aguirre was a founding member of the Liga de Escritores y Artistas Revolucionarios in 1934 and of the Taller de Gráfica Popular in 1937. His work was exhibited in New York on several occasions in the 1940s and in eastern Europe in the mid-1950s. Aguirre died in Mexico City on July 11, 1990.

Mexican Girl

Lithograph on wove paper, 1947; edition of 250. Image size 9” x 12¼”; sheet size 11½” x 16¼”. Signed in pencil by the artist in the lower margin. Published by Associated American Artists, New York. Overall very good condition.

$325

Grace Arnold Albee (1890 - 1985)

Grace Arnold Albee (1890 – 1985)

Born in Scituate, Rhode Island, Grace Arnold completed studies at the Rhode Island School of Design in 1912 and married the muralist Percy Albee in 1913. In the mid-1920s, she began making linocuts, which were exhibited at Providence in late 1927. With the Albees' move to Paris in 1928, Grace Albee studied briefly with Paul Bornet, whose wood engravings had attracted her attention. She produced wood engravings bearing her meticulous, highly refined style beginning in 1929. Their subject matter reflected her changing surroundings, as the Albees moved from Paris to New York City, Bucks County, Pennsylvania, and finally to Barrington and Bristol, Rhode Island. In 1942, Grace Albee was elected an associate of the national Academy of Design in New York, and a full member in 1946. Her work is held by many leading institutional and private collections. Though Albee is less well known than many of her contemporaries, she ranks among the greatest wood engravers of Twentieth Century America.

Breton Types

Wood engraving, 1930; edition of 25. Image size 3-1/8” x 2-1/8”; sheet size 6-3/16” x 5¼”. Numbered 20/25, titled, signed, and dated in pencil together with the artist's stamp in the lower margin. Fine.

$325

L'escarene - Southern France

Wood engraving on thin paper, 1929; edition of 30. Image size 3-3/16” x 2-1/8”; sheet size 6” x 4-5/8”. Numbered 27/30, titled, signed and dated by artist, together with the artist's stamp, in the lower margin. Fine.

SOLD

Old Burying Ground - St. Paul's Chapel, New York City

Wood engraving on thin paper, 1935; edition of 20. Image size 4-3/16” x 2-1/16”; sheet size 6-5/8” x 4-7/8”. Numbered 12/20, titled, and signed in pencil by the artist in the lower margin. Fine.

SOLD

Au Bon Marché - Annercy

Wood engraving in sanguine, 1932; edition of 30. Image size 3” x 2-7/8”; sheet size 6½” x 6-3/16” Printed on thin tissue. Numbered 10/30, inscribed, signed, and dated in pencil by the artist in the lower margin. Fine.

SOLD

Percy F. Albee (1883 - 1959)

Percy F. Albee (1883 – 1959)

Born in Bridgeport, Connecticut, the muralist, painter and print maker Percy Frederick Albee studied at the Pennsylvania Academy and The Rhode Island School of Design

Percy Albee was a student of both the Pennsylvania Academy of Fine Arts and the Rhode Island School of Design. It was at the latter that he met his wife, the aspiring wood engraver Grace Thurston Arnold. where he met his wife the noted wood engraver Grace Albee). In his early career, he painted murals for several Providence institutions including Brown University. Brown & Sharpe Manufacturing, and St. Stephen’s Church.

From 1928 to 1932, the Albee family lived in Paris. During that period, Albee executed mural commissions and produced large-format lithographs before returning to the United States and settling in New York. They ultimately moved to Doylestown, Pennsylvania. After his death, Grace Albee returned to New England and lived there until her death in 1985.

Albee’s work was widely exhibited both here and abroad and is held by numerous institutions including The Metropolitan Museum of Art, New York, and The National Gallery of Art, Washington, D. C. He served as President of the Salmagundi Club in New York City from 1948 – 1952 and a member of its board of directors until his death.

James Edmund Allen (1894 - 1964)

Illustrator, lithographer and etcher James Edmund Allen was born in Louisiana, Missouri and raised in Montana. He studied drawing and painting at the Art Institute of Chicago, then went to New York for further studies at theArt Students’ League, the Grand Central School of Art, and the Hans Hoffman School. He studied with Joseph Pennell and William Auerbach-Levy.

In the years prior to World War I, Allen worked as an illustrator for Doubleday, Page and Company, and contributed freelance work to leading periodicals including The Saturday Evening Post and Collier’s Magazine. He enlisted as a pilot during the war, and returned to his career after discharge. In 1925, Allen studied in Paris where he explored and perfected various printmaking techniques.

He returned to New York during the Depression and worked as a commercial artist; during that period his work won widespread recognition, and Allen received prizes from New York’s Salmagundi Club, the Society of American Etchers, and the Philadelphia Print Club. He exhibited his work in galleries throughout the 1930s, including at the Kennedy and Grand Central Galleries. Allen later exhibited and acted as a juror for exhibitions at the Society of American Etchers. He died in New York City.

Arch of Steel

Lithograph, 1937; edition of 25. Image size 14¾" x 11½." Archival mat and mount in custom frame, ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio. A superb impression of this dramatic image, one of many scenes created by Allen depicting large-scale construction projects in Depression-era America. Ryan 2.

$4,500

The Plowman

Lithograph, 1936; edition not stated. Image size 12-7/8” x 9”; sheet size 16” x 11-3/8”. A good image with printing voids in the upper half of the sheet and faint toning in the sight area.

$375

Irving Amen

Irving Amen, born in New York City, is an important 20th century American printmaker and painter.

His talent resulted in early recognition, and he won a scholarship to the Pratt Institute at the age of fourteen. During World War II, Amen headed a mural project which produced work both in the United States and Belgium. His woodcuts were first exhibited at the New School for Social Research, and again at the Smithsonian Institution in 1949. Other exhibits were staged at the Library of Congress, the National Academy of Design, and at Artists' House in Jerusalem. After studies in Paris in 1950, Amen returned to the United States and had one-man shows in New York and Washington DC. Travels throughout Italy in the early 1950s led to a series of woodcuts, etchings, and oil paintings. One of these color woodcuts and its constituent blocks are on permanent exhibit at the Smithsonian Institution.

Amen received commissions for book illustration, stained glass design, sculpture, and individual works on paper. He taught at both Pratt Institute and University of Notre Dame.

Biographical information from Wikipedia.

Boy's Head

Etching, numbered 47 in an edition of 90. Plate size 7-3/8” x 8-5/16”; overall sheet size 13-1/8” x 14¼”. Signed in pencil lower right corner. A fine impression; sheet has minor creases at lower edge not affecting the image.

$175

White Bird, color woodcut numbered 40 in an edition of 200. Plate size 12" x 17"; overall sheet size 19” x 23½”. Signed in pencil lower right corner. A fine impression; minor creases at lower left corner and bottom edge not affecting the image.

$350

Stanley Anderson (1884 - 1966)

Stanley Anderson was born in Bristol. His father, a silver engraver, provided him with an introduction to this demanding technique, but Stanley did not begin formal academic studies until 1909, studying at the Royal College of Art with Frank Short, and later at Goldsmith’s College. His formal training was enhanced by frequent visits to study works at the National Gallery and British Museum. In due course, Anderson took his place among the group of painter-etchers who sparked the revival of popular interest in this work.

Anderson became the engraving tutor at Goldsmiths', and from 1930 he was a faculty member at the British School at Rome. He became an associate member of the Royal Academy in1934, and became a full member seven years later. He was a frequent exhibitor at the Venice Biennale during the 1920s and 1930s, and exhibited at both the Chicago Society of Etchers and California society of Etchers during the 1930s.

He is perhaps best known for his limited edition engravings of country crafts, then entering a gradual period of decline, modeling local artisans in the vicinity of his cottage at Towersey in Oxfordshire, which he bought in 1933. For the most part, these engravings were produced in limited editions and are highly desirable. He created the last of his engravings in 1953.

Sheep Shearing

Line engraving, 1941; edition of 350. Imge size 6” x 7½”; sheet size 8-3/8” x 12”. This edition was published by the Chicago Society of Etchers and bears its blind stamp. Signed by Anderson in the lower margin and titled in pencil. A bravura example of his masterful engraving in fine condition.

$1,200

José Raúl Anguiano Valadez (1915 - 2006)

José Raúl Anguiano Valadez (1915 - 2006)

Painter, muralist, and printmaker José Raúl Anguiano Valadez was born at the height of the Mexican revolution at Guadalajara, the eldest of ten children. His drawing talent was manifest at age five, and at age 12, he left conventional education for Guadalajara’s Escuela Libre de Pintura, where he acquired fundamental techniques as well as exposure to both pre-Hispanic and popular art forms. In 1933, he left the school and, together with a number of his peers, formed a group known as the Jóvenes Pintores Jaliscienses.

Moving to Mexico City in 1934, he met and studied the work of Rivera and Orozco; in 1936, he executed his first mural, La educación socialista, at the Carlos A. Carrillo School in Mexico City and joined the League of Writers and Revolutionary Artists. His extensive lifetime output of murals includes works in Mexico, the United States, Jamaica, and the Vatican. The body of his work deals with the cultural life and history of Mexico and its indigenous and immigrant peoples.

Anguiano exhibited his work worldwide, winning wide acclaim for his work in all media, and taught art in both primary schools and in universities in both Mexico and the United States. He lectured widely throughout North America and Europe, and actively promoted the arts and social justice through participation in associations which include the Taller de Gráfica Popular, which he founded together with fellow artists Leopoldo Méndez, Alfredo Zalcoe, and Pablo O’Higgins, which provided a means for working people to express their beliefs and sentiments through the creation of socially conscious lithographs and etchings. During his career, he worked both from his studio in Coyocan, Mexico City, and from his second home in Huntington Beach, California. He died in Mexico City.

La espina (The thorn)

Lithograph, 1959; edition of 150. Image size 28-3/8" x 21½"; sheet size 34-1/8" x 26-1/8". This large lithograph depicts a Mayan woman digging a splinter out of her foot, and is based on the painting of the same name, perhaps Anguiano's most famous work, which was acquired by the Museum of Modern Art, Mexico City, in 2004 and is on permanent display there. A rich impression in very good condition. Tape remnant from earlier mount at top reverse edge; minor losses from removal of tape, bottom reverse edge. Stamp of the National Museum of Anthropology, Mexico City, where this lithograph was undoubtedly purchased on January 7, 1966.

$2,500

John Taylor Arms

John Taylor Arms was one of the most famous printmakers of the early 20th century. He is best known for his etchings of medieval buildings, executed with remarkable detail, realism, and a clear sense of his appreciation for the Gothic aesthetic and its spirituality. An architect by training, Arms worked for a time at Carrere & Hastings, an architectural firm whose New York Public Library remains their most significant public building. He produced a large body of prints throughout his career.

In 1913, he made his first etching and by 1927 began exhibiting his architectural etchings at the National Arts Club and the Salmagundi Club in New York. He also worked in aquatint and often combined the two mediums. He was a member of many principal art organizations including the National Institute of Arts and Letters, served as President of the American Society of Graphic Artists, and is the author of Handbook on Printmaking and Printmakers.

Arms died at Fairfield, Connecticut.

Loop the Loop

Aquatint, 1920. An American plane in the upper right-hand corner against a background of luminous sky is beginning the title maneuver. This plate was used as the frontispiece to the December, 1920 issue of The Print Connoisseur. Image size 4" x 6". Very faint foxing outside of image area, otherwise very good.

SOLD

Old Corner, Rouen

Etching, 1924. Image size 4" x 6". Fine condition.

$150

A Stranger in England

Etching, 1940; edition of 150. Image size 2¾” x 5-9/16; sheet size ”5-13/16” x 8½”. Signed and dated in pencil by Arms in the lower margin. A fine impression in very good overall condition.

$225

Crystal and Jade (Homage to Jacquemart)

Etching and aquatint, 1940; edition of 150. Image size 6-9/16” x 7-3/8”; sheet size 9-1/8” x 11-15/16”. Signed and dated in pencil by Arms in the lower margin. Fine.

$575

Dreux

Etching, 1942; edition of 231. Image size 2-13/16” x 8-1/8”l sheet size 11-11/16” x 4-9/16”. Signed and dated in pencil by Arms in the lower margin. Fine.

$250

House of Our Lady, Villefranche-en-Rouerque

Etching, 1948; edition of 100. Image size 1¾” x 2-15/16”; sheet size 2-7/8” x 5”. Signed in pencil by Arms in the lower margin. Slight residual mat burn. Very good.

$150

Paul Ashbrook (1867 - 1949)

Paul Ashbrook (1867 – 1949)

Painter, illustrator, etcher, lithographer and teacher Paul Ashbrook was born Paul Von Eschenbach in New York City and began his training in 1885 at the Art Students League, where he studied under William Merritt Chase and subsequently worked as an illustrator for Charles Klackner in New York. He moved to Cincinnati in 1900 and headed the design department of a prominent lithographer there, and studied with Frank Duveneck at the Cincinnati Art Academy, where he also taught from 1914 – 1919. In 1917, he changed his name to its English equivalent as a result of the rising tide of anti-German sentiment. From 1920 to 1929, Ashbrook headed the design department of the Strobridge Lithograph Company, where he designed many of the posters for the Ringling Brothers / Barnum & Bailey Circus during that period. He traveled frequently to Europe and Mexico beginning in 1926. Many of his paintngs and etchings were inspired by these trips. He died at San Miguel de Allende, Mexico.

Sisters

Etching and aquatint, ca. 1926; edition of 50. Image size 7½" x 11 with full margins. Signed in the plate and numbered 5-50 and signed in pencil in the lower margin. Nicely framed using archival materials; label of Closson's Art Galleries, Cincinnati.

$325

On the Balcony - Casa Grande, Mexico

Drypoint, 1936; edition not stated. Image size 6" x 9-7/8"; sheet size 11" x 15-5/8". Signed in the plate and in pencil in the lower margin. Faintly toned in sight area, otherwise a lovely impression in near-fine condition. Label of Closson's Art Galleries, Cincinnati.

$375

Mother and Child

Etching and aquatint, ca 1932; edition not stated. Image size 7-3/8" x 10¼" with full margins. Signed in the plate and in pencil in the lower margin. Nicely framed using archival materials; with label of Closson's Art Galleries. Fine.

$325

Hashish

Etching and aquatint, ca. 1933; edition of 50. Image size 7-3/8" x 10¾" with full margins. Signed in the plate; numered 1 - 50 and signed in pencil by the artist in the lower margin. A beautiful impression, very nicely framed using archival materials. Faint toning, unobtrusive foxing. Label of Closson's Art Galleries, Cincinnati.

$425

Mexican Girl

Etching, ca. 1930; edition of 100. Image size 5-7/8” x 8-7/8”; sheet size 10" x 12". Signed in the plate; Titled, numbered 5 - 100, and signed in pencil by the artist in the lower margin. Chop mark blind stamped lower RH corner. Fine.

$225

Toreador

Etching and aquatint, ca. 1930; edition not stated. Image size 6¼" x 9"; Sheet size 9" x 11½" Signed in the plate; Near fine condition, with faint toning and rippling at upper and lower edges away from the image.

$125

Greetings from the Ashbrooks - Christmas 1936

Etching in two colors; edition not stated. Circular image 4¾" in diameter. Nicely framed using archival materials, with presentation note attached to reverse of very nice frame with archival mount. Label of Closson's Art Galleries, Cincinnati. Fine

$75

Angelo Asti (1847 - 1903)

For many years, an early twentieth century reproduction on canvas, published by Wolf & Co. of Philadelphia (1879 - 1931), has graced our living room wall. It was almost certainly a wedding present for my wife's maternal grandmother and hung in her apartment until her death, when it came to us. It happens that the original was painted by Angelo Asti, born in France of Italian parents, whose idealized portraits of beautiful young women were a mainstay of late nineteenth century European advertising. In this regard, he is the predecessor of Charles Dana Gibson, whose Gibson Girl became the iconic figure of American commercial illustration in the early twentieth century. We regret to inform you that Asti enjoyed his American breakthrough posthumously. His work made a grand splash with the use of his portrait “Colette” as the subject of the very first “pretty girl” calendar, published by Brown & Bigelow of Minneapolis in 1904. The calendar was a blockbuster in its day, selling more than 1.5 million copies and opening the floodgates for his work in American advertising – as well as that of innumerable imitators - in the years to come. Details of his biography are scant. Any information about Asti will be greatly appreciated.

Window Card: Le Houblon Papier a Cigarettes

Color lithograph, ca. 1895. Overall size 16-7/8" x 22¼". A rare and lovely example of Belle Epoque advertising, illustrated by Angelo Asti and in about as near-perfect a state as one is likely to encounter, having only minor and unobtrusive abrasions at the edge of the card and, of course, the grommet hole at top center for hanging the card in a shop window.

From the collection of more than 6,372 posters and related items assembled by Julius Paul of Vienna between 1900 and 1935. Paul was a wealthy distributor of cigarette papers who died just before the anschluss, the German annexation of Austria, took place in 1938. The collection, bequeathed by Paul to his nephew, was instead expropriated by the Nazis; some 3,600 pieces were sold to a Viennese book dealer, who in turn resold the entire lot, complete with the oak storage case that Paul had made to house it, to the Albertina Museum in Vienna, where it remained essentially untouched and in perfect archival storage conditions until the collection was restored to the heirs of the Paul estate some years ago. The missing 2,772 pieces have never been located.

SOLD

Color lithograph, ca. 1895. Overall size 16-7/8" x 22¼". A rare and lovely example of Belle Epoque advertising, illustrated by Angelo Asti and in about as near-perfect a state as one is likely to encounter, having only minor and unobtrusive abrasions at the edge of the card and, of course, the grommet at top center for hanging the card in a shop window.

From the collection of more than 6,372 posters and related items assembled by Julius Paul of Vienna between 1900 and 1935. Paul was a wealthy distributor of cigarette papers who died just before the anschluss, the German annexation of Austria, took place in 1938. The collection, bequeathed by Paul to his nephew, was instead expropriated by the Nazis; some 3,600 pieces were sold to a Viennese book dealer, who in turn resold the entire lot, complete with the oak storage case that Paul had made to house it, to the Albertina Museum in Vienna, where it remained essentially untouched and in perfect archival storage conditions until the collection was restored to the heirs of the Paul estate some years ago. The missing 2,772 pieces have never been located.

SOLD

Robert Sargent Austin (1895 - 1973)

A precocious talent who at age eight successfully submitted work to the Royal Drawing Society in Leicester, Robert Sargent Austin went on to become one of the leading engravers in Britain during the twentieth century. His formal studies began in 1909 at the Leicester Municipal School of Art, and were followed by undergraduate studies at the Royal College of Art, London, where he studied engraving under Sir Frank Short. A scholarship provided funding for advanced studies at The British School in Rome. Austin developed a style of copperplate etching characterized by its extraordinary detail. In addition, he was a talented painter, water-colorist, and book illustrator.

Scythes

Etching, 1928; edition of 75. Image size 3-11/16” x 5-1/16”; sheet size 7¾” x 10-5/16”. Numbered 67/75 and signed in pencil by the artist in the lower margin. An exquisite work by this twentieth century British master. Fine

$450

Autographs

Bruno Walter (1876 - 1962)

Photographic postcard, ca. 1934

$130

Grace Hoffman (1921 - 2008)

Photographic postcard of Mezzo-soprano Grace Hoffman, ca. 1961.

$105

Helen Traubel (1899 - 1972)

Dramatic soprano Helen Traubel, 1945. 7½” x 9¼ silver gelatin photograph.

$120

Hirschfeld collage with Pavarotti autograph

A collage of caricatures by Al Hirschfeld copied xerographically onto a 10" x 14" sheet of plain bond paper and boldly signed "Luciano 83" at the bottom. Fine is hardly the thing to call it, but there you are.

$40

Mario Avati (1921 - 2009)

Born in Monaco to Italian parents, Mario Avati attended the Ecole des Beaux Arts in Paris and studied with Marc Chagall. He began printmaking in earnest in the late 1940s, and about ten years later began to focus on mezzotint, experimenting with and mastering techniques that brought him significant international recognition and placed him at the forefront of his discipline. In the 1960s as a Fellow at the Tamarind Lithography Workshop he continued his exploration of technique, mastering the interplay of of intense blackness and gradations of light that lie at the heart of the mezzotint process.

Avati lived in Paris

La Bombe et lel Coquillage

Mezzotint on cream BFK Rives paper, 1965; edition of 210. Image size 10-7/8” x 10-7/8”; sheet size 14-7/8” x 19”. Numbered 1/210, titled, and signed in pencil by the artist in the lower margin. A fine impression in very good overall condition, with minor creasing in the upper right-hand corner of the sheet, well away from the image.

$400

Bon Anniversaire

Color Mezzotint on BFK Rives paper, 1985; edition not stated. Image size 14¾" x 11¾"; sheet size 19" x 15". Annotated Epreuve d'artiste XVI / XVI, titled, signed, and dated in pencil below the lower plate mark. Fine.

$375

Poule

Mezzotint, 1971, published by Aquarius Press. Image size 8-1/2" x 8-1/8" overall sheet size 14-3/4” x 13½”. Numbered 60/75, total edition 100 (25 sets to the artist.) A rich impression on Rives paper signed in pencil by Avati lower right hand corner. Archival mat and mount with black hardwood frame.

$450

Mezzotint, 1971, edition of 75 . Image size 8-1/2" x 8-1/8" overall sheet size 15-3/8” x 18-7/16”. Published by Associated American Artists, New York. Titled, numbered 23/75, and signed in pencil by Avati in the lower margin.

$325

Colombe

Mezzotint, 1971, edition of 75 . Image size 8-1/2" x 8-1/8" overall sheet size 17-5/8" x 21-1/8”. Published by Associated American Artists, New York. Titled, numbered 22/75, and signed in pencil by Avati in the lower margin.

$325

Criquet

Mezzotint, 1971, edition of 75 . Image size 8-1/2" x 8-1/8" overall sheet size 15-3/8” x 18-3/8”. Published by Associated American Artists, New York. Titled, numbered 25/75, and signed in pencil by Avati in the lower margin.

$325

Marinos

Mezzotint, 1971, edition of 75 . Image size 8-1/2" x 8-1/8" overall sheet size 17-5/8" x 21-3/8”. Published by Associated American Artists, New York. Titled, numbered 5/75, and signed in pencil by Avati in the lower margin.

$325

Rhinoceros

Mezzotint, 1971, published by Aquarius Press. Image size 8-1/2" x 8-1/8" overall sheet size 14-3/4” x 13½”. Numbered 60/75, total edition 100 (25 sets to the artist.) A rich impression on Rives paper signed in pencil by Avati lower right hand corner.

$325

Mezzotint, 1971, edition of 75 . Image size 8-1/2" x 8-1/8" overall sheet size 17¾" x 21½”. Published by Associated American Artists, New York. Titled, numbered 41/75, and signed in pencil by Avati in the lower margin.

$325

Ballade et Violon

Mezzotint, 1964. Edition of 13 printed on Rives paper. Image size 20-3/4” x 15-1/8”; sheet size 24-3/4” x 18-5/8”. Numbered, titled, and signed in pencil by the artist in the lower margin. A fine impression in fine condition.

$475

Pipe et Coupelle

Mezzotint, 1961, numbered seven of nine proofs printed on Rives paper. Image size 10-7/8” x 8½”; sheet size 17¼” x 14-3/4”. A fine image on a very good sheet with very faint mat toning, a very small loss in the upper right-hand corner of the sheet, and mounting tape remnants on the reverse upper edge.

$375

Richard Avedon (1923 - 2004)

Photographer Richard Avedon was born in New York. As a boy, he discovered photography as both an expressive tool and as a retreat from the tensions of life in his complex family. A reflective and driven man, he forged a career as one of the iconic photographers of the 20th century. His early interest ultimately led Avedon to formal instruction at The New School for Social Research in Manhattan under Alexey Brodovitch. He held senior positions and completed numerous assignments at many of the leading fashion and popular magazines of the era and built close relationships with individual designers and their enterprises. His social consciousness led him to produce a body of compelling photographs documenting the civil rights movement and the political turmoil surrounding it. Richard Avedon died at San Antonio, Texas.

Lee Roscoe

Silver gelatin photograph, ca. 1968. Overall size 8” x 10.” Portrait of the actress and playwright. In overall very good condition, with light handling wear a the corners.

SOLD

Otto Henry Bacher (1856 - 1909)

Painter, printmaker and illustrator Otto Bacher was born in Cleveland, Ohio. He studied with DeScott Evans and at the Pennsylvania Academy of Fine Arts. Returning to Ohio, he formed an association with Willis Seaver Adams, who helped in the establishment of the Cleveland Academy of Fine Art and who was instrumental in having Bacher appointed to its governing board.

For much of the decade beginning in September, 1878, Bacher lived in Europe and enrolled at the Academy of Fine Arts in Munich. He also studied with Frank Duveneck, and traveled with him to Venice, where Duveneck established a studio and where Bacher met and became friends with James A. McNeill Whistler, occasionally visiting him over the ensuing years until Whistler’s death in 1908. A return trip to Europe led to classes at the Academie Julian, and another stay in Venice.

Settling in Bronxville New York where he permanently settled, Bacher was in high demand as an illustrator, and was a founding member of the Society of Illustrators. He was elected an associate of the National Academy of Design.

Auf Staufa Bruck

Etching on laid paper, 1879; edition not stated. Image size 8-1/16” x 2-7/8”; sheet size 12” x 8¾”. Published by Estes and Lauriat, Boston. Titled, signed, and dated in the plate. Very good impression with minor foxing at the periphery of the sheet not affecting the sight area.

$225

Howard Baer

Born in a mining town near Pittsburgh, Pennsylvania, Howard Baer received his art education at the Carnegie Institute in Pittsburgh. In 1929, he moved to New York City where he worked for ten years as Cartoonist and Illustrator for The New Yorker, Esquire and Colliers, turning to painting in 1941.

During World War II, Baer was an artist/correspondent and produced two series of paintings commissioned by Abbott Laboratories. The first depicted the work of the Waves at the Anacostia Naval Base, Maryland and the Waves Training Center, Norman, Oklahoma. The second assignment took him to the China-Burma-India theater where his paintings captured the work being performed there by the Arm Medical Department. He traveled and painted in Europe after the war. Exhibitions of his work were staged at venues both in Europe and America including the Corcoran Gallery in Washington D.C., the Metropolitan Museum Of Art in New York, and both the Gallery Herene and the Exposition Des Independents in Paris.

Planting Rice, Kunming China

Lithograph, edition of 250 published by Associated American Artists, New York, 1945. Signed in pencil lower right corner. Image size 10-7/8" x 8-3/8" overall size 15¼" x 12¼". Very good condition, with adhesive residue at extreme upper corners from former matting.

$125

Ernst Barlach (1870 - 1938)

Barlach was born in Wedel, Holstein. He studied at the Hamburg Trade School and developed his artistic talents at the Royal Art School in Dresden, followed by a year at the Académie Julian in Paris. Barlach then worked for some time as a sculptor, with a solo exhibition in 1904 at Berlin. His exposure to new forms and styles during a visit to Russia in 1906 and financial security provided by a salaried position with Paul Cassirer in Berlin allowed Barlach to develop a distinctive sculpltural style that also manifested itself in a large body of woodcuts, which he began producing ca. 1910.

Barlach became an ardent pacifist after a brief term of service during World War I and his subsequent sculptures and prints reflected this profound change and drew harsh criticism from the political right. With the rise of the National Socialists to power, Barlach's career was severely restricted: his works were confiscated in 1936 and he was forbidden to create new work thereafter. He lived at Güstrow in Mecklenburg, where he had settled in 1910, and died in 1938.

Mephistopheles tanzend mit der Alten

Woodcut on Japan paper, 1923. Proof for plate 16 from illustrations by Barlach for Goethe's Walpurgisnacht. Signed by Barlach in pencil in lower right-hand corner. A fine impression; paper is rippled and very slightly darkened in original mat area

$375

Die Trödelhexe

Woodcut on Japan paper, 1923. Proof of plate 14 of illustrations by Barlach for Goethe's Walpurgisnacht. Signed by Barlach in pencil in lower right-hand corner. A fine impression; paper is moderately toned in original mat area

$375

Will Barnet (1911 - 2002)

Martin Barooshian (1929 - )

Painter, printmaker and educator Martin Barooshian was born in Chelsea, Massachusetts to immigrant Armenian parents. He studied at the School of The Museum of Fine Arts and pursued further studies in Paris with Gaston Dorfinant and JeanPons. In the early 1950s, Barooshian studied with Stanley William Hayter at Atelier 17. In addition, he received a BS in education at Tufts University, and a MFA in art history from Boston University.
His style evolved from its early and more conventional stage into a unique form which he characterized as Biomorphic Abstract Surrealism, rich in the deft use of color, which defined his artistic output for many decades. He led the Graphics Workshop for Professionals at the Pratt Institute Graphic Art Center in New York for about ten years, beginning in 1960. During his tenure there, he influenced the rising generation of Abstract Expressionists.
Barooshian served as the president of the Society of American Graphic Artists, and was active in the U.N. Educational, Scientific, and Cultural Organization (UNESCO).

Dr. G. M. G.

Woodcut on laid paper, 1951; edition of 50. Image size 11-1/8” x 13-3/16”; sheet size 12¼” x 17½”. Titled and signed by the artist in pencil in the lower margin. Very good overall condition. An early work.

$750

Leonard Baskin (1922 - 2000)

American sculptor, book-illustrator, wood-engraver, printmaker, graphic artist, writer and teacher, Leonard Baskin was born in New Brunswick, New Jersey. While an undergraduate at Yale University, he founded Gehenna Press, a small private press specializing in fine book production. From 1953 until 1974, he taught printmaking and sculpture at Smith College in Northampton, Massachusetts and Hampshire College in Amherst, Massachusetts. His work is owned by major museums worldwide, and his noted public commissions as a sculpor include works for the Franklin Delano Roosevelt Memorial and the Holocaust Memorial in Ann Arbor, Michigan.

Bartleby The Scrivener

Wood engraving, 1959; edition not stated. Image size 5½” x 3-5/8”; sheet size 13½” x 11-3/4”. Signed in pencil by Baskin in the lower margin. Fine.

$170

Funeral

Wood engraving, 1957. Edition unknown. Image size 9¼" x 2"; sheet size 12½" x 5". Fine condition. Fern and O'Sullivan 305

SOLD

Self-Portrait

Drypoint, 1989. Edition of 20. Image size 6" x 9", 7¼" x 12-1/8" overall. Fine; dry mounted to wove paper base, then blind embossed. Signed lower right-hand corner by Baskin.

$675

Portrait of Robert Francis

Woodcut portrait of the famous poet with letterpress text, 1986. A broadside issued by Paul Carman commemorating Robert Francis' 85th birthday. Sheet size 12½" x 27½". Printed by Wild Carrot Letterpress. Number 55/150 on Magnani paper. Fine.

SOLD

Plate VI from Ars Anatomica

Lithograph, 15½" x 22½", signed in plate from an edition of 300 deluxe sets. Fine condition.

$90

Plate II from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate III from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image size 9¼" x 15½"; Sheet size 15¼" x 22¼". Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate V from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate VII from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate VIII from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate IX from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate X from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate XI from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate XII from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Plate XIII from Ars Anatomica

Lithograph, 1972; edition of 300 deluxe sets. Image floats on 15¼" x 22¼" sheet. Published by Editions Medicina Rara, Limited, New York. Signed by Baskin in the plate. Fine.

$55

Rodolphe Bresdin

Etching in two colors, 1969; edition of 175. Image size 5-3/4" x 8-3/4" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression with pronounced mat burn outside of plate mark.

$325

J. F. Millet and Th. Rousseau

Wood engraving on Japan paper, 1969; Numbered CXXXIII / CLXXV From the portfolio “Laus Pictorum”, printed by Harold McGrath at the Gehenna Press and signed by Baskin lower right-hand corner. Image size 6½" x 6-1/8"; sheet size 11" x 13-3/4"

$275

Eugene Carriere

Etching, 1969; edition of 175. Image size 3-3/4" x 5-3/4" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Camille Corot

Wood engraving, 1969; edition of 175. Image size 4-5/8" x 7¼" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Gustave Courbet

Wood engraving, 1969; edition of 175. Image size 4" x 4-3/4" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Thomas Eakins

Wood engraving, 1969; edition of 175. Image size 1-3/4" x 2¼" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Caspar David Friedrich

Etching, 1969; edition of 175. Image size 3-3/4" x 5-7/8" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Jacques Gamelin

Wood engraing, 1969; edition of 175. Image size 5-7/8" x 7½" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Charles Meryon

Wood engraing, 1969; edition of 175. Image size 2-3/8" x 4½" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Constantin Meunier

Etching, 1969; edition of 175. Image size 5-7/8" x 3-5/8" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

J. F. Millet and Th. Rousseau

Wood engraving, 1969; edition of 175. Image size 6-1/2” x 6-1/8” with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$275

George Minne

Wood engraving, 1969; edition of 175. Image size 4" x 6-3/8" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

William Morris

Wood engraving, 1969; edition of 175. Image size 2¼" x 3-5/8" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

SOLD

Pictor Ignotus

Wood engraving, 1969; edition of 175. Image size 4" x 4" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Odilon Redon

Etching, 1969; edition of 175. Image size 5-3/4" x 8-3/4" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Theodule Ribot

Wood engraving, 1969; edition of 175. Image size 4-7/8" x 3" with full margins. From the portfolio Laus Pictorum, published by Baskin and printed by Harold McGrath at the Genenna Press. Numbered Numbered CXXXIII / CLXXV and signed in pencil by Baskin in the lower margin. A fine impression.

$225

Karl Konrad Friedrich Bauer (1868 – 1942)

Artist, printmaker and poet Karl Bauer was born and raised in Stuttgart, Germany and studied under Wilhelm von Lindenschmit at the Academy of Fine Arts in Munich, and travels in Italy and France, financed by private instruction and portrait work. Bauer met Stefan George in Venice, whom he painted and who, impressed by Bauer's art and poetry, invited the younger man to join his Munich circle. Bauer subsequently studied in Paris and returned to Munich in 1895, where he worked as an illustrator. His portraits were executed in the manner of the Northern Renaissance, and included many German historical figures. His classical style won the approval of the National Socialists, and Bauer made several portraits of Hitler and his fellow aesthetes. In 1930, Bauer returned to the Stuttgart area in 1938 was awarded the Goethe Medal for Art and Science; he died during a visit to Munich.

Johann Wolfgang von Goethe

Etching and aquatint, ca. 1900; edition not stated. Image size 15-3/8” x 21”; sheet size 19¾” x 28¼”. Printed by Heinrich Wetteroth, Munich. Signed in pencil by the artist in the lower margin. A very rich, well-inked impression in good overall condition, with handling creases that do not affect the image. Archivally matted and framed; deduct $125 for matted print only.

$600

Amelia Bauerle (1873 - 1916)

Illustrator, etcher, and painter Amalie Mathilde Bauerle, better known as Amelia Bowerley, was the daughter of German artist Karl Wilhelm Bauerle and was born in Bayswater, a district of London. Bauerle studied at the South Kensington School of Art and the Slade School of Fine Art at the Kensington Museum in London before traveling in Italy and Germany. She exhibited paintings at the Royal Academy from 1897 until her death, and also exhibited in Paris and in the United States. Her illustrations were strongly influenced by the Art Nouveau style.

A Boy Of Teneriffe

Etching & aquatint, 1904; edition not stated. Image size 4¼” x 8-3/4”; sheet size 13-3/8” x 16-5/8”. Publshed by Macmillan & Co., London. Overall very good condition.

$275

Aubrey Beardsley

Beardsley was born in Brighton, England in 1872, and moved with his family to London in 1883. In 1891, with the encouragement of Sir Edward Burne-Jones he took up art as a profession. In 1892 he attended the classes at the Westminster School Of Art, and then traveled to Paris and was influenced by the work of Toulouse-Lautrec and the then-prevailing passion for oriental prints. He received his first commission from J. M. Dent & Co. in 1893, producing illustrations for Malory's Morte d'Arthur. Beardsley was co-founder of The Yellow Book, designing several of its covers and many illustrations. His distinctive style, primarily rendered in pen and ink, is celebrated for its decadent aspect, eroticism, and emotional darkness. Beardsley succumbed to tuberculosis.

Beardsley-Design For The List of Pictures.jpg

Fred Becker (1913 - 2004)

Fred Becker, a well-known artist and printmaker, was born in Oakland, California in 1913. He studied at the Otis Art Institute, and went to New York, studying architecture at New York University, but ultimately abandoned his plans for a career in architecture for that of an illustrator and printmaker.

In 1935, he joined the Graphic Arts Division of the Works Project Administration. After service in World War II, Becker returned to civilian life as a teacher at the Tyler School Of Art in Philadelphia. He subsequently moved to Amherst, Massachusetts and taught in the fine arts department at the University of Massachusetts from 1968 until his retirement in 1986. His work is represented in the collections of the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art in New York and many other institutions.

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 Becker in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$75

Albert F. Bellows (1829 - 1883)

The noted painter Albert Bellows was a member of the Hudson River School. Born in Milford, Massachusetts, he first studied architecture and established his practice in Boston with partner John Towle, but turned to painting and taught at the New England School of Design in Boston, followed by study in Paris, Antwerp, and London. He exhibited at the National Academy of Design, becoming a full member in 1861. Bellows became a proficient etcher and joined the New York Etching Club. He taught at Cooper Union before moving to Auburndale, Massachusetts, where he died.

Old Mill-Pond at Windsor

Etching on laid paper, ca. 1880; edition not stated. Image size 5-3/4” x 3-3/8”; sheet size 12” x 8¾”. Published by Estes and Lauriat, Boston. A very good impression with minor foxing in the sheet well beyond the sight area.

$125

George Wesley Bellows (1882 - 1925)

Study - Woman Kneeling on a Pillow

Lithograph, 1923/24; edition of 50. Image size 7” x 9¼”; sheet size 10” x 12¾”. Printed by Bolton Brown. Signed by Brown and Bellows in the pencil in the lower margin. Near fine overall condition

This is one of eight nude studies executed by Bellows in 1923 and 1924, and is among his last works.

$3,200

Alberto Beltran (1923 - 2002)

The graphic artist and painter was born and died in Mexico City. Raised in poverty, he was able to complete only elementary education before beginning work to help support his family. However, his inherent drawing talent led to attendance at the Free School of Art and Advertising in Mexico City, and subsequently in The Escuela Nacional de Artes Plásticas in 1943, where he studied engraving.

In 1944 Beltrán, a reserved and solitary man, became a member of the Taller de Gráfica Popular and remained active in the organization until 1959. His strong belief in progressive social engagement and a selfless attitude toward wealth persisted throughout his life and career. Beltrán regularly donated his work to worthy causes. In due course, he became one of the most prolific and successful Mexican graphic artists of the twentieth century, producing engravings and political cartoons for several leading newspapers and magazines, founding and co-founding several progressive publications, and actively promoting literacy and education. Much of his public commissions were executed in Veracruz, a region for which he had a particular affinity.

Much of Beltrán’s work in woodcuts, linoleum cuts and lithography has been lost in large part due to the artist's indifference to materialism. The largest extant body of his work was donated by Beltrán to the National Autonomous University of Mexico. Other significant holdings include the archive of the Taller de Gráfica Popular and several other universities.

Ingenio Azucarero (Grinding Sugar Cane), Puebla

Lithograph, 1946; edition ca. 250. Image size 13-7/8" x 11-1/8"; sheet size 17-5/8" x 15-1/8". From Mexican Art - A Portfolio of Mexican People and Places, jointly published by Taller de Gráfica Popular and Associated American Artists. A nuanced image in fine condition, with small tape remnants from earlier mounting.

$475

Alfred Bendiner (1899 - 1964)

Born in Pittsburgh, Pennsylvania, Alfred Bendiner trained as an architect, studying at the Pennsylvania Museum School of Industrial Art, the University of Pennsylvania, and the Academy of Rome in Italy. Bendiner lived and worked in Philadelphia, where he produced murals for several Philadelphia area institutions, illustrations for several major periodicals, and pen and ink caricatures which appeared regularly in the Philadelphia Evening Bulletin.

Conductor and Soloist

Original pen-and-ink drawing on paper, likely from the 1940s, picturing the conductor - possibly Eugene Ormandy - and soloist shaking hands. Foxed and toned within original mat area. Overall sheet size 14" x 11"

$175

Richard Bergere (1912 - )

Richard Bergere was born in Chicago. He received his undergraduate degree from New York University, his Master's degree from Columbia, and studied in the studio class at the Art Students' League. His service in the U. S. Navy during World War II led to a one-man show at the Art Institute Of Chicago in 1944, where he exhibited his suite of paintings depicting Navy life. Bergere has illustrated several books for various publishers, and his prints have been published by Associated American Artists. He has also exhibited at the Whitney Museum, and is the recipient of the Saint Gaudens metal.

Twilight Over Brooklyn Bridge

Lithograph, ca. 1945. Image size 12-5/8" x 9-1/8", signed by Bergere in lower right-hand corner. Published by Associated American Artists, New York. Very good condition with full margins. Archivally matted and framed.

$725

Jacques Beurdeley (1874 - 1954)

The painter and etcher Jacques Beurdeley was born in Paris. His father was an influential politician who numbered Puvis de Chavannes and Whistler among his friends. Managing to evade the legal career intended for him, Beurdeley studied under Fernand Cormon at L'Ecole des Beaux-Arts, to whose studio Toulouse-Lautrec was a frequent visitor. Beurdeley studied printmaking with Eugène Carrière and with Auguste Delâtre, who taught him etching techniques. Upon his return from studies in London and on the continent, he turned to the depiction of the french landscape in its many incarnations. He died in Provins, France.

L'Eglise dans la Brie

Etching, 1922; edition of 50. Image size 12-3/16” x 8-5/8”; sheet size 15-3/8” x 11-1/8”. Published by Edmond Sagot, Paris. Numbered 35/50; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 129.

$275

La plaine après la moisson

Etching, 1924; edition of 60. Image size 9-3/4” x 6-5/8”; sheet size13¼” x 11”. Published by Edmond Sagot, Paris. Numbered 40/60; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 140.

$225

Le sentier près du village (St. Brice)

Etching, 1925; edition of 50. Image size 9-5/8” x 7”; sheet size 14½ x 10¼”. Published by Edmond Sagot, Paris. Numbered 15/50; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 145.

$225

Le village de Savins

Etching, 1926; edition of 75. Image size 12½” x 9¼”; sheet size 17-7/8” x 12¼”. Published by Edmond Sagot, Paris. Numbered 52/75; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 151.

$225

La route de Bray sur Seine

Etching, 1927; edition of 60. Image size 10-3/8” x 7-5/8”; sheet size 14-3/4” x 11¼”. Published by Edmond Sagot, Paris. Numbered 28/60; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 159.

$225

Les meules au crépuscule

Etching, 1927; edition of 75. Image size 9-9/16” x 7-5/8”; sheet size 14-5/8” x 11¼”. Published by Edmond Sagot, Paris. Numbered 53/75; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 160.

$225

Coteau boisé

Etching, 1928; edition of 45. Image size 8-5/8” x 6¼”; sheet size 12-7/8” x 9-3/4”. Published by Edmond Sagot, Paris. Numbered 32/45; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 167.

$225

La route du moulin

Etching, 1928; edition of 65. Image size 11” x 7-3/4”; sheet size 13” x 9-3/4”. Published by Edmond Sagot, Paris. Numbered 16/65; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 169.

$225

Peupliers au Port Montain

Etching, 1929; edition of 75. Image size 11-3/4” x 8½”; sheet size 17-1/8” x 11¼”. Published by Edmond Sagot, Paris. Numbered 7/75; signed in the plate and in pencil in the lower margin by the artist. Publisher's blind stamp lower right corner. Tack hole at upper edge of sheet, A fine impression in very good overall condition. Catalog number 174.

$225

George Biddle (1885 - 1973)

Printmaker George Biddle, born in comfortable surroundings in Philadelphia, received his undergraduate and law degrees from Harvard university, but abruptly changed course when he left for Paris and the Académie Julian in 1911, where he formed a long and influential friendship with Mary Cassatt.

Back in the United States, Biddle studied at the Pennsylvania Academy of the Fine Arts, and then returned to Europe in 1914, where he traveled and studied widely. His wartime service, followed by extensive travel, broadened his viewpoint and informed his accessible artistic style. He was a strong advocate for the establishment of the Federal Arts Project, under whose auspices he executed a mural for the Justice Department in Washington, D.C. in addition to numerous other commissions.

During World War II, Biddle served as Chairman of War Department's Art Advisory Committee and traveled throughout North Africa; he subsequently produced combat art for Life Magazine. In the postwar period, Biddle served on the U. S. Commission on Fine Arts. He died at Croton-on-Hudson, New York.

Self Portrait

Etching, 1964; edition of 28. Image size 7-7/8” x 10-3/8”; sheet size 11¼” x 15”. Signed and dated in pencil by the artist in the lower margin, and titled and numbered 14/28 in the lower left-hand corner of the sheet. An arresting self-portrait of the artist in his seventy-ninth year, and his last published work. Fine overall condition. Pennigar 210.

SOLD

Christ marched on and Twelve were led.

Lithograph, 1930; edition of 100. Image size 6-7/8” x 9½”; sheet size 11½” x 15-5/8”. Titled, numbered 14/100, inscribed "to my friend George Hellman", and signed in pencil by the artist in the lower margin. Fine. Pennigar 96.

$425

Cat Fish Row

Lithograph on wove paper, ca. 1936; edition not stated. Image size 12” x 9½”; sheet size 18” x 12¾”. Published by American Artists Group, New York. Very good condition; remnants of mounting hinges at reverse upper edges of sheet. Pennigar 112.

$425

Isabel Bishop (1902 - 1988)

Painter and print maker Isabel Bishop was born in Cincinnati, Ohio to a well-to-do and highly educated family. When her parents moved to Detroit, the young artist took life drawing classes at the John Wicker Art School and, upon graduating from high school, moved to New York, where she began two years of formal study in illustration at the New York School of Applied Design for Women followed by four years of study at the Art Students League, where she studied painting under Kenneth Hayes Miller, Max Weber, among others, becoming in time the only full-time woman instructor on the ASL faculty. It was from Miller that she learned and adopted a style in the manner of baroque Flemish painting and used it to portray the everyday lives of women in New York City, based in her long-time loft near Union Square. Through her work, Bishop depicted the changing lives of women as they became more self-aware, self-confident, and autonomous.

In addition to many private collections, Bishop’s work is held by numerous institutions including The Berkshire Museum in Pittsfield, Massachusetts; The Morgan Library and the Metropolitan Museum of Art in New York; the Smithsonian American Art Museum in Washington, D. C; and the Art Institute of Chicago. She died in New York City.

Note: Elizabeth Bishop printed virtually all of her works until 1977, when Steven Sholinsky of Stem Graphics in New York assumed this responsibility under the artist’s supervision. All such work bears Sholinsky’s double S chop mark in the lower right-hand margin, and was printed exclusively on heavy weight Rives paper.

Single Strap Hanger

Etching, 1940 (printed 1981); edition of 25. Image size 3¼” x 8-3/8”; sheet size 10” x 13-1/8”. Printed by Stephen Sholinsky; numbered XVIII / XXV and signed in pencil by the artist in the lower margin. Sholinsky’s blind stamp in lower right-hand corner of the sheet. A fine impression in fine condition.

SOLD

In The Bus

Drypoint, 1947; edition not stated. Image size 3-3/8" x 4-7/8"; sheet size 7" x 8-5/8". Published by The Miniature Print Society, Hicksville, New York. A fine impression in overall fine condition, furnished in its original presentation folder with accompanying descriptive bulletin.

SOLD

Delayed Departure

Etching, ca. 1936, printed later; edition of 50. Image size 5-11/16” x 6-13/16”; sheet size 10” x 13-1/8”. Numbered 47/50 and signed by the artist in the lower margin. Printed by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Not in Teller. A fine impression in near fine condition, with extremely faint toning in the sight area.

$750

Girl Blowing Smoke Rings

Etching, ca. 1946; edition of 25, printed later. Image size 4-15/16” x 6-7/8”; sheet size 10” x 13-1/8”. Printed by Stephen Sholinsky, Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Numbered I/XXV and signed by the artist in the lower margin. A fine impression in overall fine condition. Teller 34.

$525

Girl Getting on Soda Fountain Stool

Etching, 1959, edition of 50, printed later; image size 3-15/16” x 5-3/8”; sheet size 10” x 13-1/8”. Printed by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Numbered 50/50 and signed by the artist in the lower margin. A fine impression in overall fine condition. Teller 54.

$425

Man at Fountain

Etching, 1959; edition of 50, printed later. Image size 3-15/16” x 5-3/8”; sheet size 10” x 13-1/8”. Printed by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. A fine impression in overall fine condition, numbered 50/50 and signed in pencil by the artist in the lower margin. Teller 40.

$350

Reaching for the Coat Sleeve

Etching, 1943; edition of 50, printed later by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Image size 3-15/16” x 5-13/16”; sheet size 10” x 13-1/8”. Numbered 44/50 and signed by the artist in pencil in the lower margin. A fine impression in overall fine condition. Teller 32.

$425

Strap Hangers No. 2

Etching, 1950; edition of 50, printed later by Stephen Sholinsky of Stem Graphics, New York, with his bliind stamp in the lower right-hand corner of the sheet. Image size 3” x 4-7/8”; sheet size 10” x 13-1/8”. Numbered 37/50 and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition. Teller 47.

$475

The Coat

Etching, 1941; edition of 25 printed later by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Image size 4½” x 7-3/8”; sheet size 10” x 12-7/16”. Numbered XII/XXV and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition. Teller 28.

$450

Two Girls Outdoors (Helping with the Veil)

Etching, 1953; edition of 50, printed later by Stephen Sholinsky of Stem Graphics, New York, with his blind stamp in the lower right-hand corner of the sheet. Image size 4-7/8” x 7-5/16”; sheet size 10” x 13-1/8”. Numbered 40/50 and signed by the artist iin pencil in the lower margin. A fine impression in overall fine condition. Teller 49.

$425

Aaron Bohrod (1907 - 1992)

Aaron Bohrod was born in Chicago, Illinois in 1907, and studied at the School of the Art Institute of Chicago and at the Art Students League of New York between 1926 and 1930, where he was influenced by the work of John Sloan. Returning to Chicago in 1930, he won a Guggenheim Fellowship and traveled across America, painting and absorbing the passing scene. During the Second World War, Bohrod worked as an artist, first for the Army Corps Of Engineers, followed by an assignment in Europe for Life magazine. In 1948, he was appointed artist in residence at the University of Wisconsin, Madison, and remained in that capacity until 1973. In 1951, Bohrod was inducted into the National Academy of Design as an Associate member, and became a full member in 1953. His works can be found in the collections of many American museums.

New Orleans Street

Lithograph, 1938, edition of 250.Published by Associated American Artists, New York; printed by George C. Miller, New York. Signed by Bohrod in pencil on lower right-hand corner. Image size 12" x 9". Very good condition with full margins.

$175

Hannes Bok (1914 - 1964)

Born Wayne Woodard in Kansas City, Missouri, Hannes Bok (a play on Johann Sebastian Bach, one of Woodard's favorite composers) was an artist and illustrator, as well as an amateur astrologer and writer of fantasy fiction and poetry. He painted nearly 150 covers and many illustrations for various science fiction, fantasy, and detective fiction magazines. He was a protege of Maxfield Parrish, and so learned the painstaking layering and glazing process that produced a distinctive luminous quality in his paintings. Bok shared the Best Cover Artist award at the inaugural 1953 Hugo awards for science fiction achievement. Thanks to the efforts of Ray Bradbury, whom he met in 1937, Bok moved to New York and broke into commercial art at Weird Tales magazine, which also published several of his stories and poems. He remained in New York for the remainder of his life.

The Black Powers

The White Powers

Lithographs, published in an edition of 100, 1944. Each is numbered 9 of 100 and inscribed to Victor Ells, and signed by Bok in the lower right-hand corner. Images are 9-7/8" x 13-7/8" with full margins. Fine condition. Sold as a pair.

$1,600

Carman Bonanno (1901 - )

Carman Bonanno was born in New York but returned to Italy at the age of nine. He attended various schools in both Southern Italy and Sicily before entering an art school in Rome, then supported himself by painting murals and sacred pictures in a number of churches. He returned to New York in 1931 and studied etching and drypoint techniques at the Art Students League. Bonanno served with the U.S. forces as an aviation engineer in both North Africa and in Italy during World War II. Both during and after the war, he worked on a number of fine drypoints and etchings which were published in both Italy and in New York by the Associated American Artists. Equally gifted for both his figure studies and views of Italy, Carman Bonanno's work received wide acclaim both here and in Europe.

Washington Square

Etching and drypoint, ca. 1948. Edition of 250, signed by Bonanno in pencil, lower right hand corner. Published by Associated American Artists, New York. Image size 7½" x 11-7/8" with full margins. A rich, well inked impression in very good condition. Matted and framed using archival materials.

SOLD

At Rest in the Marsh

Etching, 1946; edition not stated. Image size 11¾” x 8½”; sheet size 15-7/8” x 12”. Initialed in plate and signed in pencil by the artist in the lower margin. Moderate toning, with an unobtrusive abrasion to the paper above the plate margin, else very good overall condition.

$175

Angel Bracho (1911 - 2005)

Printmaker and engraver Ángel Bracho was born to poor parents in Mexico City. He completed only four years of schooling before working a series of menial jobs to help support his family. Nevertheless, his extraordinary natural talent enabled Bracho to pursue part-time evening studies beginning in 1928 at the Escuela Nacional de Artes Plásticas, continuing as a full-time student from 1929 and 1934. and studying with Diego Rivera and Rufino Tamayo. Throughout his career, his work reflected his passion for social justice, the dignity of native cultures, and the economic disparities of Mexican society. During his early career, he worked on murals in various public buildings. In 1936, he turned to teaching young artists in far-flung provinces until 1939, when he taught art in Mexico City public schools, helping to create and improve the public art instruction program of the capitol.

Bracho was a founding member of Taller de Gráfica Popular and remained active in its ranks for more than fifty years. In addition to his painted murals, landscapes, and portraits, he produced a body of masterful lithographs and linoleum engravings, many of them dealing with the impact of socioeconomic issues on Mexican society. He received numerous awards and honors throughout his career from institutions and organizations throughout the Americas and Europe.

Title Unknown

Linoleum cut, ca.1940; edition not stated. Image size 6½” x 8-1/8”; sheet size 12½” x 13-13/16”. Probably published by Taller de Grafica Popular. A beautifully inked, powerful impression by a leading master of 20th century Mexican printmaking. Signed in pencil by Bracho in the lower margin. Fine.

$425

Frank Brangwyn (1867 - 1956)

Painter, water colorist, engraver, illustrator, and designer Frank Brangwyn was born in Bruges, Belgium, where his father had been commissioned to design a new church; he returned to Britain with his family in 1874.

He was largely self-taught, and never pursued a formal education in the arts. His natural talent as a painter led to the acceptance of one of his works at the Summer Exhibition of the Royal Academy when he was 17, and strengthened his determination to be an artist. His stylistic development was strongly influenced his interest in the Orientalist movement of the late 19th Century, which inspired his subsequent travels to Spain, Egypt, Morocco, and Turkey. His acquaintance with gallerist Siegfried Bing in Paris led Brangwyn to produce murals and to design tapestries, posters, carpets, and stained glass, many of the latter for Louis Comfort Tiffany. In subsequent years, he produced an astonishing number of murals in England and the North America, including a commission shared with Diego Rivera and Josep Maria Sert to decorate the concourse of the RCA building at Rockefeller Center in New York (1930 – 1934). But the breadth and depth of his artistic output defies the imagination: Brangwyn is credited with producing over 12,000 works, including some 1,600 oils and mixed media, some 500 etchings, 400 woodcuts and wood engravings and 300 lithographs. He died, probably of exhaustion, at his Sussex home.

Gate of St. Vincent, Avila

Etching, 1913; edition of 125. Image size 11-3/4” x 15¼"; sheet size 14-1/8” x 17¼”. Signed in pencil by the artist in lower margin. A very rich, detailed impression.

SOLD

Bethia Brehmer (1942 - )

Printmaker, illustrator and teacher Bethia Brehmer was born in Sheboygan, Wisconsin. She studied painting at the University of Michigan and received her master's degree in printmaking from the University of Wisconsin, in addition to further studies in printmaking with Warrington Colescott and Dean Meeker. Her work has been exhibited in numerous shows and is held in numerous private and public collections.

Starry Fish

Color etching, ca. 1980. Edition of 150. Image size 12” x 12”; sheet size 13½” x 16½”. Titled, numbered, and signed in pencil by the artist in the lower margin. Fine overall condition.

SOLD

Josef Breitenbach (1896 - 1984)

Born in Munich to a family of wine merchants, Photographer Josef Breitenbach studied philosophy and art history at Ludwig-Maximilian University from 1914 to 1917, where he was politically active in the Social Democratic Party. In 1918, he participated in the coup d’état in Bavaria and held office during the brief life of its Soviet-inspired government. During that turbulent period, Breitenbach made contacts throughout the world of Munich’s radical intellectuals that bore fruit when he ultimately turned to photography in 1932, after several unhappy and unsuccessful years managing the family business.

In that year, Breitenbach opened his first photographic studio, whose clients were principally the artists and actors of Munich’s bohemian community. His initial success was short lived, thanks to the National Socialist takeover in 1933. His Jewish background made him an early target of the brownshirts, who confronted him at his studio. He was able to use his portrait of then Vice-Chancellor Papen – whom he had photographed the year before – together with a letter of thanks from Papen for his work in order to claim that he was under Papen’s protection. Seizing the brief vacuum created by his subterfuge, Breitenbach fled immediately to Paris.

He remained in Paris until 1939, and during that period exhibited at shows with leading Surrealists including Man Ray, Cartier-Bresson, and Roger Parry, producing a body of inventive images that incorporated avant-garde production techniques. Active in the German expatriate community there, Breitenbach exhibited work in the 1938 exhibition Five Years of Hitler Dictatorship, mounted by the Union des Artistes Allemands Libres. It was there that he met and collaborated with Bertolt Brecht. During the early German occupation of France in 1941, Breitenbach escaped internment and subsequent conscription by fleeing to New York from Marseilles.

Settling in New York, where he lived for the remainder of his life, Beitenbach established a successful freelance career and exhibited his work widely during the next two decades, including shows at Museum of Modern Art and Metropolitan Museum of Art in New York. He also taught at Cooper Union and The New School. His work was selected by Edward Steichen for inclusion in the Metropolitan Museum’s traveling exhibit The Family of Man. He died in New York.

Stanley William Hayter, Paris, 1971

Gelatin silver print, 1976 (negative created 1971); edition of 25. Full bleed image on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on verso and numbered 2.

A sensitive portrait of the great print maker and painter, and the founder in 1927 of his highly influential print workshop, originally in rue Moulin Vert in Paris, which became Atelier 17 after relocation to 17 Rue Campagne-Première. Fine.

$1,200

Aristide Maillol, Marly Le Roy, 1935

Gelatin silver print, 1976 (negative created 1935); edition of 25. Full bleed image on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on verso and numbered 2.

A portrait of Aristide Maillol (1861 - 1944), the noted artist best known for his sculptures, was also a painter and printmaker. His work is in the collections of major museums around the world as well as the museum at his former home near Banyuls-sur-Mer in the Pyrénées. Fine.

$1,100

Bertolt Brecht, Paris, 1939

Gelatin silver print, 1976 (negative created 1939); edition of 25. Full bleed image on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on verso and numbered 2.

Breitenbach met the playwright, poet, and stage innovator Bertolt Brecht through their mutual involvement in the Union des Artistes Allemands Libres in Paris, where a radical group of opponents to the National Socialist regime had gathered. An expressive and nuanced portrait of Brecht at age 40. Fine.

$1,500

Émile Bernard, Paris, 1939

Gelatin silver print, 1976 (negative created 1939); edition of 25. Image size 11" x 11-1/8" on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on recto and numbered 2 on verso.

Post-Impressionist painter and writer Émile Bernard (1868 - 1941), photographed by Breitenbach just two years before his death. His most productive period was in the latter years of the Nineteenth Century, but Bernard remained an influential presence in the world of French art. Fine.

$775

James Joyce, Paris, 1937

Gelatin silver print, 1976 (negative created 1937); edition of 25. Image size 11" x 11"; sheet size 11" x 14". Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on recto and numbered 2 on verso. Fine.

SOLD

Josef Albers, Black Mountain, North Carolina, 1944

Gelatin silver print, 1976 (negative created 1944); edition of 25. Full bleed image on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on verso and numbered 2.

At the time of his emigration from Germany, Josef Albers (1888- 1976) was an instructor at the Bauhaus in Dessau, which was closed by the National Socialist regime. He came to the United States and, with the support of the architect Philip Johnson (then a curator at MOMA in New York, Albers joined the faculty of the newly-established experimental Black Mountain College in North Carolina, and headed its painting program until 1949.

$1,100

Max Ernst, Paris, 1939

Gelatin silver print, 1976 (negative created 1939); edition of 25. Full bleed image on 11" x 14" sheet. Published by Lunn Gallery / Graphics International Ltd., Washington, D.C. Signed in pencil by Breitenbach on verso and numbered 2.

Max Ernst (1891 - 1976) was pioneering Dadaist and Surrealist painter, painter, sculptor, graphic artist, and poet. This portrait was taken some two years prior to his departure for the United States, where he lived until the early 1950s before returning to France. Fine.

$1,200

Alfred Laurens Brennan (1853 - 1921)

Born in Louisville, Kentucky, painter and print maker Alfred Brennan studied at the School of Design in Cincinnati. He received a gold medal upon completion of his work there together with a one year assistant professorship. Brennan subsequently moved to Philadelphia and studied with Frank Duveneck, subsequently moving to New York in the late 1870s, where he lived until his death except for five years in Brookline, Massachusetts where he produced work in fulfillment of an advertising contract. He was highly regarded for his pen-and-ink draftsmanship, receiving fulsome praise from Joseph Pennell. In all, he produced more than 7,000 drawings and magazine covers, which appeared in leading periodicals throughout his career. He died in Brooklyn, New York.

A Divination In Tea Leaves

Etching on laid paper, 1879; edition not stated. Image size 5½” x 8”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed in the plate. A fine impression in overall fine condition and scant foxing at the edges of the sheet.

$250

W. Wolfgang Breuer (1895 - 1927)

Apart from acknowledgment of his birth in Heilbronn, Germany we are unable to uncover any information whatever about his rather brief life and his career. Any assistance in directing our attention to a biography, however scant, will be appreciated.

Plate from "Golgotha"

Etching, 1922; edition of 70. Image size 7¾” x 6½”; sheet size 14¾” x 11½”. Good overall. Numbered and signed in pencil by the artist in the lower margin. Extremities of sheet are creased, well away from the sight area. One of eight etchings from the portfolio Golgotha.

$30

Stephan Brigidi (1951 - )

Photographer, artist, and teacher Stephan Brigidi was born in Providence, Rhode Island. He received his MFA at the Rhode Island School of Design in 1976, where he studied with Harry Callahan and Aaron Siskind. He is a Fulbright-Hays fellow, a MacDowell Colony fellow, and a recipient of fellowships for his photography from the National Endowment for the Arts, the Universities of Hawaii and Connecticut, the Unicolor Corp., and the Rhode Island State Council on the Arts. He has also collaborated on or authored several books.

Brigidi has taught photography since 1979 at such places as the University of Hawaii, the University of Connecticut, Rhode Island College, Roger Williams University, and for many years at the Rhode Island School of Design.