George Albert Gale (1893 - 1951)

Marine painter and etcher George Albert Gale was born in Bristol, Rhode Island. He studied at the Rhode Island School of Design in Providence. Gale earned his bread upon the waters, serving as a seaman for the American and Hawaiian Steamship Line and Quartermaster of the Bristol (RI) Ferry, also working as a boat builder and on the George Washington Bridge in New York. His work is held by a number of institutions including the Museum of the Rhode Island School of Design, the Nantucket Whaling Museum, and the Mystic Seaport Museum in Mystic, Connecticut. He died in Barrington, Rhode Island.

Cape Stiff

Etching and aquatint, ca 1930; edition not stated. Image size 8-7/8” x 11-3/4”; 12½” x 15½”. Cleaned and de-acidified, 2014; mounted and matted using archival quality materials. A fine impression of a very scarce etching

$525

Emil Ganso (1895 - 1941)

Born in Halberstadt, Germany, Ganso came to the United States in his teens, and by 1914 was taking evening classes at the National Academy's School of Fine Arts while supporting himself as a baker. Gallerist Erhard Weyhe recognized the young man's talent and showed his work. From 1925, Weyhe Gallery began to represent Ganso which gave him the funds to spend his first summer in the art colony of Woodstock, New York in 1926. He ultimately settled there and met many fellow artists including George Bellows, Alexander Brook, Leon Kroll, and Katherine Schmidt. Throughout the 1930s, Ganso exhibited at museums and exhibits across the United States, leading to the offer of an artist-in-residence position at the University of Iowa, where he died in 1941.

Studio Mirror

Wood engraving, 1936, edition not stated. Image size 9-3/8" x 14-3/8"; sheet size 14" x 19". Signed in the block, and published by American Artists Group, New York. Fine condition.

SOLD

The Bathers

Wood engraving, ca. 1933, edition of 200 (1951). Image size 4½” x 7½”; sheet size 7" x 10". Reprinted in an edition of 200 for the Woodcut Society and signed by Franny Ganso, the artist's widow. Very good condition.

SOLD

Conversation

Hard- and soft-ground etching, auatint, roulette, and drypoint, ca. 1930; numberd 11 in an edition of 30. Image size 5-5/8” x 7-3/4”; sheet size 10” x 13”. Titled and signed in pencil by the artist in the lower margin. A fine impression in very good overall condition. Smith I-35.

$675

Woodstock Church (Snow Scene)

Wood engraving, 1935; edition not stated. Image size 5" x 3½"; sheet size 9-7/8" x 8-3/8". Signed in pencil by the artist in the lower margin. A fine, well-inked impression in overall very good condition. Small spots recto not affecting the sight area; tape remnants verso.

$275

Model Standing

Etching and aquatint, 1935; edition of 250. Image size 7-15/16” x 10-15/16”; sheet size 10” x 12-7/8”. Published in April, 1935 by the Cleveland Print-A-Month Club. Signed in pencil by Ganso in the lower RH margin. Fine

$250

Edmund Henry Garrett (1853 - 1929)

llustrator, wood engraver, etcher and painter Edmund Henry Garrett was born in Albany, New York. Little is known of his early art training, but he settled in Boston, where he became a leading member of both the Boston Art Club and the Copley Society of Art, forming a friendship with impressionist Childe Hassam, with whom he toured Europe for advanced training in 1883, studying with Boulanger and Laurens at the Academié Julian in Paris. His interest in etching was nurtured by R. Swain Gifford, who advised him during his development of technical expertise in the etcher’s craft.

Garrett was in high demand as an illustrator for several Boston publishers and in addition produced etchings, paintings, and watercolors. During the late 19th Century, his work was widely exhibited throughout the United States and at the Paris Salon. The Art Institute of Chicago, Metropolitan Museum of Art in New York, Boston Public Library, and Fine Arts Museum of San Francisco among many such venues. He died at Needham, Massachusetts.

The Old Manse

Etching on laid paper, 1879; edition not stated. Image size 6-5/16” x 4¾”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Initialed and dated in the plate. A fine impression with minor spotting in the right margin and a stain at the left-hand edge of the sheet.

$150

Lucien Gautier (1850 - 1925)

Etcher and designer Lucien Gautier was born in Aix-en-Provence, where he studied art under Marius Reynaud, followed by studies in Paris with Léon Gaucherel. He worked as a journeyman etcher in Paris reproducing the work of Corot and others, but by 1875 began producing original work that was highly praised, earning him medals and awards in 1884, 1894, and 1900. He is best known for his etchings of Paris and other French cities, and also created views of London, Rome, and Venice. His work is widely held by French institutions and in numerous private collections. Gautier died in Aix-en-Provence.

Paul Geissler (1881 - 1965)

Printmaker and painter Paul Geissler was born in Erfurt, Germany. He studied at the School of Arts and Crafts in Erfurt, followed by studies School of Arts in Weimar under Max Thedy. His early interest in painting gave way to etching, the medium for which he is most famous. During the 1920s and 1930s, Geissler traveled extensively through Europe and the United States, producing an extensive body of etchings portraying the principal landmarks of major cities including New York. He died at Garmisch.

Winter View Of Rothenburg

Color etching, ca. 1920; edition not stated. Image size 7” x 10-1/8”; sheet size 12” x 17”. Titled and signed in pencil by the artist in lower margin. Very good condition.

SOLD

Untitled Alpine Scene

Etching, 1921; edition not stated. Image size image size 6-9/16” x 10¼”; sheet size 10-5/8” x 13½”. Signed and dated in the plate, and signed in pencil in the lower margin. A fine impression with faint toning in the sight area.

$75

Hugo Gellert (1892 - 1985)

Illustrator and muralist Hugo Gellert was born Hugo Grünbaum in Budapest, Hungary. The name was changed when the family emigrated to the United States in 1906 and settled in New York. He studied at The Cooper Union and at the National Academy of Design.

Gellert was a passionate socialist and remained so throughout his life. He saw his art and his political views as inseparable, using his talents in support of radical causes in the pages of magazines including The Masses, its successor, The Liberator, as well as The Workers Monthly and The New Masses. He later worked as a staff artist for The New Yorker and The New York Times.

Gellert’s political activism remained an essential element of his life; his talent, combined with his fiercely held views, produced a body of work that placed him in the front rank of American social-realist artists of the twentieth century. He died at Freehold Township, New Jersey.

Louis Wolheim as Captain Flagg

Original pen, brush, and ink illustration on board, ca. 1925. Overall size 7" x 8¾" Signed in pencil by the artist. Toned at the perimeter of the print by an earlier mount, but otherwise clean and sound.

$1,200

Louis Wolheim (1880 - 1931) was born in New York City. Fluent in several languages, he received his AB in engineering from Cornell University and taught mathematics there in the years prior to World War I. His distinctive nose was the unfortunate result of a football injury and a subsequent brawl on the same day at Cornell. Upon the hearty encouragement of no less than John and Lionel Barrymore, Wolheim became a highly respected film and stage actor. He played the lead in the first production of Eugene O'Neill's "The Hairy Ape" (1922) to great acclaim. In 1924, he starred as Captain Flagg opposite William (Hopalong Cassidy) Boyd in the long Broadway run of "What Price Glory?" the first commercial success of Maxwell Anderson and his co-author Laurence Stallings (it ran for over one year, from September 3, 1924 to September 12, 1925, logging 435 performances).

Franz Geritz (1895 - 1945)

Born in Budapest, Hungary, Franz Geritz came to the United States in 1909, ultimately settling in northern California, where he graduated from the California College of Arts and Crafts in Oakland, where he studied under Perham Nahl, Xavier Martinez, and Frank Van Sloun. Geritz worked as a freelance illustrator for regional newspapers. Moving to Los Angeles, he taught block printing at the University of California extension until the early 1930s and commemorated his exploration of the western states during that period with a memorable group of prints. He exhibited at several shows, with a one-man exhibit at the Los Angeles County Museum in 1926. In 1934, Geritz produced a number of prints for the Public Works Administration. His work is held by numerous institutions throughout California as well as by the Library of Congress and the Brooklyn Museum.

G. B. S.

Woodcut, date and edition unknown. Image size 3" x 5-1/8"; sheet size 6½” x 9”. Titled and signed by the artist in lower margin. Fine condition.

$225

R. Swain Gifford (1840 - 1905)

R. Swain Gifford was born on one of the Elizabeth Islands off Cape Cod, and spent much of his childhood in the coastal town of Fairhaven, Connecticut. His natural talent lead to his invitation to study with the accomplished Dutch artist Albert Van Beest, who was in Connecticut for a short time. He exhibited and sold work in New York, and by the time he was twenty-five he had established himself as an artist and printmaker. Almost entirely self-taught, Gifford was a highly respected and teacher at the Cooper Union school in New York City, when Edward Harriman invited him to come to Alaska, where he served the Harriman expedition as a staff artist, producing a large body of landscapes depicting the Alaskan wilderness. These paintings were used to illustrate the printed record of the expedition, and much of this body of work is held by The Smithsonian Institution. Returning to New York, Gifford continued painting and teaching until his death.

The Path to the Shore

Etching and aquatint, 1879; edition not stated. Image size 7-7/8" x 4¼”; sheet size 12" x 8¾". Signed in the plate. A beautiful, detailed image in very good overall condition.

$350

Coal Pockets At New Bedford

Etching on laid paper, 1880; edition not stated. Image size 4-15/16” x 6-7/8”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed in the plate. A fine impression in very good condition.

$250

Cows Wading (after Troyon)

Etching and aquatint on unmounted Japan paper, 1887; edition not stated. Image size 8-7/16” x 6-3/16”; sheet size 10-3/8” x 8”. Signed in the plate as well as in pencil by the artist in the lower margin. A beautifully inked impression with rich detail. Sheet is very good with minor wrinkling at corners and faint adhesive residue along left and right edges.

$275

Near the Coast

Etching and aquatint, 1886; edition not stated. Image size 10-5/8” x 6¾”; sheet size 13-9/16” x 9-13/16”. Signed in the plate and in pencil in the lower margin. Very good overall condition with faint mat burn outside of sight area.

SOLD

A Woodland Pasture

Etching and aquatint, 1888; edition not stated. Image size 11-7/8” x 7-7/8”; sheet size 17¼” x 13-3/8”. Published by Estes and Lauriat, Boston. Signed in the plate as well as in pencil by Gifford in the lower margin. A beautiful impression in overall very good condition.

$375

Raymond Gloeckler (1928 - )

Born in Portage, Wisconsin, Raymond Gloeckler received his Bachelor's and Master's degrees from the University of Wisconsin. From 1961 to 1993, he was professor of art at the University of Wisconsin, Madison. His satirical, iconoclastic wood engravings have been exhibited at galleries, museums, and universities across the United States and in Europe. His work is found in numerous public and private collections.

Self Portrait

Wood engraving, 1985, edition of 200. Printed at The Hampshire Typothetae for the portfolio Face To Face, a gathering of self-portraits by leading contemporary wood engravers. The portfolio included a set of extra prints on 80 lb. Mohawk Superfine soft white text signed by the artist. This is from the suite of extra prints, signed by Gloeckler in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”. Fine.

SOLD

Louis Godefroy (1885 - 1934)

Born in Paris, Godefroy was trained as a painter by Henry Caro-Delvaille. In time, he became interested in etching and received a very cursory technical overview before his first attempts in about 1905-06. Recognizing the shortcomings of these early works, he turned to the work of Rembrandt and other masters in order to better understand the proper use of proportion, visual balance and technique required. By the early 1920s, Godefroy's work matured and showed a master's confidence in his sensitive depictions of exotic scenes, the fruits of years of world travel. He produced about one hundred etchings during his career, which can be found in leading European and American museums. He died in Paris.

Croquis pour le café Palante (Salonique)

Etching, 1923, edition not stated. Image size 4-3/4" x 6-3/8"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume III Number 2, April, 1923. Fine condition.

$175

David Lance Goines (1945 - 2023)

Artist, illustrator and author David Lance Goines was born in Grants Pass, Oregon. He attended the University of California at Berkeley but left to become an apprentice printer and, ultimately, a journeyman. In 1968 he founded Saint Hieronymus Press in the same Berkeley print shop where he had learned his trade. There he has remained, designing his work and printing it by both letterpress and photo-offset lithography. His distinctive work has been reproduced in numerous professional publications, including American Illustration, Communication Arts, Graphis, and Print. In addition to many solo and group shows, Goines' work is represented in both public and private collections including the Museum of Fine Arts, Boston; the Cooper-Hewitt National Design Museum, Smithsonian Institution, New York; the Library of Congress, Washington, D.C.; and the Philadelphia Museum of Art. He died in San Francisco, California.

Carducci & Herman

Offset lithograph, 1981; edition of 2,783. Overall size 12-11/16" x 23-15/16". Published by Saint Hieronymus Press, Berkeley, California. Fine.

SOLD

Oakland Symphony - Fiftieth Anniversary

Offset Lithograph, 1983; edition of 3,776. Published by Saint Hieronymus Press, Berkeley, California. Fine.

$375

Berta R. Golahny (1925 - 2005)

Painter, printmaker, and educator Berta Golahny was born Bertha Rosenbaum to immigrant Jewish parents in Detroit, Michigan. Immersed in the Progressive social consciousness of her parents and their circle, she was actively encouraged to develop her manifest artistic talents beginning at the rigorous Cass Technical High School in Detroit, where she won a National Merit Scholarship that funded studies at the Art Students League in New York in 1943 and 1944. There she advanced her studies across a broad range of disciplines, including painting with George Grosz and screen printing with Harry Sternberg.

Golahny then attended the School of the Art Institute of Chicago from 1944 to 1947, earning her Bachelor of Fine Arts degree. It was there that she met Argentinian etcher Mauricio Lasansky, then an associate professor of art at the State University of Iowa, who pioneered the rebirth of classical intaglio techniques as a vehicle for artistic expression in the twentieth century Americas. Golahny enrolled at the University of Iowa, where she divided her studies between painting and printmaking, receiving her MFA in 1950 and winning the Ben Shahn Award, juried by Shahn himself.

In 1950, Berta Rosenbaum married Yehuda Golahny; they moved to Cambridge, Massachusetts and ultimately settled in nearby Newton. In the late 1950s, Golahny began teaching art at the Cambridge Center for Adult Education, and continued there for forty-two years. Throughout her mature years, she continued to create paintings and prints that explored her profound anxieties about the state of mankind and the perils of the nuclear age. Her works are those of a clear-minded, unsentimental observer of the human condition, resigned to the moral frailties of mankind while remaining cautiously hopeful for its betterment. During her long career, she received many awards for her paintings and prints, and exhibited her works widely. Berta Golahny died at Newton, Massachusetts.

Please Note: All prints are ex-estate of Berta R. Golahny. Unless otherwise stated, impressions were printed by the artist in her studio.

Please note: Inquiries about the artist Berta Golahny and her work in print and painting should be directed to her estate, care of Amy Golahny at 24 Dorr Road, Newton Massachusetts 02458 or golahny@lycoming.edu

Self Portrait

Woodcut, 1950; edition not stated, but probably 5 or fewer. Image size 11¾" x 14-3/8"; sheet size 14" x 18½". Signed by the artist in pencil in the lower margin. Very good overall condition. While her woodcuts were typically executed on a more finely grained and smoother block, the young artist boldly cut this early Detroit self-portrait on a coarsely-grained plank in order to exploit its arresting texture and to enhance the visual complexity of the image.

SOLD

My Father

Woodcut, 1953; edition not stated, but likely no more than five impressions were made. Image size 8-7/8" x 11½"; sheet size 12-5/8" x 16½". Titled and signed in pencil by the artist in the lower margin. Printed on brown paper. The photograph has been lightened to better show the detail. A very good impression in overall good condition.

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Portrait of the Artist #2

Woodcut, ca. 1957; edition of 20. In all likelihood, about ten impressions were made. Image size 19½" x 24-3/4"; sheet size 24½" x 34½". A well-inked impression in fine condition; exhibited at the Ainsworth Gallery, Boston and at the Boston Arts Festival.

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Portrait of the Artist

Woodcut printed in dark brown ink, 1962; edition of 10. Image size 15¼" x 23-7/8"; sheet size 25" x 37". Titled, numbered 3/10, and signed by the artist in the lower margin. A beautifully inked impression in fine condition. Exhibited at both the Ainsworth and Charles River Galleries, Boston.

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Thoughts on Man #3

Color woodcut, 1962; edition not stated. Image size 17¼" x 21-1/8"; sheet size 23" x 29-5/8". Artist's proof, titled and signed in pencil in the lower margin.Exhibited in the traveling exhibition of The Boston Printmakers. A vibrant impression in fine condition.

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Man Triumphant

Woodcut, 1962; edition of 25. Image size 33¼" x 21-7/8"; sheet size 34" x 24½". A crisp impression titled and signed by the artist in pencil in the lower margin. Margins are very tight but likely to have been printed as such. Exhibited by The Boston Printmakers and at Ainsworth Gallery, Boston.

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Night Shineth as the Day

Wood engraving, ca. 1970; edition of 50. Image size 9" x 11¾"; sheet size 14-5/8" x 20¾. Printed in dark blue ink by David Godine, Newton, Massachusetts. Titled, numbered 33/50, and signed in pencil by the artist in the lower margin. Widely exhibited; winner of the Cambridge (MA) Art Association Prize. Fine.

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Joy Cometh in the Morning

Wood engraving, ca. 1970; edition of 50. Image size 9" x 12"; sheet size 14-5/8" x 20¾". Printed by David Godine, Newton, Massachusetts. Titled, numbered 33/50, and signed by the artist in the lower margin. Widely exhibited. Fine.

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Genesis - Day 5

Wood engraving, 1975; artist's proof - edition not stated. Image size 9" x 11½"; sheet size 12-1/8" x 19½". Titled, annotated, and signed in pencil by the artist in the lower margin. In the collection of the Fogg Art Museum, Harvard University. Fine

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The Tyger

Wood engraving, 1967; edition not stated - very few prints were made. Image size 5-7/8" x 4-7/8"; sheet size 14" x 18½". Printed by the Penmaen Press, Boston. Titled and signed in pencil by the artist in the lower margin. Collection of the Metropolitan Museum of Art, New York. Fine.

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Factory Entrance

Etching and aquatint, 1948; artist's proof - edition not stated. Image size 10-7/8" x 8-3/8"; sheet size 17" x 11-7/8". Titled, annotated, and signed in pencil by the artist in the lower margin. This is the only print of this early work known to exist. Very good overall condition.

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The Nun

Color etching, 1950; of the prospective edition of 15, only eight prints are known. Image size 10-7/8" x 17-7/8"; sheet size 22¼" x 30". Titled, annotated, and signed in pencil by the artist in the lower margin. Widely exhibited; in the collection of the Free Library of Philadelphia. Fine.

SOLD

Self-portrait with Parents

Color etching, 1949; unique proof in green and black. Image size 13¼" x 15-3/16"; sheet size 22" x 30". Titled, annotated, and signed by the artist in the lower margin. Fine.

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The Family

Etching and soft ground, ca. 1955; edition unknown. Image size 7-7/8" x 9-7/8"; sheet size 12-7/8" x 18-1/8". Titled, annotated, and signed by the artist in the lower margin. The subjects are Berta and Yehuda Golahny and their daughter Amy. Fine.

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Man

Color etching, 1967; edition of 20, but no more than three known to have been printed. Image size 6-3/4" x 10"; sheet size 10-3/8" x 13-7/8". Titled, numbered, and signed in pencil by the artist in the lower margin. Fine.

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Auschwitz

Etching and soft ground, ca. 1960; edition of 35. Image size 17-5/8" x 23-3/8"; sheet size 22-1/8" x 29-3/4". Printed by Lockwood Studios, Boston. Titled, numbered 21/35, and signed in pencil by the artist in the lower margin. Printer's blind stamps lower left margin. Widely exhibited. The plate may have remained at the printer's office and has never been found. Fine.

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Landscape of Man

Etching and soft ground, 1968; edition of 20; image size 17-3/4" x 27"; sheet size 22-7/8" x 33¼". Titled, numbered 9/24, annotated State XX, and signed in pencil by the artist in the lower margin. The image is comprised of two separate plates. A most powerful survey of the human condition, exhibited at the Boston Printmakers exhibit at the Museum of Fine Arts, Boston. Fine.

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The Woman

Etching and soft ground in sepia ink, 1968; Artist's proof - edition not stated, but only two prints known. Image size 17¾" x 23-7/8"; sheet size 22½" x 30". Titled, annotated, and signed in pencil by the artist in the lower margin. Fine.

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Why Violence?

Monoprint color etching, ca. 1970. Image size 17¾" x 12-1/8"; sheet size 23-7/8" x 20-3/8". Titled and signed in pencil by the artist in the lower margin. fine

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Yad Vashem

Etching with soft ground, ca. 1968; Artist's proof - edition not stated; image size 11-3/4" x 35-5/8"; sheet size 23¼" x 41-5/8". The image is comprised of three separate plates. Exhibited by Ainsworth Gallery, Boston; Ohio State University; and Boston Printmakers. Fine.

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Landscape of Man in the Nuclear Age

Etching, 1983; edition of 24. Image size 17¾" x 27"; sheet size 22-7/8" x 33¼". Titled, numbered 9/24, and signed by the artist in the lower margin. the artist re-worked this plate many times; this is its twentieth and final state. Exhibited at Langdell Gallery, Harvard Law School; Boston Visual Arts Union; University Place Gallery, Cambridge.. Collection of the Fogg Museum, Harvard University. Fine.

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Soliloquy

Monoprint etching in purple tones, ca. 1975. Image size 11-7/8" x 17-11/16"; sheet size 20" x 25-1/8". Titled and signed in pencil by the artist in the lower margin. Fine.

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Helen Gotlib (1981 - )

Born and raised in Ann Arbor, Michigan, Helen Gotlib studied at the University of Michigan School of Art and Design and Kyoto Seika University. She is primarily a printmaker, specializing in etchings depicting the natural world. Gotlib lives and works in her western Michigan studio.

Wendy

Color etching on tan wove paper, ca. 2005; Working proof - edition not stated. Image size 4-3/8” x 7½”; sheet size 9½” x 13½”. Annotated “W.P., titled, and signed by the artist in pencil in the lower margin. A fine impression in overall fine condition.

$375

Bernard Gotfryd (1924-2016)

Photographer Bernard Gotfryd was born Poland. During World War II, he worked in a photography studio but was apprehended in 1943 by the German occupational forces and spent the remainder of the war in six concentration camps.

In 1947, Gotfryd emigrated to the United States, and worked as a photographer while he studied photojournalism. In 1949, he was drafted and assigned to the Army Signal Corps as a combat photographer. After his discharge, Gotfryd worked as a freelance photographer and joined the staff of Newsweek magazine in 1957, where he worked for three decades. He died in New York City.

Lillian Hellman

Silver gelatin print, 1974, printed by Gotfryd in 1981. Image size 8½" x 11¾;" sheet size 11" x 14". Fine, in archival mount and frame. Reverse of print is stamped "Photography by / B. Gotfryd / 46 Wendover Road / Forest Hills, N. Y. 11375 / Tel. 261-8039 / Member ASMP;" dated N. Y, 1981 in pencil; and signed in ink by Gotfryd. Ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio Overall framed size 16¼” x 19¼”

$5,200

Francisco José de Goya (1746 - 1828)

The noted painter and printmaker was born in Fuendetodos, a village in northern Spain, later settling with his family in Saragossa. In his early teens, he apprenticed to the painter José Luzan, then continued his studies in Italy. Upon his return, he executed a commission for frescoes in the cathedral in Saragossa, which established his reputation. Beginning in 1775, and for the next seventeen years, Goya created designs for the royal tapestry factory in Madrid, providing him with a feel for scenes from everyday life and a broader understanding of the human condition. His style evolved as well, influenced as it was by the work of Velazquez. He became a portrait painter to the Spanish aristocracy, was elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

In 1792, Goya became permanently deaf, an isolation that left him increasingly preoccupied with the fantasies and inventions of his imagination and with critical and satirical observations of mankind. He evolved a bold, free new style, and in 1799 he published the Caprichos, a series of etchings satirizing human folly and weakness. Goya's portraits became incisive subjective portrayals of his subjects as he saw them. He expressed his horror of armed conflict in The Disasters of War, a series of starkly realistic etching which were not published until 1863, long after Goya's death. In 1816 he published his etchings on bullfighting, called the Tauromaquia.

In 1824, Goya went into voluntary exile in France. He settled in Bordeaux, where he died.

Vieja Columpiándose

Etching, ca. 1824 - 1828; Image size 4-3/4” x 7-3/8”; sheet size 9½” x 13”. This impression is a restrike, number five from a total of seven impressions printed by Russell A. Limbach in 1960 at the Davison Art Center, Wesleyan University, for Philip Hofer (1898 - 1984), founder of the Department of Printing and Graphic Arts of the Houghton Library, Harvard University. Ex collection Harold Hugo (1910 - 1985), President of Meriden Gravure Company. A superb, dark impression in fine condition.

$2,200

Blanche Grambs (1916 - 2010)

Born in Peking (Beijing), China, Blanche Grambs studied at the Art Students League in New York under Harry Sternberg. She worked for the WPA’s Federal Art Project and produced more than thirty prints for the program beginning in 1936. Her commitment to social reform set the tone for much of her work, including a cycle of prints depicting the plight of coal miners at Lanceford, Pennsylvania during those difficult times. She married and moved to Paris, returning unexpectedly upon the outbreak of World War II. Grambs was a prolific book and magazine illustrator; her work is held by American museums in New York, Philadelphia, Chicago, Detroit, and Baltimore, and Washington, D.C., as well as by the British Museum. She died at New York.

Jo

Lithograph on wove paper, 1936; edition not stated. Image size 10” x 16”; sheet size 16½” x 20”. Titled, signed, and dated in pencil by the artist in the lower margin. Very good condition.

$750

Gordon Hope Grant (1875 - 1962)

Best known for his marine paintings, watercolors, and etchings, Gordon Hope Grant was born in San Francisco and educated in Scotland. He then studied at the Heatherly and Lambeth Art School in London and returned to San Francisco where he worked as an illustrator for local newspapers until 1896, when he moved to New York as an illustrator for both the World and Journal. In 1899 Grant was sent as an artist-correspondent to South Africa by Harper's Weekly to cover the Boer War. From 1901 to 1909, he was an illustrator for Puck.

In the years following service during World War I, Grant concentrated on marine subjects, producing paintings and etchings, and illustrating books with nautical themes. He also created a series of highly regarded views of Manhattan. A member of numerous professional societies, his work is held in important collections nationwide, including the Corcoran Gallery of Art, Washington, and the Metropolitan Museum of Art, New York. Gordon Hope Grant died in New York.

Salvage

Lithograph, ca. 1951; edition not stated. Image size 12” x 9”; sheet size 13¾” x 11”. Signed in pencil by the artist in the lower margin. Published by Associated American Artists, New York for exclusive distribution by The Saint Paul Companies of St. Paul, MN (now Travelers Insurance) for promotional purposes. The lithograph was distributed to member agencies who represented the company’s various insurance lines. The print is in near-fine overall condition, with faint toning in the mat aperture, and is accompanied by a certificate prepared by AAA, each of which apparently was personalized with the name of the recipient agency - in this case, The James B. Oswald Company of Cleveland, OH.

$300

The Crested Dune

Lithograph, ca. 1945, edition of 250. Image size 12" x 9-1/8" with full margins. Signed in pencil by the artist in lower right corner. Published by Associated American Artists, New York. Fine.

$225

The Aquarium

Lithograph, ca. 1948, edition of 250. Image size 12½" x 9½" with full margins. Signed in pencil by the artist in lower right corner. Published by Associated American Artists, New York. Fine. Matted and framed using archival quality materials.

SOLD

Dockside

Lithograph, ca. 1948, edition of 250. Image size 12" x 9" with full margins. Signed in pencil by the artist in lower right corner. Published by Associated American Artists, New York. Fine.

SOLD

Under The Bows

Lithograph, ca. 1945, edition of 250. Image size 12" x 9-1/8" with full margins. Signed in pencil by the artist in lower right corner. Published by Associated American Artists, New York. Fine.

$225

The Butterfly And The Ant

Lithograph, ca. 1949, edition of 250. Image size 12" x 9-1/8"; sheet size 15" x 11". Signed in pencil by the artist in lower right corner. Published by Associated American Artists, New York. Fine.

$325

Longshoremen

Lithograph, 1937; edition of 223. Image size 11½” x 9-1/8”; sheet size 15½” x 11¼”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Very good overall condition.

$375

Shadow of the Dock

Lithograph, ca. 1940; edition of 250. Image size 12” x 9”; sheet size 18” x 16”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Fine.

$375

The Whale Hunt

Lithograph, ca. 1944; edition of 250; Image size 12-7/16” x 9-7/16”; sheet size 16” x 11½”. Published by Associated American Artists, New York. Fine.

$425

The Veteran

Lithograph, ca. 1940s, edition of 250. Image size 11” x 9”; sheet size 15-1/8” x 10½”. Titled and signed in pencil by the artist in lower right margin. Published by Associated American Artists, New York. Fine.

$225

It's Always Fair Weather

Lithograph, 1944; edition of 250. Image size 13-1/8” x 9-3/4”; sheet size 16” x 11-3/8”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Fine.

$250

James Grashow (1942 - )

Born in Brooklyn, New York, James Grashow attended Pratt Institute in Brooklyn, where he received his undergraduate diploma, followed by a year of study in Florence under a Fulbright Travel grant for painting and graphics. He returned to Pratt for his M.F.A. In 1965. He is an artist, sculptor, and wood engraver whose work has been widely exhibited in both solo and group exhibitions, and has received numerous awards in all aspects of his oeuvre. He lives in Connecticut.

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

SOLD

Günter Grass (1927 - 2005)

Novelist, poet, playwright and artist Günter Grass was born in the free city of Danzig (now part of Poland). He served in the German army during the Second World War and was captured and held by American forces. Upon his release, he worked as a miner and then studied in Berlin and Düsseldorf. From 1956 to 1959, Grass and his family lived in Paris, where he wrote TheTin Drum, which cast light on bourgeois complicity in the rise of National Socialism, together with a body of written work that earned him the Nobel Prize in Literature in 1999.

In addition to his writings and outspoken political activities, Grass was a talented artist, sculptor, and printmaker who illustrated many of this books and who designed their dust jackets. He died in Lübeck.

Selbst hinterm Kaktus

Etching, 1992; edition of 120. Image size 18-5/8” x 14-7/8”; sheet size 25-3/8” x 19-5/8”. Numbered 92/120, signed, and dated in pencil by the artist in the lower margin. A beautiful impression with rich tonality in overall fine condition.

$ 1,500

Percy Alfred E. Grassby (1882 - 1973)

Grassby was born in London and emigrated to Canada in 1902. Primarily a wood engraver, He spent several years in various locations in the United States, went to Montreal in 1913, and settled permanently in Boston shortly thereafter. Grassby worked both as a successful typographic designer and wood engraver, producing pictorial engravings for various commercial clients, calendar illustrations, and decorative engravings of Boston area landmarks. A major collection of his work is housed in the Boston Public Library.

Hoosac Valley

Aquatint, 1927, unsigned, edition not stated. image size 3-3/4” x 4”; sheet size 5-5/8” x 9” Published in The Print Connoisseur, Volume VII Number 1, January, 1927

$225

Joseph Gray (1890- 1962)

Joseph Gray (1890 – 1963)

Painter and etcher Joseph Gray was born in Durham, England and studied at South Shields Art School, followed by a period of European travel before taking work as an illustrator in Dundee, Scotland. The First World War saw his appointment as an observer, delineating enemy positions and mapping trench lines for strategic use until he was discharged for medical reasons in 1916. Much of his early success as an artist arose from his front line experiences, leading to the sale of several of his drawings to the Imperial War Museum followed by a commission from the museum for a large oil painting.

In the 1920s Gray and his family settled in Broughty Ferry, a fishing village in Scotland, where he established both a studio and subsequently traveled to Holland, Belgium and Spain. Upon his return, he produced landscapes and architectural views, which were enthusiastically received and acquired by many institutions including the British Museum and the Victoria and Albert Museum.

With the decline of sales brought about by the worldwide Depression, Gray relocated to London and failed, despite a promising start, to establish a portrait studio there. He ultimately settled in Marlow, England, where he died.

Dutch Sailor

Drypoint, 1926. Unique. Image size 9-1/8” x 6-5/8” with full margins. Annotated "1 proof only" and signed and dated in pencil by the artist in the lower margin. Overall fine condition and tastefully framed, with an archival mat and mount.

$275

Eliza Pratt Greatorex (1819 - 1897)

Daughter of a Methodist minister, Eliza Pratt was born in Manorhamilton, Ireland. She moved with her family to New York in 1840 and in 1849 married Henry Wellington Greatorex, a musician. Between 1854 and 1856, Greatorex studied with William Wotherspoon and the Hart brothers in New York; at that time, she exhibited some preliminary drawings, but it was not until she was widowed in 1858 that she began the full-time pursuit of art, supporting herself and her children with her work and by teaching at a girls’ school for fifteen years.

She studied painting with Emile Lambinet in Paris in 1861/62, and in 1870, mother and daughters studied at the Pinakothek in Munich. In 1879, Greatorex went to Paris, where she trained in engraving with Charles Henri Toussaint in order to maintain greater control over the quality of reproductions of her work. There she and her daughters remained. Greatorex is most strongly identified with the Hudson River School, and her work is broadly held by institutions in both the United States and Europe. She died and is buried in Paris.

Pond At Cernay-La-Ville

Etching on laid paper, 1880; edition not stated. Image size 6-7/8” x 4-3/8”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed and dated in the plate. A fine impression in overall very good condition.

$125

Bernard Greenwald (1941 - )

Minimalist painter and print maker Bernard Greenwald was born in Newark, New Jersey, and received his BFA from the College of Art of the Philadelphia Museum and his MFA from the Yale School of Art and Architecture. His work is characterized by a strong reaction to the cultural turmoil propagated by the Civil Rights and Feminist movements in the midst of the unprecedented tidal wave of consumerism that arose across the world in the late 1950s and 1960s, and reflects the myriad influence of popular culture on the era.

Creole Jazz Band II

Etching, 1976; artist’s proof - edition not stated. Image size 39-5/8” x 27-3/8” sheet size 42” x 29-11/16”. Titled and signed in pencil by the artist in the lower margin. Very good impression; lower left margin creased and lightly soiled, not affecting the image.

$550

Hat, Horn, Knife and Glove

Etching, 1984; artist’s proof - edition not stated. Image size 29-5/8” x 21½”; sheet size 42-1/8” x 29¼”. Titled and signed in pencil by the artist in the lower margin. Fine overall condition.

$575

Roxy

Etching, 1976; artist’s proof - edition not stated. Image size 23-5/8” x 17”; sheet size 39-1/8” x 27½”. Titled and signed by the artist in pencil in the lower margin. Fine overall condition.

$900

Waifs' Home Band

Etching, 1974; edition of 100. Image size 38-5/8” x 23-9/16”; sheet size 42” x 29¾”. Titled, numbered 6/100, and signed in pencil by the artist in the lower margin. Fine overall condition.

$625

Marion Greenwood (1909 - 1970)

Marion Greenwood, a painter and printmaker, was born in Brooklyn, New York. She studied at the Art Students League of New York and at the Académie Colarossi in Paris. Upon completion of her studies, Greenwood produced lithographs paintings before moving to Mexico, where she produced a number of murals for the Mexican government before returning to the United States in 1936. She painted more murals here, and was then hired by the U. S. Army as a war artist, traveling to south Asia. Upon her return, Greenwood was a guest professor of fine arts a the University of Tennessee, where she painted a mural at the University Center there. She died in Woodstock, New York.

Black Eyed Susan

Lithograph, 1949, edition of 250. Image size 8-3/4” x 11-5/8” with full margins. Signed in pencil by the artist lower right corner. Published by Associated American Artists, New York. A fine impression, lightly toned. Matted using archival materials.

SOLD

Haitian Musicians

Lithograph, 1953, edition of 250. Image size 13-3/4" x 9" with full margins. Signed in pencil by the artist lower right corner. Published by Associated American Artists, New York. A fine impression, lightly toned. Matted and framed using archival materials.

$400

The Window

Lithograph, 1950, edition of 250. Image size 12½” x 9-3/8” sheet size 16-1/8” x 12¼”. Signed in pencil by the artist lower right corner. Published by Associated American Artists, New York. Fine overall. Small crease lower RH corner, mounting tape remnants upper corners well away from image. Matted using archival materials.

$475

William Victor Gropper (1897 – 1977)

Painter, muralist and lithographer William Gropper, the son of Romanian Jewish immigrants and the eldest of six children, was raised in extreme poverty on Manhattan's Lower East Side. The Darwinian exploitation of immigrants in early Twentieth Century America was a particularly painful and cruel experience for William, whose university-educated and multilingual father was compelled to earn a meager living doing piecework at home for sweatshop employers in the garment industry. The loss of a favorite aunt in the Triangle Shirtwaist fire of 1911 further hardened Gropper's radical political views.

His natural artistic talent led to early instruction at the Ferrer School in New York, where he studied under both George Bellows and Robert Henri. At the age of 16, Gropper received a scholarship to the National Academy of Design but was expelled because of his defiant behavior, but two years later he received a scholarship to the New York School of Fine and Applied Arts under Frank Parsons, and there he gained recognition for his talent, leading to a staff position on the New York Tribune, where he worked for several years.

Gropper naturally gravitated to The Masses and its staff talented artists. In 1917, following the Post Office's ban on that magazine due to its aggressive pacifism, Gropper joined the staff of its successor, The Liberator, and contributed work to several other radical publications and to several mainstream periodicals including The Bookman and The Dial. During the Great Depression, Gropper found work as a muralist in the W.P.A. Federal Artists' Project and also produced freelance art with strong anti-fascist themes. Despite his blacklisting following testimony before the House Un-American Activities Committee in 1953, William Gropper was elected an Associate Academician of the National Academy of Design in 1974; He died at Manhasset, New York.

The Little Tailor

Original pastel drawing, ca. 1955. Overall sheet size 16½" x 24½. Signed by Gropper in the lower image area. Fine overall condition.

In 1955, Dodd, Mead & Company published The Little Tailor, written and illustrated by Gropper. This image in all probability a preliminary drawing for the project. It bears strong stylistic resemblance to the illustrations in the book, but it does not appear there. The book, incidentally, is a charming and emphatically hopeful portrayal of the American immigrant experience.

$1,275

Johnny Appleseed

Lithograph, 1941; edition not stated. Image size 8-7/8” x 13¼; sheet size ”12¼” x 15¾”. Signed in the stone and in pencil by the artist in the lower margin. A richly inked impression of this iconic American character in fine overall condition.

$275

Elias Mandel Grossman (1898 - 1947)

Elias Mandel Grossman (1898 – 1947)

Painter, etcher, and lightographer Elias Grossman was born in Kobryn, Russia and emigrated to the United States and settled in Brooklyn, New York with his family in 1911. He studied at the Educational Alliance Art School; the Cooper Union; and the Art Students' League of New York. By the late 1920s, Grossman had become widely recognized for his etchings and engravings depicting New York and other American cities. In the 1930s and 1940s he traveled extensively; the etchings resulting from these travels depicted locations in southern Europe and the Holy Land.

His was a member of the Society of American Etchers, and worked for the W.P.A. Federal Arts Program. He exhibited widely during the late 1930s and 1940s. His work is held by numerous institutions including the New York Public Library, the Metropolitan Museum of Art, New York; The British Museum, and the Tel-Aviv Museum.

South Street (after rain)

Etching, ca. 1935; edition size unknown. Image size 9-7/8” x 7-7/8”; sheet size11-1/16” x 9-3/16”. Printed by the artist on cream wove paper; titled and signed in pencil in the lower margin. A rich, well-inked impression in very good overall condition, with minor adhesive staining on reverse

$725

George Grosz (1893 - 1959)

Painter, watercolorist, draftsman and teacher George Grosz (originally Georg Ehrenfried Gross) was born in Berlin. He developed his natural aptitude for drawing by copying genre paintings and creating imagined battle scenes. His formal studies began with a weekly drawing class followed by two years at the Dresden Academy of Fine Arts (1909 - 1911). He then attended the Berlin College of Arts and Crafts, where he studied under Emil Orlik. He was associated with Max Beckmann and Otto Dix in the New Objectivity movement and was a member of the Berlin Dada circle.

Grosz served two stints in the army beginning in late 1914 and ending with his permanent discharge in May of 1917. His wartime experiences and observations radicalized Grosz, who ultimately joined the Spartacist League - which months later became the Communist Party of Germany (KPD) - and participated in the Spartacist uprising in January, 1919. His early cycle of highly satirical drawings, Gott mit uns, drew the wrath of the army and government: Grosz was fined 300 marks and the collection was destroyed. A six month trip to the Soviet Union in 1922 left Grosz disillusioned with Lenin and his followers. He resigned his membership in the KPD, but remained a committed pacifist and scathing critic of the hypocrisies of bourgeois German society.

Apart from iconic individual works including Germany: A Winter's Tale and Republican Automaton, Grosz is perhaps best known for the publication of the bitterly satirical Ecce Homo, which in its entirety comprised a suite of one hundred reproductions of sixteen original watercolors and eighty-four pen and ink drawings. Ecce Homo was published in a total edition of about 10,000 copies - which included five variations - by Der Malik Verlag, Berlin, in late 1922, though it bears a 1923 publication date.

The uproar over its publication led to a lawsuit against Grosz and the principals of Der Malik Verlag. Grosz was and his co-defendants were convicted of “disseminating indecent publications,” and the artist was fined 6,000 marks. In addition, the court ordered the confiscation of thirty-four of the individual plates, though ultimately that number was reduced to twenty-three. In consequence, the number of copies of the full edition sold prior to the legal wrangle (variants A and C) was less than originally proposed, though it is neither known how many unexpurgated copies were actually sold nor how many of them survived the depredations of the censors and the National Socialist government that took power ten years later.

The notoriety enjoyed by Grosz as a result of the trial solidified his reputation as a leading artist. He continued to assail the power elite and the political right throughout the Weimar era with his drawings and paintings, becoming more disillusioned as the social and political climate grew more unstable and ominous.

In 1932, Grosz was invited to teach during the Summer term of the Art Students' League in New York. In spite of the socio-economic disruptions caused by the Depression, he found a welcome optimism there that contrasted strongly with the anger and resentment rampant in German society. Offered an extension of his contract at ASL, Grosz returned to Germany long enough to gather his family and possessions, and fortuitously departed for the United States just two weeks prior to Hitler's appointment as Chancellor. Under the National Socialist regime, Grosz and his work were aggressively denounced. He was one of the leading objects of scorn at the notorious Degenerate Art exhibit staged by Goebbels in 1937. Many of his paintings, drawings, and books – including untold numbers of copies of Ecce Homo – were destroyed.

Grosz remained in the United States and became a naturalized citizen. In addition to teaching, his satirical work still retained its pacifist tenor but ultimately gave way to landscape paintings. He was elected an Associate Academician in the National Academy of Design in 1950. In 1959, Grosz and his wife returned to Germany. He died in Berlin later that year as the result of a fall.

Passanten (Passers-by)

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1921. Image size 7¾" x 10½"; sheet size 10¼" x 13-7/8". Plate I of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original is in an unnamed private collection.

$1,900

Whisky

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1918. Image size 6-1/8" x 10½"; sheet size 10¼" x 13-7/8". Plate II of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original is in the Wilhelm Hack Museum, Ludwigshafen, Germany.

$1,400

Der Mensch ist gut (People are good)

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1919. Image size 8" x 10½"; sheet size 10¼" x 13-7/8". Plate XII of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. Whereabouts of the original is unknown.

$1,900

Niederkunft (Confinement)

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1917. Image size 8" x 10-7/8"; sheet size 10¼" x 13-7/8". Plate VI of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original is in the Staatsgalerie Stuttgart, Graphische Sammlung.

$1,700

Schönheit, dich will ich preisen (Beauty, I praise thee)

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1919. Image size 7½" x 11-1/8"; sheet size 10¼" x 13-7/8". Plate III of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original is in Galerie Nierendorf, Berlin.

$1,800

Ecce Homo (Behold the Man)

Seven color offset lithograph, 1922; reproduction of original watercolor created in 1921. Image size 8" x 10½"; sheet size 10¼" x 13-7/8". Plate IV of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The whereabouts of the original watercolor is unknown.

$1,900

Walzertraum

Seven color offset lithograph, 1921; reproduction of original watercolor created in 1921. Image size 7¾" x 10½"; sheet size 10¼" x 13-7/8". Plate XIII of XVI color plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. Formerly in the collection of Murray B. Cohen of New York, the original watercolor was auctioned in 1977, buyer unknown.

$1,900

Entkleidung (Disrobing)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1921. Image size 7½" x 11"; sheet size 10¼" x 13-7/8". Plate 9 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$625

Mord (Murder)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1916. Image size 5¾" x 9"; sheet size 10¼" x 13-7/8". Plate 12 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$475

Akrobaten

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1915. Image size 7¾" x 7"; sheet size 10¼" x 13-7/8". Plate 50 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$575

Promenade

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1922. Image size 8½" x 8"; sheet size 10¼" x 13-7/8". Plate 28 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin.

$475

Ledebour

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1919. Image size 7-5/8" x 9½"; sheet size 10¼" x 13-7/8". Plate 54 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. Social Democrat Georg Ledebour (1850 - 1947) served in the Reichstag from 1900 to 1918 and in a principled stand in the face of overwhelming pro-war sentiment voted against funding legislation in 1914. He emigrated to Switzerland in 1933. The location of the original drawing is not known.

$625

Ehrenmann (Man of Honor)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1921. Image size 7-5/8" x 9"; sheet size 10¼" x 13-7/8". Plate 59 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$425

Eheszene (Domestic Scene)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1916. Image size 7-7/8" x 8"; sheet size 10¼" x 13-7/8". Plate 63 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$625

Köpfe (Heads)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1921. Image size 7½" x 8¼"; sheet size 10¼" x 13-7/8". Plate 80 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$475

Das Ende

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1917. Image size 7½" x 11"; sheet size 10¼" x 13-7/8". Plate 83 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$675

Der absolute Monarchist

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1918. Image size 6¼" x 11"; sheet size 10¼" x 13-7/8". Plate 35 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original pen and ink drawing is in the holdings of the artist's estate.

$425

Aenne

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1921. Image size 7-1/8" x 11"; sheet size 10¼" x 13-7/8". Plate 38 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The print is in fine condition; outer corners of sheet are bumped but well away from the image; binding marks in left margin. The location of the original drawing is not known. However, a larger copy, with an image measuring approximately 8" x 12½", signed by Grosz and annotated Probedruck II (trial proof II) bears the artist's estate stamp on the verso and pre-dates the version listed here.

$525

Querschnitt (cross section)

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1920. Image size 6¼" x 11"; sheet size 10¼" x 13-7/8". Plate 68 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are bumped but well away from the image; binding marks in left margin. This drawing depicts the turmoil that wracked postwar Berlin. The 1920 creation date is uncertain: Grosz himself dated an earlier version of the plate 1919. The location of the original drawing is not known.

$675

Dr. Benn's Nachtcafé

Offset lithograph, 1922; reproduction of original pen-and-ink drawing, 1918. Image size 10¼" 8"; sheet size 13-7/8" x 10¼". Plate 79 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are bumped but well away from the image; binding marks in left margin. The location of the original drawing is not known.

$575

Das Vaterunser (The Lord's Prayer)

Offset lithograph, 1922; reproduction of original ink and wash drawing, 1922. Image size 7-7/8" x 10-3/8"; sheet size 10¼" x 13-7/8". Plate 84 of 84 black and white plates in Ecce Homo, original edition, variant C, published by Der Malik Verlag, Berlin. The image is in fine condition; outer corners of sheet are wrinkled but well away from the image; binding marks in left margin. The original drawing is in the collection of Murray B. Cohen, New York.

$675

Pierre Gusman (1862 - 1941)

Born in Paris, Pierre Gusman was the son of Adolphe Gusman, a famous engraver in his own right who collaborated with Gustave Doré. From 1880, Pierre apprenticed to his father, and in 1894 received a free scholarship from the Salon des Artistes Français, enabling him to travel extensively through much of Europe. While Pierre produced a large body of work in an homage to classical style, his first interest lay in scholarship. In 1911 he founded the Société de la Gravure sur Bois Originale. He established Nouvel Imagier in 1914, a publication showcasing woodcuts in well designed typographic settings. In 1921, he founded BYBLIS, devoted to fine books and engravings, and finally, Gusman founded the La Societé Saint-Eloi an association of contemporary French etchers. In his studies, Gusman also determined that Armenia was the birthplace of end grain engraving. For his contributions to to the arts, he was made a Chevalier of the Legion of Honor.

Entrée du jardin de Pomone

Woodcut, 1925, initialed in the block. Edition not stated. Image size 2-3/4” x 5”; sheet size 5-5/8” x 9”, published by The Print Connoisseur, Volume V, Number 1, January 1925. A good impression; with a very clean background. Reverse of sheet is spotted and toned due to contact with the apparently acidic cover stock.

$40

Frederick Garrison Hall (1879 - 1946)

Born in Baltimore, Maryland, Hall was an architect by training. He launched his career as an etcher with a number of pastoral scenes beginning in 1918, following studies under William Paxton and Henri Royer. Through the 1920s, Hall produced a number of compelling works depicting notable American and European buildings and settings. He lived and worked in Boston and Gloucester, Massachusetts and was a member of numerous professional societies. His work is represented in the collections of many leading museums and institutions here and abroad.

By The Pond

Etching, 1921, edition not stated. stylized initials in the plate. Image size 4-3/4” x 7¼”; sheet size 5-5/8" x 9”. Published by The Print Connoisseur, Volume I Number 3, March 1921. Fine condition; matted with archival materials.

$140

Old Willows

Etching, ca. 1917; edition of 50. Image size 8¼" x 7"; sheet size 10" x 8½". Signed "F. G. Hall" in pencil in lower right-hand margin. A very good impression. Hall No. 4

$275

Kleber Hall ( 1882 - ?)

Painter, sculptor, and etcher Kleber Hall was born in Pittsfield, Massachusetts began his working career as a musician playing on coastal steamers plying the waters of Long Island Sound. The origins of his artistic training are obscure, but he is known to have been a drawing instructor in Boston metropolitan area in the late nineteenth and early twentieth centuries, and it is believed that he lived in Somerville, Massachusetts. His body of work covers a wide range of subject matter reflecting the hard times his early years in straitened circumstances and his mature, more prosperous days. He is known to have illustrated the second printing of A Quaker Girl From Nantucket in 1925, first published in 1889.

Portrait Study

Etching, 1928. Edition not stated, Signed and dated in plate. Image size 4-5/8" x 6-5/8"; sheet size 5-3/4" x 9-1/8". Published by The Print Connoisseur, Volume VIII, Number 3, July, 1928. Very good condition.

$75

Peter Handel (1949 - )

Photographer and print maker Peter Handel was born in Anklam, Germany, received his art training at Duisburg, and lectured there from 1977 to 1982. He has participated in numerous group exhibitions in Europe, Asia, and the United States. His work is held in numerous public and private collections.

Christiane 2

Mezzotint with aquatint, 1994, edition of 150. Image size 17-13/16" x 23-3/8"; sheet size 22-1/8" x 31". Artist's proof, printed by Peter Handel on 300 gram Hahnemüle Bütten mold made paper. Signed in pencil in the lower margin. A fine, richly inked impression.

SOLD

Imke

Mezzotint with aquatint, 1983, edition of 50. Image size 19-7/16" x 20½"; sheet size 27-7/8" x 31". Numbered 6/50 and printed by Peter Handel on 300 gram Hahnemüle Bütten mold made paper. Signed in pencil in the lower margin. A fine, richly inked impression.

$850

Kathi

Mezzotint with aquatint, 1999, edition of 150. Image size 11-5/8" x 15½"; sheet size 20-7/8" x 29¾". Numbered 99/150 and printed by Peter Handel on 300 gram Hahnemüle Büttenmold made paper. Signed in pencil in the lower margin. A fine, richly inked impression.

$750

Kathi 2

Mezzotint with aquatint, 2003, edition of 150. Image size 17-13/16" x 23-3/8"; sheet size 22-1/8" x 31". Artist's proof, printed by Peter Handel on 300 gram Hahnemüle Bütten mold made paper. Signed in pencil in the lower margin. A fine, richly inked impression.

$800

William Lee Hankey (1869 - 1952)

Painter, printmaker and book illustrator William Lee Hankey was born in Chester, England. He studied at the Department of Art and Design at the University of Chester (then the Chester School of Art), followed by additional studies at the Royal College of Art. In 1895, Hankey exhibited at the Royal Academy in London. Before his departure for France, he presided over the London Sketch Club from 1902 to 1904.

Thereafter, and through the period of the First World War, Hankey lived in France and was influenced by the work of Jules Bastien-Lepage. His watercolors earned high praise but beginning in 1902, he was particularly celebrated for his etchings, both monochrome and color, and later for his drypoints, whose subjects were derived from earlier watercolors or based on both pastoral life and the subsequent disruptions of the Great War. From 1936, he was a member of the Royal Society of Painters in Watercolors, and was elected its President in 1947.

He was awarded medals at the 1929 Barcelona International Exposition and a bronze medal at the 1933 Chicago World’s Fair. He died in London.

The Prayer

Etching and aquatint on cream laid paper, ca. 1925; edition of 32. Image size 6-3/8” x 9-7/8”; sheet size 10¼” x 15-3/8”. Artist's device in plate, blind stamp in the lower margin, and signature in pencil beneath the plate mark. Fine. Thanks to Katherine Jones for clarification of edition and image sizes.

$750

Theodore B. Hapgood (1871 - 1938)

Theodore Hapgood was born in Somerville, Massachusetts and studied at The School of the Museum of Fine Arts in Boston. In the late 1890s, he designed posters for important publications including The Century Magazine, The Inland Printer, and for Little, Brown & Company and other publishers. His work exemplified impeccable craftsmanship and found its way into book covers and jackets, monuments, vignettes and ecclesiastical vestments. He is best known for his bookplates, some of which were reproduced in The Hapgood Brochure (Charles Goodspeed, 1907). Some of Hapgood’s bookplates were exhibited in the landmark Wellesley College arts and crafts show “Inspiring Reform.” He died in Boston.

Farrier Greeting Card

Woodcut, 1930. Not signed, edition not stated. Image size 4¼" x 5-3/4"; sheet size 5-5/8" x 9". Published in The Print Connoisseur, Volume X Number 1, January, 1930. Fine overall condition.

$25

Hapgood Greeting Card

Woodcut, 1930. Not signed, edition not stated. Image size 4¼" x 5-3/4"; sheet size 5-5/8" x 9". Published in The Print Connoisseur, Volume X Number 1, January, 1930. Fine overall condition.

$25

Herbert Johnson Harvey (1884 - 1928)

Herbert Johnson Harvey, whose father John Rabone Harvey was himself a noted artist, was a landscape and portrait painter as well as a metal worker. His work was exhibited at the Royal Academy and throughout England. During the 1920's he etched penetrating portrait studies with the warmth and character of Old Master works. He lived in Birmingham and later in London at Earl's Court. Biographical information is sadly scant; an artist with such gifts ought to be more widely known and recognized than is apparently the case. Additional information will be greatly welcomed and appreciated.

The Jolly Vagabonds

Etching, 1928; edition of 75. Image size 8-5/16” x 8”; sheet size 15¼” x 10-7/8”. Signed in the plate. Signed and numbered 56/75 in pencil in the lower margin. A remarkable work in fine condition. Recognized as one of the 100 notable prints of 1928, the year of the artist's untimely death.

$975

Rudolf Hausner (1914 - 1995)

Rudolf Hausner was born in Vienna and studied art at the Academy in Vienna from 1931 to 1936 under Carl Fahringer and Karl Sterrer. Like so many of his generation, much of his work was declared “degenerate” and banned by the government with the rise to power of National Socialism. He was drafted into service for the duration of the Second World War in 1941; upon discharge, Hausner returned to Vienna and studied Surrealism. He is one of the founders, along with Ernst Fuchs and Wolfgang Hutter, of the Viennese School of Fantastic Realism. During this time he also held principal teaching posts at the academies of Vienna and Hamburg. He died in Vienna.

Adam bezüglich (Regarding Adam)

Overprinted color lithograph, 1969. Edition of 100, numbered 74/100 and signed in pencil by the artist, lower margin. Image size 16-7/8" x 11½"; sheet size 16½" x 21½". Published by Rembrandt Verlag, Berlin. Fine.

$900

James D. Havens (1900 - 1960)

Printmaker and painter James Dexter Havens was born in Rochester, New York. Following instruction at the University of Rochester, he studied printmaking under Troy Kinney and at the Woodbury School in Ogunquit, Maine. He was a founding member of the Print Club of Rochester, whose logo he designed. Stricken with childhood diabetes at age 14, he was the first person in the United States to be treated with insulin, greatly enhancing and prolonging his life.
Havens is best known for his color woodcuts and was a leading artist in the 20th century color woodblock revival in America. His work is held by The Library of Congress, the Metropolitan Museum of Art in New York, the Memorial Art Gallery of the University of Rochester, and numerous other institutions. He died at Rochester.

Shy Veery

Color woodcut on wove paper, 1949; edition of 200. Image size 4” x 6”; sheet size 7¼” x 9-3/16”. Published by The Woodcut Society, Hicksville, New York. Signed and dated by the artist in pencil in the lower margin. A fine impression in overall fine condition, accompanied by the original presentation folder.

$375

William H. Hays (1956 - )

A long-time resident of Brattleboro, Vermont, painter and printmaker William Hays studied at the Virginia Polytechnic Institute, the Virginia State University in Blacksburg, and the University of Alaska in Anchorage. He has worked in graphic arts and illustration as well as portraiture, landscape and marine painting. In recent years, he has gradually changed the focus of his work from paintings to remarkably intricate reduction linoleum prints in which each of as many as nine colors are carefully registered to one another and printed to produce the final image. Those of you who have visited Brier Hill Gallery recognize that our bias is for prints in black and white. William Hays' linoleum prints are one of few exceptions not merely because of their inherent beauty but also for the astonishing technical sophistication needed to bring these images to life.

Liverpool Ladies

Etching, 2008; edition of 25. Image size 5” x 6-7/8”; sheet size 7½” x 9-5/8”. Printed by the artist; titled, numbered 8/25, and signed in pencil in the lower margin. Liverpool, Nova Scotia was once a thriving fishing community on the Atlantic coast, but fell victim to the collapse of the fish population in recent years. This etching depicts the tangible result of the collapse of the Atlantic fisheries in this portrait of two mothballed fishing boats awaiting their fate. At least one of the two has already been sold by its owner for scrap value. Fine.

SOLD

Daybreak Snowfall

Linocut, 2011; edition of 6. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 3/6 and signed in pencil in the lower margin. Fine

SOLD

Brattleboro Winter

Etching, 2009; edition of 25. Image size 4-3/4” x 6-3/4”; sheet size 7½” x 9-3/4”. Printed by the artist; titled, numbered 6/25, and signed in pencil in the lower margin. Fine.

SOLD

Forest in Moonlight

Reduction linoleum cut in seven colors, 2012; edition of 46. Image size 12" x 9"; sheet size 14" x 11". Printed by the artist. Titled, numbered 13/46, and signed in pencil in the lower margin. The subtle use of use of tonal variations in the printing sequence creates a beguiling illusion of depth. Fine.

SOLD

Vermont River

Linocut, 2009; edition of 11. Image size 7” x 5”; sheet size 9½” x 7½”. Printed by the artist; titled, numbered 2/11, and signed in pencil in the lower margin. Fine.

SOLD

Herd

Monoprint, 2012. Image size 6-5/8” x 4”; sheet size 9¼” x 7-1/8”. Printed by the artist; titled and signed in pencil in the lower margin. Fine.

$75

Dutchman's Pipe

Etching, 2008; edition of 25. Image size 6-7/8” x 5”; sheet size 9½” x 7½”. Printed by the artist; titled, numbered 7/25, and signed in the lower margin. Fine.

$95

Jim's Farm II

Reduction linoleum cut in three colors, 2014; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled numbered 1/2, and signed in pencil in the lower margin. Fine.

SOLD

Snowy Roost - First State

Linoleum cut, 2007; edition of two. Image size 6-3/4” x 4-3/4”; sheet size 9” x 7”. Printed by the artist; titled, noted "1st state", and signed in pencil in the lower margin. Fine.

SOLD

Forest Watch

Linoleum cut, 2011; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 1/2, and signed in pencil in the lower margin. Fine.

SOLD

Crowful Quiescence III

Linoleum cut, 2009; edition of 11. Image size 12” x 9”; sheet size 14” x 11”. Titled, numbered 2/11, and signed in pencil in the lower margin. Fine.

$125

Winter Birches

Linoleum cut in two colors, 2010; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 2/2, and signed in pencil in the lower margin. Fine.

SOLD

Arthur William Heintzelman (1891 - 1965)

Born in Newark, New Jersey, Arthur William Heintzelman was a painter, etcher, copyist, teacher, and curator. Raised in Providence, Rhode Island, he first studied art at the Rhode Island School of Design, where he subsequently taught, and also in Europe. In 1921, the Heintzelmans moved to Paris and made their home in France, subsequently moving to Switzerland in 1931 and remaining there until 1934, when they returned to the United States. Already widely respected as a printmaker prior to his departure for Europe, he became internationally famous during his years abroad and was - and is - regarded as one of the greatest etchers of the Twentieth Century. During his years in Paris, Heintzelman met Eugène Delatre, who became his printer for the remainder of his stay in Europe, and who taught Heintzelman the intricacies of fine arts printmaking for which his atelier was justly famous. In appreciation for his contribution to French art and culture, Heintzelman was named to the Legion of Honor by the French government.

Following his return to the United States, Heintzelman became the first Keeper of Prints at the Boston Public Library and served there from 1941 to his retirement in 1960. Thanks to his close relationship with the Delatre family, Heintzelman coordinated the gift of the comprehensive collection of prints by both Auguste and Eugène Delatre to the Boston Public Library. He was succeeded as Keeper of Prints by Sinclair Hitchings. Heintzelman also headed the Fine Arts department of the Rhode Island School of Design. He was awarded numerous international prizes for his etchings, and his works are found in museum collections through the US and Europe. Heintzelman belonged to numerous professional associations both here and abroad. He lived and worked in Boston, Marblehead, and Rockport, Massachusetts and in New York City. He died at Rockport, Massachusetts.

The works of Heintzelman are presented in chronological order in accordance with The Prints of Arthur Wm. Heintzelman, the catalog raisonné compiled by Donald Eugene Smith and publsihed by the Boston Public Library in 2004. This, the first of three galleries, contains works by Heintzelman published from 1915 through 1924; Gallery 2 contains works published from 1925 through 1929; and Gallery 3 contains works published from 1930 onward.

A Market Woman

Etching, 1915; edition of 50. Image size 2¾” x 4”; sheet size 8-1/16” x 10¼”. Signed in pencil by Heintzelman in the lower margin and numbered 22. A rich, dark impression in fine overall condition. Guiot 3; Smith 3.

$325

Sands at Russell's Island

Etching, 1917; edition of 60; Image size 4” x 5”; sheet size 6-7/8” x 8-3/8” Signed in pencil by Heintzelman in the lower margin. Faint toning in mat aperture, otherwise fine. Guiot 24; Smith 27.

$175

Dorothy

Etching on Japan paper, 1916; edition of 22. Image size 4” x 6”; sheet size 7¼” x 9-1/8”. Signed and numbered 9 by the artist in the lower margin; titled and edition stated in pencil at lower edge of sheet. A very good impression in very good condition, with slight rippling at upper and lower edges of sheet well away from the sight area. Smith 34; Guiot 31.

$325

The Violinist

Etching, 1917; edition of 50. Image size 5-3/8: x 3-3/8”; sheet size 10-5/8” x 8”. Both Guiot and Smith incorrectly state width of image as 3-3/8”. A fine impression in overall fine condition. Guiot 35; Smith 28.

$300

Head With Black Drape

Etching, 1918; edition of 75. Image 4” x 5”; sheet 5¼” x 6¾”. Signature and edition size annotated in pencil in the lower margin. fine overall condition. Both Guiot and Smith state edition size of 75; this proof is numbered 35, likely belonging to that portion of the edition printed on either Shogun (10) or old paper (25). Guiot 40; Smith 43.

$225

A Country Blacksmith

Etching, 1918; edition of 50 Image size 4½” x 5½”; sheet size 6-5/8” x 8-5/16”. Signed in pencil in the lower margen. A fine impression in overall fine condition. Guiot 41; Smith 44.

$275

Head Study (No. 1)

Etching, 1918; edition of 60. Image size 4-15/16” X 7-7/8”; sheet size 7-9/16” X 10-9/16”. Signed in pencil by the artist in the lower margin. A rich, well-inked impression in overall fine condition. Smith 45; Guiot 42.

$225

On the Old Magnolia Road

Etching, 1919; edition of 50. Image size 4” x 5”; sheet size 7-7/16” x 8-7/8”. Signed in pencil in the lower margin. A fine impression in fine overall condition. Guiot 49; Smith 53.

$275

Sultry Afternoon

Etching, 1919; edition of 75. Image size 5-7/16” x 8”; sheet size 8-1/8” x 10-5/16”. Signed by Heintzelman in the lower margin. A fine impression in overall fine condition. Smith 62.

$225

Early Morning Along The Shore

Etching, 1919; edition of 75. Image size 4½” x 5-7/16”; sheet size 8½” x 10-1/16”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall fine condition. Smith 63.

$225

Old White Horse

Etching, 1919; edition of 50. Image size 4” x 5”; sheet size 9-7/16” x 13¾”. Signed in pencil by Heintzelman in the lower margin; A fine impression in fine overall condition. Guiot 54; Smith 58.

$275

High Pastures

Etching, 1919; edition of 50.Image 5” x 4”; sheet 7-13/16” x 6-15/16”. Signed in pencil by Heintzelman in the lower margin. Title and notations in pencil by others in lower portion of sheet; tape remnants from prior mount on upper edge verso, A fine impression in near-fine condition. Guiot 56; Smith 60.

$185

The Walrus

Etching, 1919; edition of 50. Image size 4-7/8” x 6-3/8”; sheet size 7¾” x 9¼”. Signed in pencil by the artist in the lower margin. Fine overall condition. Smith 65; Guiot 61.

$225

Three Score and Ten

Etching, 1919; edition of 100. Image size 8-3/8” x 10-7/16”; sheet size 11-1/8” x 14-1/16”. Signed in pencil by Heintzelman in the lower margin. Fine impression in overall fine condition. Smith 66.

$275

The Pilgrim

Etching, 1919; edition of 100. Image 6” x 8;” sheet 8-15/16” x 11”. Signed in pencil by Heintzelman in the lower margin, annotated 100 proofs in lower RH corner of sheet. Tape remnants in upper corners verso. A beautiful impression in overall fine condition. Guiot 63; Smith 67.

$325

Portrait Study of an Old Man

Etching on Van Gelder laid paper, 1919; edition of 100. Image size 8-7/8” x 12-5/8”. Signed in pencil by Heintzelman in the lower margin. Tape remnants on LH side of sheet verso. A fine impression in overall fine condition. Guiot 65; Smith 69.

$275

Old Man in Italian Cap

Etching, 1920; edition of 250. Image size 6-7/8” x 8-7/8”; sheet size 11½” x 14-3/8”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall fine condition. Guiot 69; Smith 73.

$425

The Little Gamin

Etching, 1920; edition of 40. Image size 2-1/8” x 4”; sheet size 5-1/16” x 6¾”. Signed in pencil by Heintzelman in the lower margin. Guiot 70; Smith 74. Fine.

$175

Old Man (Profile)

Drypoint, 1921 on Arches. Plate size 3-3/8" x 5-3/8"; sheet size 5-3/4" x 9". The total edition of 1,100 consisting of 1,000 proofs signed and dated in the plate (of which this is an example), together with 100 prints also signed in pencil by the artist in the lower margin. Published by The Print Connoisseur, Volume II Number 3, March, 1922. This is the first print by Heintzelman produced in Paris. A beautiful image in fine condition. Guiot 71; Smith 75.

$325

La Marchande de Café au Lait

Etching outside of edition, 1921 on Italian mold-made paper*, stated edition of 100 (plus 4 for a private collection). Image size 8” x 8¾”; sheet size 10¼” x 12-1/8”. Signed “A. W. Heintzelman / Paris ‘21” in the plate, and in pencil in the lower left margin. Titled in pencil in the lower right-hand edge of the sheet. Very faint toning in the sight area and tape remnants in the upper corners of the sheet verso. The sheet is fractured for approximately four inches along the upper right-hand edge of the plate impression, but the damage is not visible without back-lighting. Otherwise, a beautifully detailed impression in overall fine condition. Guiot 72; Smith 76.

*This proof was apparently made by Heintzelman outside of the stated edition, since the paper is not Van Gelder. The partial watermark may either be a basket or a crown, with the words “UMBRIA / ITALIA beneath.

SOLD

Etude pour Merci

Etching, 1922; edition of 100. Image 2½” x 2-7/8”; sheet 9” x 12¾”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall near-fine condition, with faint toning in the sight area. Guiot 73; Smith 77.

$225

Merci

Etching, 1922; edition of 100. Image 5¾” x 6”; sheet 7½” x 10-5/8”. Signed in the plate “Heintzelman / Paris ‘22” and in pencil in the lower margin.Faint toning in sight area, with a small paper loss at the upper right-hand corner of the sheet, else fine. Guiot 74; Smith 78.

$425

La Grand’mère Forain

Etching, 1922; edition of 100. Image size 8-5/8” X 11-3/4”; sheet size 11-1/8” x 14-5/8”. Titled and signed in the plate; signed in pencil by the artist in the lower margin. Fine. Smith 79; Guiot 75.

$450

La Paysanne de Saint-Germain

Etching, 1922; edition of 100. Image size 8” x 8½”; sheet size 11-3/8” x 13-1/8”. “A. W. Heintzelman / St Germain-en-Laye” engraved in plate. Signed by Heintzelman in pencil in the lower margin. A beautifully inked image in overall fine condition. Guiot 77; Smith 81.

$475

Etude de Tête (No. 1)

Etching, 1922; edition of 50. Image 2½” x 3¼”; sheet 9” x 12-5/8”. Signed in pencil in the margin. Fine condition. Guiot 79; Smith 83

$125

Hors Service

Etching, 1923; edition of 50. Image size 3¼” x 5½”; sheet size 9” x 10¾”. Signed in pencil by Heintzelman in the lower margin. A well-inked impression in overall fine condition. Guiot 82; Smith 86.

$275

Une Propriétaire de Cayeux

Etching, 1923; edition of 100. Image 4” x 5”; sheet 8-15/16” x 12¾”. A fine impression with a faint smudge in the right-hand margin of the sheet and two small spots, all well away from the sight area. Guiot 84; Smith 88.

$375

Jeune Mère Basque

Drypoint, 1927; edition of 76. Image size 6-5/8” x 10½”; sheet size 11¼” x 15”. Annotated “Ed 76” and signed in pencil by Heintzelman in the lower margin. A fine impression with minor rippling at edges of sheet not affecting the sight area. Guiot 126; Smith 133.

SOLD

Etude de Tête (No.2)

Etching, 1923; edition of 100. Image 3¼” x ¾”; sheet 9” x 12¼”. Signed in pencil by Heintzelman in the lower margin and marked “P.C.”. Fine. Guiot 87; Smith 91.

$175

A Donkey Cart in Montmartre

Etching, 1923; edition of 300. Image size 7-5/8” x 9-1/2”; sheet size 12-5/8” x 14-1/2”. Signed in the plate and in pencil by the artist in the lower margin. Ohio Society of Etchers blind stamp in left margin. Very faint toning in mat aperture area, else fine.

$525

La Poissonnerie

Drypoint, 1923; edition of 75 - one of 72 on Van Gelder. Image size 9½” x 12”; sheet size 11” x 15”. Printed by Eugène Delâtre, Paris. Signed both in the plate and in pencil by the artist in the lower margin. Near fine, with soft bending in the margins not affecting the sight area. Collections of the British Museum, London and The Metropolitan Museum of Art, New York. Guiot 89; Smith 93.

$325

Objets d'Art

Etching, 1923; edition of 70. Image size 9½” x 6½”; sheet size 12-5/16” x 9-7/16”. Signed in the plate and in pencil by Heintzelman in the lower margin. A beautifully inked impression in fine condition. Guiot 90; Smith 94.

$325

Le Châle

Etching, 1923; edition of 80. Image 8-13/16” x 11-11/16”; sheet 11-1/8” x 14-13/16”. Signed in pencil by Heintzelman in the lower margin. Overall good+ condition, with moderate toning in the sight area. Guiot 91; Smith 95.

$325

Crucifix (large plate)

Drypoint, 1924; edition of 80. Image size 9-3/8” x 11”; sheet size 10½” x 15½”. Signed in pencil by Heintzelman, and annotated “2nd state 5/40”. Very good overall, with a stain in the lower right-hand quadrant of the image area (see illustration). Guiot 93; Smith 99.

$275

L'Ouvrier

Etching, 1924; edition of 100 on Van Gelder. Image size 2¾” x 3-1/8”; sheet size 9” x 12½”. A fine impression. There are several minor folds and creases at the left edge, well away from the sight area; tape remnants verso for prior mount. Signed in pencil by the artist in the lower margin. Guiot 94; Smith 100. Collection of the British and Victoria and Albert Museums, London; Metropolitan Museum of Art, New York. Guiot 94; Smith 100.

$275

Mendiant Marchant Vers la Gauche

Etching, 1924; edition of 50 (stated by both Guiot and Smith). Image size 2-3/8” x 3”; sheet size 7½: x 11-3/16”. Signed in pencil by Heintzelman in the lower margin and annotated “Ed. 60”. Fine. Guiot 95; Smith 101.

$325

Mendiant Marchant vers la Droite

Etching, 1924; edition of 100 on Van Gelder. Image size 2-3/8” x 2-7/8”; sheet size 9” x 12½”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York. . Guiot 96; Smith 102.

$325

Pêcheur de Saint-Valery

Etching, 1924; edition of 115 - one of 100 on Van Gelder. Image size 2-3/8” x 3”; sheet size 9” x 12½”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York.; Giot 97; Smith 103.

$275

Sur la Place du Marché à Saint-Valery

Etching, 1924; edition of 80 - one of 50 on Van Gelder. Image size 5½” x 4-7/8”; sheet size 12½” x 9”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York. Guiot 98; Smith 104.

$325

Crucifix (small plate)

Drypoint, 1924; edition of 60. Image size 5-7/8” x 8½”; sheet size 10¾” x 14¼”. Annotated “Proof imp. 1st State.” and signed in pencil by Heintzelman in the lower margine. Fine. Guiot 99; Smith 105.

$275

Etude Pour Chanteur Populaire

Etching, 1925; edition of 250. Image size 5-1/16” x 6¾”; panel size 6-3/8” x 9-1/16”. Initialed “AWH” in the plate and signed in pencil by Heintzelman below the plate mark. This plate was the cover illustration of a four-page folder containing the musical program (on page 3) for the 1925 meeting of the Societé de la Gravure Originale en Noir, held on February 12. The dinner menu, on a separate sheet, is laid in. Stamp of the Metropolitan Museum of Art, New York on the two blank pages. Pencil inscription on last page: reads “Chanteur Populaire” / 1925 / Cat. 100 / gift of / Katharine Ticknor Heintzelman / 25 Granite Street / Rockport, Mass. Last page is lightly soiled, with adhesive remnants on the folded edge.

$400

Arthur Wm. Heintzelman Gallery 2

This gallery of prints by Arthur William Heintzelman consists of works published from 1925 through 1929, arranged in order of the catalog raisonné by Donald Eugene Smith, The Prints of Arthur Wm Heintzelman, published by the Boston Public Library in 2004..

Planche aux Cinq Croquis

Etching, 1925; edition of 70. Image size 5-5/8” x 4-1/8”; sheet size 11¾” x 9”. Signed in pencil by Heintzelman in the lower margin. Beautifully inked impression in fine overall condition. Guiot 104; Smith 110.

$425

Les Trois Marie

Drypoint, 1925; edition of 60. Image size 7-7/8” x 11-3/8”; sheet size 12-7/8” x 17¾”. Signed and annotated 1st state by Heintzelman in pencil in the lower margin. Fine. Guiot 111; Smith 117.

$350

Golgotha

Etching, 1925; edition of 100, plus 10 proofs for a private collection. Image size 11” x 15½”; sheet size 12¾” x 17”. Annotated “1st state”. There were no subsequent states. Signed in pencil by Heintzelman in the lower margin. Fine overall condition. Guiot 107; Smith 113

$425

Café Montmartrois

Etching, 1925; edition of 70. Image size 13-3/4” x 10”; sheet size 16-1/2” x 12-3/4”. Signed by the artist and annotated “1st state” in pencil in the lower margin. An attractive image in very good overall condition, with toning in the mat aperture and closed tears in the left margin away from the sight area. Smith 114; Guiot 108.

$275

La Mise au Tombeau

Drypoint, 1925; edition of 50 on Van Gelder plus 8 on old paper. Image size 10-7/8” x 7-7/8”; sheet size 16½” x 12-15/16”. Marked “1st state” and signed in pencil by Heintzelman in the lower margin. There was just one state issued. A fine, detailed impression in overall fine condition. Guiot 109; Smith 115.

$325

Tondeur de Chèvres

Etching, 1926; edition of 100. Image size 3-7/8” x 4¾”; sheet size 9” x 12¾”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 117; Guiot 111.

$325

Prelude

Etching, 1926; edition of 115. Image size 10½” x 9½”; sheet size 15-7/8” x 12-5/8”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall fine condition. Smith 118.

$375

Chanteur Populaire

Etching, 1926; edition of 115. Image size 7-7/8” x 11-1/8”; sheet size 10-3/4” x 15”. Signed in pencil by Heintzelman in the lower margin. A fine, nuanced impression in overall fine condition. Smith 119.

$450

La Balayeuse

Etching, 1926; edition of 6. Image size 3-1/8” x 3-7/8”; sheet size 4-5/8” x 7-1/8”. A fine impression, with faint toning in the sight area. Guiot 114; Smith 120.

$225

La Balayeuse (second state)

Etching, 1926; edition of 125. Image size 3-1/8” x 3-7/8”; sheet size 4-7/8” x 5-1/8”. A fine impression in overall fine condition, with a 3/8” x 5/8” triangular loss at the upper left corner of the sheet, well away from the sight area. Smith 120; Guiot 114.

$200

Maternité

Drypoint, 1926; edition of 80. Image size 6½” x 8½”; sheet size 12¾” x 15”. Edition size and signature by Heintzelman in pencil in the lower margin. Fine. Guiot 116; Smith 122.

SOLD

Sculpteur de Pise

Etching, 1926; edition of 100. Image size 6-3/8" x 8-15/16"; sheet size 11-15/16" x 15-7/16". Numbered and signed in pencil by Heintzelman in the lower margin. A fine impression in fine condition. Guiot 119; Smith 125

$375

Another copy in good condition, numbered and signed by Heintzelman in the lower margin. with minor adhesive stains along the upper edge of the sheet, well away from the sight area.

$225

Vieille Paysanne de Sestri Levante

Drypoint on Van Gelder, edition of 80; image size 6¼” x 9-3/8”; sheet size 12¾” x 13¾”. Edition noted and artist’s signature in pencil in the lower margin. A fine impression on a lightly toned sheet. Smith 126.

$275

Convalescence

Drypoint, 1926; edition of 80. Image size 9¼” x 12”; sheet size 12-5/8” x 15-3/8”. Edition stated and signed by Heintzelman in the lower margin. A beautifull inked impression in fine condition. Foxing and staining in the outer margins well away from the sight area. Guiot 122; Smith 128.

SOLD

Maria

Drypoint, 1926; edition of 100 - this proof is one of 90 on Van Gelder. Image size 2-5/16” x 2¾”; sheet size 8-15/16” x 12-11/16”. Edition and artist's signature in pencil in the lower margin. Very slightly toned in original mat aperture. A fine impression in very good condition. Guiot 124; Smith 131.

$175

La Grand'mère Suisse

Etching, 1927, edition of 125 on Arches. Image size 4-3/8” x 5½”; sheet size 8” x 11”. Signed and titled in the plate. Numbered 41 and signed in pencil by the artist in the lower margin. This etching was used as the frontispiece for Modern American Etchers - Arthur Wm. Heintzelman published in 1927 by Minton Balch & Co. of New York. Fine. Collections of Metropolitan Museum of Art, New York; British Museum, London; Bibliothèque Nationale, Paris; and The Library of Congress, Washington. Guiot 125; Smith 132.

$275

La Fille du Marbrier, Masa Carrara

Drypoint, 1927; edition of 74 on Rives. Image size 9-3/8” x 11-7/8”; sheet size 13-7/8” x 17-7/8”. Titled, initialed, and dated in the plate; edition stated and signed in pencil by the artist in the lower margin. A beautifully rendered image in fine condition. Smith 134. Guiot 127, fourth state. Collection of the Bibliothèque Nationale, Paris; British Museum, London; Metropolitan Museum of Art, New York.

$425

Pecheur Basque

Drypoint, 1927; edition of 70. Image size 7¼” x 10-3/8”; sheet size 9-1/16” x 13½”. Fine. Guiot 128; Smith 135.

$300

Mendiant Italien

Drypoint, 1927; edition of 80. Image size 7¾” x 9-7/8”; sheet size 11¼” x 14¾” . Guiot 129; Smith 136.

$475

Another copy: Faint toning in sight area, else fine.

$425

Gitane de Perpignan

Etching, 1927. Edition of 100. Image size 3” x 5-1/8”; sheet size 9-7/16” x 12¾”. Dated “Perpignan, ‘27” in the plate and signed by Heintzelman in the lower margin. A richly inked, fine impression with faint toning in the sight area.Guiot 130; Smith 137.

$325

Grand-Père Basque

Drypoint, 1927; edition of 75. Image size 7-1/16” x 10-9/16”; sheet size 11-1/8” x 16¼”. Signed in pencil by the artist and annotated “Selected for Monsieur Minitrét” in the lower margin. Fine - a beautiful character study in as-new condition.

$425

L'Enfant de la Montagne

Etching, 1927; edition of 100. Image size 8” x 9-13/16”; sheet size 13¼” x 14½”. Signed and dated in the plate; Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Guiot 132; Smith 139.

$475

L'Accordeoniste

Etching, 1929; edition of 100. Image size 6-5/8” x 5¾”; sheet size 10¼” x 10-1/8”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.

$425

La Femme à la Mêche Tombante

Drypoint, 1929; edition of 75. One of 63 prints on Rives. Plate size 8½” x 11-3/8”; sheet size 14-1/8” x 16½”. Printed by Eugène Delâtre, Paris. Signed in pencil in the lower margin by the artist. A very good impression in very good condition overall. The subject is the artist's wife, Katherine Sloman Heintzelman. Smith 142.

$250

Le Bibliophile

Etching, 1929; edition of 60 (per Smith catalog). Image size 8” x 10”; sheet size 12¼” x 15-1/8”. Annotated “ed 90” and signed in pencil by Heintzelman below the plate mark. A fine, detailed impression in overall fine condition, save a small paper loss on the upper right edge and an adhesive stain along the lower right edge of the sheet. Smith 147.

$350

Beethoven (Vieux Lion Fatigué)

Drypoint, 1975; edition of 75. Image size 8-7/8” x 11¾”; sheet size 15-1/16” x 22½”. Signed, dated, and titled in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Extremely faint toning in the sight area. Smith 148.

$525

La Farandole

Etching, 1929; edition of 100. Image size 12½” x 10¼”; sheet size 17½” x 13¾”. Titled “La Farandole / St. Jean de Luz” in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Smith 150.

$525

Pensée de Beethoven

Drypoint, 1929; edition of 75. Image size 7-3/4” x 10” with full margins. Signed and edition stated by Heintzelman in the lower margin. Very good overall.

$275

Scène de Musiqe Hall

Etching, 1929; edition of 100. Image size 9-9/16” x 11-3/8”; sheet size 13-13/16" x 17". A fine impression in overall fine condition with very faint toning in the mat aperture. Smith 153.

$475

La Vierge et L’Enfant Jésus

Drypoint on cream laid paper, 1929; edition of 70. Image size 9” x 11-7/8”; sheet size 14” x 18¾”. Edition statement and artist’s signature in pencil in the lower margin. Minor rippling, mounting tape remnants upper corners verso. Otherwise, a fine impression in overall fine condition. Smith 155.

SOLD

Arthur Wm. Heintzelman Gallery 3

This gallery of prints by Arthur William Heintzelman consists of works published from 1930 onward, arranged in order of the catalog raisonné by Donald Eugene Smith, The Prints of Arthur Wm Heintzelman, published by the Boston Public Library in 2004..

Type de Quartier Latin

Etching, 1930; edition of 70. Image size 2½” x 3-3/8”; sheet size 5-9/16” x 8-7/16”. Edition stated and signed by Heintzelman in pencil in the lower margin. Fine. Smith 158.

$225

St. Paul

Etching and drypoint, 1931; edition of 50. Image size 3¼” x 4½”; sheet size 6-7/16” x 8-9/16”. Titled in the plate; Edition stated and signed in pencil by Heintzelman in the lower margin. Tape remnants in the upper corners verso and faint handling smudge in the upper right-hand corner away well away from the sight area. Smith 160.

$175

Christ au Milieu des Docteurs

Drypoint, 1931; edition of 60. Image size 12” x 9”; sheet size 15-1/8” x 11¼”. Edition stated and signed by Heintzelman in pencil in the lower margin. Fine. Smith 162.

SOLD

Luigi Dominico

Etching, 1931; edition of 110. Image size 7¾” x 9-1/8”; sheet size 11¼” x 15”. Edition stated and signed in pencil by Heintzelman in the lower margin. Note at bottom of sheet in pencil: “No. 72 - Fourth etching to be published by The American College Society of Print Collectors” and signed by Marques E. Reitzel, Chairman, and dated May 20, 1932. Fine. Smith 166.

$425

Etude d'Enfant

Drypoint on cream wove paper, 1932; edition of 70. Image size 6-5/8” x 8¼”; sheet size 9-15/16” x 13-1/8”. Artist’s signature and edition statement in pencil in the lower margin. Tape remnants in upper corners verso. Extremely faint toning in the sight area.A fine impression in overall fine condition. The subject is the artist’s son, Malcolm Roland Oliver Heintzelman (1922 - 1955). Smith 170.

Siesta

Drypoint, 1932; edition of 50. Image size 6” x 7”; sheet size 9-15/16” x 12-15/16”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.

$275

George Washington at The Age of 12 With His Mother

Etching, 1932; edition of 1010. Image size 12” x 9”; sheet size 18-3/8” x 13¼”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 175.

$325

Femme de L'Artiste

Drypoint, 1933; edition of 65. Image size 8¾” x 11-7/8”; sheet size 11-1/8” x 14-15/16”. Signed and dated in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. A portrait of the artist’s wife. Smith 184.

Vigneron

Etching, 1933; edition of 110. Image size 9½” x 12”; sheet size 11-1/8” x 14¾”. Printed by Eugène Delâtre, Paris. Edition notation and signature in pencil in the lower margin. A beautiful impression of what is considered by many to be Heintzelman's finest work. Writing in its review of an exhibit of his work at George Binet Gallery in New York in 1948/49, Art News said that "The portrait of the querulous Le Vigneron is an almost perfect example of the etcher's art with its infinite variety of line, its precise cutting and amazing control of all elements of the medium." The sheet is unobtrusivetly toned outside of the sight area, and there are small losses in each of the the lower corners of the sheet. Smith 186.

$725

Another Copy

This copy has a carefully repaired tear that extends from the top margin to about 1¼" into the plate area, together with an unobtrusive bend across the lower left corner of the print.

$425

Pieta

Drypoint, 1933; edition of 35 in Smith. Image size 10½” x 6¾”; sheet size 15” x 11-1/8”. Annotated “ed 40” and signed in pencil by Heintzelman in the lower margin; also annotated ‘“Pieta” Switzerland 1933 Arthur Wm. Heintzel;man’ at the lower edge of the sheet. Fine. Smith 188.

$425

Maestro Toscanini

Etching, 1935; annotated “Ed. 60” in margin, but Smith cites edition of 40. Image size 7-7/8” x 9-15/16; sheet size 12-5/8” x 16-1/8” . A fine impression in overall fine condition. Smith 200.

$500

Valaisan

Etching, 1935; edition of 100. Image size 10½” x 13-5/8”; sheet size 15-15/16” x 19-5/8”. Signed in pencil by Heintzelman in the lower margin. A fine, richly inked impression in overall fine condition. Smith 201.

$475

Ma Petite Voisine

Drypoint, 1935; ed 80. Image size 7-5/8” x 11-1/8”; sheet size 12-3/8” x 16½”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.

$375

Connecticut Cider

Etching, 1935; edition of 100. Image size 8” x 10”; sheet size 12-3/8” x 15½”. A fine, richly inked impression in overall fine condition

$350

Another Copy: Out of edition proof printed on a slightly smaller sheet, presented by Heintzelman to John and Dorée Vissman of Marblehead, Massachusetts. Signed by the artist in pencil in the lower margin. Presentation note in red ink signed by Heintzelman and dated 1964(DV) in pencil. Fine condition. Smith 207.

$375

Study of a Laughing Girl

Etching on wove paper, 1936; edition of 150. Image size 9½” x 14”; sheet size 12-1/8” x 18”. Signed in pencil by Heintzelman in the lower margin. A fine impression in good condition. There is a poorly repaired closed tear extending about 1½” from the bottom edge of the sheet not affecting he sight area, and minor foxing in the lower portion of the image. Smith 215.

$175

Golden Age

Drypoint, 1936; edition of 70. Image size 8-7/8” x 11-7/8”; sheet size 13-¾” x 17-5/16”. Edition stated and signed in pencil by Hentzelman in the lower margin. Fine. Smith 213.

$350

Michelangelo

Etching, 1938; edition of 100. Image size 9-7/8” x 13¾”; sheet size 14¼” x 17¾”. Signed in pencil by heintzelman in the lower margin. Fine. Smith 233.

$325

Portugese Fisherman's Daughter No. 2

Drypoint, 1940; edition of 300. Image size 13-1/8” x 9-3/4”; sheet size 16” x 11-3/8”. Signed in pencil by the artist in the lower margin. A beautiful impression in fine condition. Smith 243.

$375

Portugese Fisherman's Son

Drypoint, 1940; edition of 300. Image size 8” x 10”; sheet size 11-5/8” x 15-3/8”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 247.

SOLD

Young Amishman

Drypoint, 1944; edition of 100. Imge size 9” x 10”; sheet size 12” x 14½”. Signed in pencil by Heintzelman in the lower margin. A beautifully inked impression with all detail in fine condition. Young Amishman was awarded the Pennell Prize in 1945. Smith 263.

$525

Lancaster County Farmer

Etching, 1946, third and final state; edition of 500. Image size 8-7/16” x 11-13/16”; sheet size 11½" x 16". Published by The Society of Print Connoisseurs, Alexandria, Virginia, with their blind stamp in the lower margin. Signed in pencil by Heintzelman in the lower margin A fine impression with moderate toning in the sight area and a ½" closed tear at upper left corner of the sheet. Smith 268.

$375

Amish Elder (small plate)

Etching, 1946, fifth and final state; edition of 200. Image size 2-3/8" x 3"; sheet size 8" x 9-3/8". Published by The Miniature Print Society, Hicksville, New York. Signed in pencil by Heintzelman in the lower margin. A fine, well-inked impression, toned in the sight area. Smith 269.

$225

Another copy in fine condition.

$225

Quaker Grandmother

Drypoint, 1946; edition ca. 75-100. Image size 8-3/8” x 11-7/8”; sheet size 10-7/8” x 16”. Signed in pencil by Heintzelman in the lower margin. Fine.

$425

Janine

Drypoint, 1949; edition of 300. Image size 8-3/8” x 9-3/8”; sheet size 13” x 15-3/8”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 281.

$350

Fisherman of Port Clyde, Maine

Etching, 1951; edition of 50. Image size 9-7/8” x 13-7/8”; sheet size 13-7/8” x 17-11/.16”, annotated “4th state - untouched” and signed in pencil by Heintzelman in the lower margin. “4 impressions A. W. H.” in pencil at lower edge of sheet. Fine.

$550

Dr. Albert Schweitzer

Drypoint, 1957; edition of 40. Image size 9-7/8” x 13-15/16”; sheet size 13-3/16” x 18-5/16”. Signed in pencil by Heintzelman in the lower margin. A superb character portrait of the great physician/humanitarian. Fine.

$525

Lance Hidy (1946 - )

Born in LaGrande, Oregon, Lance Hidy studied art and graphic design at Yale University in New Haven, Connecticut before starting his own graphic arts studio. After working with photographers Ansel Adams and Arnold Newman in the 1970s, he developed a highly distinctive silk screen style which distills his photographs of people to vividly-colored, flat, hard-edged shapes. This style has been used for the design of three U.S. postage stamps, and on more than forty posters for clients including the Boston Symphony Orchestra, Beardsley's Restaurant (of blessed memory), Acme Bookbinding, and Meriden Gravure / Stinehour Press. Hidy also designed the Penumbra typeface for Adobe Systems. He teaches digital graphic arts at Northern Essex Community College in Haverhill, Massachusetts and lives in nearby Newburyport.

Beardsley's Third Anniversary

Offset lithograph, 1978; edition of 450. Overall size 17-3/8” x 25-1/8”. Numbered 138/200 and signed in ink by the artist. I bought this poster at Beardsley’s in the early 1980s; Of the total edition, two hundred were numbered and signed by Lance Hidy for the restaurant, and the unnumbered signed balance was kept by him for his inventory. The portrait is of famed artist, book illustrator and printer Barry Moser. The print, in new condition, is matted using archival materials and framed in a custom matte black gallery style wooden frame.

$550

Sioux City Public Library

Screen print in six colors, 1990; edition of 240. 16" x 34" overall. Published by Mink Brook Editions. Signed and numbered by the artist. The silhouette profile is that of artist and illustrator Rob Day.

$75

John Henry Hill (1839 - 1922)

Painter, aquatintist and etcher John Henry Hill was born in West Nyack, New York. Who Was Who in American Art calls him “one of the major American still life artists of the second half of the 19th century.” He studied with his father, the painter John William Hill. He exhibited at numerous venues, including the National Academy of Design, The Brooklyn Academy of Art, and the Pennsylvania Academy of Fine Arts. His trip to the American West in 1868, producing sketches, watercolors, and gouaches formed the basis for a series of large landscape oils. In addition, Hill produced An Artist's Memorial, a collection of etchings after his father's paintings. He died at Lake George, New York.

Moonlight On The Androscoggin

Etching on laid paper, 1866; edition not stated. Image size 7-1/16” x 5-1/8”; sheet size 8¾” x 12”. Signed and dated in the plate. Published by Estes & Lauriat, Boston. A fine impression in very good overall condition, with minor foxing at the lower edge of the sheet.

$175

Joseph Hirsch (1910 - 1981)

Painter, illustrator, and printmaker Joseph Hirsch was born in Philadelphia, Pennsylvania and first studied art at the Philadelphia Museum, followed by private studies with George Luks in New York City, where he was introduced to the Social Realist movement that strongly influenced his artistic development, and with Henry Hensche in Provincetown, Massachusetts. Hirsch traveled to Europe and lived in France for about five years. He was employed in the WPA Artists Project, where he completed murals and paintings. During the Second World War, Hirsch served as an artist / war correspondent. After discharge, he taught at The Art Institute of Chicago, The American Art School, the University of Utah, and the Art Students League of New York City. He received numerous awards during his career, including fellowships from the Guggenheim Foundation, the Fulbright Program, and from the American Academy in Rome. In his later years, Hirsch lived in New York City.

Cellist

Lithograph, no date, edition of 150. Image size 12” x 14½”; sheet size 16” x 20”. Numbered 42/150 and signed in pencil by the artist in the lower margin. Fine. Matted and framed using archival quality materials.

$750

Banquet

Lithograph on wove paper, 1945; edition of 250. Image size 13¾” x 9¾”; sheet size 16” x 12”. Printed by George Miller, and published by Associated American Artists, New York. Fine overall condition with adhesive residue from earlier mounting on the reverse. Cole 11.

$900

The Toast

Lithograph, 1972; edition not stated. An 11-3/8” circle on a 13¾” x 15¼” sheet. Artist’s proof, warmly inscribed “For Estelle from Joe 1/72 - for all the years” and signed in pencil by Hirsch below the image. Fine.

$700

Painter's Hand

Lithograph, 1966, artist's proof outside of edition of 100. Image size 12” x 15-3/4”; sheet size 15-3/4” x 20”. Titled, identified as artist's proof, and signed by the artist in pencil lower margin. A fine impression. Faint residue of tape adhesive upper corners of reverse side.

$675

Music

Lithograph, 1951, edition of 250. Image size 8” x 10”; sheet size 12” x 15-5/8”. Published by Associated American Artists, New York. Very good impression / overall condition. Slightly toned, mounting tape remnants in upper corners, ink marks lower RH corner.

$225

Bass Viol

Lithograph, 1959; edition of 250. Image size 9” x 14-3/8”; sheet size 13-1/8” x 17”. Published by Associated American Artists, New York, and signed in pencil by the artist in the lower margin. A rich, impression with very good tonal range, very clean overall with tape residue in upper corners of the sheet. Cole 34.

$675

Lunch Hour

Lithograph, 1942; edition of 250. Image size 11-7/8” x 9”; sheet size 13¾” x 10-7/8”. Published by Associated American Artists, New York and printed by George Miller. Lunch Hour was awarded the 2nd Purchase Prize (formerly thye Pennell Prize) by the Library of Congress in 1944. A fine nuanced impression of this notable work with very faint toning in the sight area.

$750

Necklace

Lithograph, 1973; edition of 100. Image size 17” x 11”; sheet size 22¾” x 17”. Published by Associated American Artists, New York. Numbered 74/100 and signed in pencil by the artist in the lower margin. A fine impression in sanguine with unobtrusive toning in the sight area.

$750

Stefan Hirsch (1899 - 1964)

Painter, printmaker and educator Stefan Hirsch was the son of German-born and naturalized American parents. Born and raised in Nuremberg, Hirsch studied law and art at the University of Zürich and became acquainted with the Dada movement. In 1919, his family emigrated to New York where Hirsch was befriended by teacher and art patron Hamilton Easter Field; in the year of his arrival, his work appeared in an exhibition at the Society of Independent Artists in New York. Hirsch spent several summer sessions at Field's school in Ogunquit, Maine.
His first one-man show was held in New York in 1927. His subjects at that time were architectural in character. The show brought immediate recognition and success and his work of this period was eagerly collected, exemplified by his Lower Manhattan, ca. 1921.
In the 1930s, Hirsch’s work turned toward social realism, and during that time he produced murals as well as paintings and experimented with surrealism. Between 1934 and 1937 he painted a number of murals in the auditorium of Lenox Hill House, New York. In 1938 he took a commission from the Federal Art Project to paint a mural in the Federal Courthouse in Aiken, South Carolina. Called Justice as Protector, the mural had a central figure whose dark skin offended the court's judges and the mural was consequently covered by a drape for many years. In 1943, he was given a commission by the U.S. Treasury Department for a post office mural in Booneville, Mississippi.
While working as an artist, Hirsch also joined the faculty at Bennington College and taught there from 1934 to 1940. From 1940 to 1946, Hirsch taught at the Art Students League of New York. From 1942 until his retirement in 1961 he taught at Bard College and was for most of that time chairman of the art department. He died in New York.

R. Laurent in Studio

Lithograph, 1929; edition of 30. Image size 9-3/8” x 13-3/16”; sheet size 11-3/8” x 15-7/8”. Numbered 19/30, titled, inscribed “For Alice, Dec 23 1929”, and signed in pencil by the artist in the lower margin. A fine impression, in overall fine condition, of the French-American sculptor, printmaker and teacher in his Cape Neddick, Maine studio.

$450

Johanna Kasimir-Hoernes (1887 - 1972)

Painter, etcher, and graphic designer Johanna (Tanna) Hoernes was born in Graz, Austria. She studied at the School for Women and Girls with Ludwig Michalek and at the Vienna Academy of Art with Wilhelm Unger, where she met her future husband, Luigi Kasimir. They were married in 1911 and worked collaboratively to develop the revolutionary technique of color etching. Each produced a substantial body of work, consisting largely of views based on their worlwide travels. Her work is highly prized for its exacting detail and realistic depiction of both the notable architectural subjects and natural landscapes that she and her husband observed in their travels. She died in Vienna.

Luigi Kasimir and Ernst Hanfstaengl

Etching and aquatint, 1911; edition not stated. Image size 15½” x 16¼”; sheet size 16½” x 17½”. The artist and her husband were married in the same year that this etching was produced; it was likely one of a very small edition, and depicts the gifted color etcher staring at his bride, while his publisher, Ernst Hanfstaengl, sits in profile browsing a handful of papers. For more information, lease refer to the Brier Hill Blog for our article Putzi & Luigi & Onkel 'Dolf. Signed in pencil by the artist in the plate margin. Ex-collection Hanfstaengl family.

$1,400

Irwin D. Hoffman (1901 - 1989)

Born in East Boston, Massachusetts, painter, lithographer and etcher Irwin Hoffman's early display of talent led to studies beginning at age 15 at the Boston Museum of Fine Arts School where, upon graduation from public high school, he became a full time student with a full scholarship. At age 19, Hoffman mounted his first one man exhibit in a Boston galery. In 1924, the Museum School awarded Hoffman the Paige Traveling Scholarship, it's most distinguished prize, which enabled him to travel throughout Europe accompanied by fellow artists and good friends. There he absorbed both the classic traditions of European painting and the avant-garde styles then coming to the fore.

Returning to America, Hoffman established a studio in New York City which served him as a lifelong anchor, and from which he traveled during the 30s & 40s with his brothers, owners of a mining enterprise with locations in the American southwest, Mexico, and Puerto Rico. His work addressed the traditions of the ordinary people whom he encountered and befriended. It also reflects Hoffman's strong sense of social consciousness. Irwin Hoffman died at New York City.

3rd Class

Etching, 1929; edition not stated. Image size 5-15/16” x 7-7/8”; sheet size 9-9/16” x 12½”. A richly inked impression in fine condition, with light toning in the sight area. The sheet has occasional ink smudges from the printing, well away from the sight area and a series of brad holes around the perimeter, the result of an early and careless framing job.

$325

The Cultivators

Etching, 1945; edition not stated. Image size 11-7/8” x 8-7/8” with full margins. A warm detailed impression signed in the plate and printed by the artist, and titled and signed in pencil by Hoffman in the lower margin. Very good + overall condition with minor ink stains at the edges of the sheet recto & verso.

$425

William Hogarth (1697 - 1764)

Painter and engraver William Hogarth was born in London. He abandoned formal education in 1713, and became an apprentice engraver, turning out designs for silver plate. Determined to become a painter of historical scenes, Hogarth was forced to adapt to the need to support himself and his family upon the death of his father and so became a tradesman-engraver, producing shop cards and book illustrations, in addition to designs for silver plate.

While training as a painter at the St. Martin’s Lane Academy, Hogarth produced his first print. At the time, artists sold their graphic work through print dealers and booksellers and were frequently victimized by the extortionate sales commissions imposed by them. Resolving to deal directly with the buying public, Hogarth enjoyed his first great success in 1732 with the publication of the six engravings that constituted The Harlot’s Progress, which are based on a suite of paintings produced by Hogarth on the same subject that were destroyed in a 1755 fire. The prints, sold by subscription, portrayed the downfall of a simple country girl swept into a life of prostitution and condemned to an early death from syphilis.

The great success of The Harlot’s Progress brought Hogarth widespread fame and influence, together with numerous imitators who copied his work. Hogarth’s determination is held to be principally responsible for the enactment of the Copyright Act in 1735, the first law of its kind protecting an artist’s work from predatory imitators. The Rake’s Progress of 1735 and Marriage à la Mode of 1745 followed. These moralistic suites were followed by others in their turn, underscoring the artist’s sincere moral and humanitarian concerns. Taken as a whole, they gave Hogarth well-deserved recognition throughout Europe and North America. In 1757 he was appointed Sergeant Painter to the King. William Hogarth died at Leicester Fields, London.

A Harlot's Progress

Suite of six engravings; overall sheet sizes are approximately 15¼" wide and 12¼" long. All sheets have narrow margins of approximately 1/4" outside of the plate mark. The Harlot's Progress was originally published in 1832. The engravings offered here are second state prints issued ca. 1742 - 1744 and identified as catalog numbers 121 - 126 in the Ronald Paulson catalog raisonné Hogarth's Graphic Works, published by Yale University Press in 1965. Second state prints of A Harlot's Progress are chiefly identified by the addition of a cross in the bottom margin as well as by one or more modifications made by Hogarth to the original engravings. The images are uniformly clean and bright, with only minor flaws in the sheets. Please call for more detail.

$1,500

M(oll?) Hackabout stands in the yard of the Bell Inn in Cheapside, having come to London seeking employment as a seamstress, suggested by the pincushion and scissors hanging from her waist. She stands, innocent and modestly attired, in front of Elizabeth "Mother" Needham, the notorious procuress who operated a brothel in Park Place, and who is examining the country maid's youth and beauty. Her face is adorned with several "beauty patches", used primarily to conceal the ravages of syphilis. Not long before the publication of A Harlot's Progress, Mother Needham was stoned to death by the crowd gathered at the pillory not far from her bordello where she was placed on public display. Behind the two women stand Colonel Francis Charteris, a wealthy and influential man and a notorious satyr who preyed upon unsophisticated young arrivals to London and lured them into his household employ. The man behind Charteris is one or another of the pimps whom he kept at hand to assist in disposing of his most recent conquest. On the left, the old clergyman, whose horse has knocked over a stack of pots, is totally absorbed in the letter that he is holding, utterly unaware and unconcerned with the unsavory scene playing out behind his back.

A Harlot's Progress, Plate 2

Whether she had fallen prey to Colonel Charteris or to Mother Needham, Moll Hackabout is now the kept mistress of a wealthy London Jew and lives in a well-appointed town house. His unexpected arrival while his mistress and her aristocratic young lover have been dallying in bed prompts Moll to drastic action. She kicks a table over to create a diversion that enables the younger man to make good his escape. Her keeper's astonishment in the face of such impertinence, mirrored by the expression of the startled monkey at his feet, suggests that her days under his roof may be numbered.

Part of a complete set of six engravings. See above.

A Harlot's Progress, Plate 3

Having betrayed her keeper, Moll has lost her comfortable berth and is now a common prostitute, living in proximity to her fellow streetwalkers somewhere near Covent Garden as the tankard on the floor suggests. Moll casts a coquettish glance towards the viewer, unaware that Sir John Gonson, a magistrate widely known as the scourge of prostitutes, passed through her doorway leading bailiffs to arrest her. The two medicine bottles on the small table to the right of the scene suggest that the small black spots on her face portend an even worse fate than her impending imprisonment, and that syphilis has Moll in its inexorable grip.

Part of a complete set of six engravings. See above.

A Harlot's Progress, Plate 4

Moll is now beating hemp in Bridewell Prison, the Westminster lockup for prostitutes, card sharps and other petty criminals. Her precipitous fall is emphasized by the contrast between her still elegant clothing in the setting of this dreary and austere place. Her bewildered, weary expression amuses some of her fellow inmates - one mockingly touches the lace and silk of Moll's finery as she directs a wink and a knowing grin at the viewer. The warder reminds Moll that the log and chain await her if her if she flags in her duties. Behind her are the stocks, presently occupied by another, but a constant reminder of their availability to her as well.

Part of a complete set of six engravings. See above.

A Harlot's Progress, Plate 5

Now returned to her garret, Moll is dying from syphilis. The "sweating blankets" envelop her body as the servant who tends Moll turns angrily on two "doctors" - the fat Dr. Richard Rock and the thin Dr. Jean Misaubin - as they debate the merits of their respective quack cures, indifferent to the evident distress of their patient. Moll’s illegitimate son sits to her left at the hearth. Her teeth lie scattered on the paper, loosened by the mercury that was a commonplace "cure" for the disease. The woman on the left of the scene is rummaging through Moll's trunk of clothes in search of a suitable dress for her burial.

Part of a complete set of six engravings. See above

A Harlot's Progress, Plate 6

This final funeral plate presents "mourners" - most of them fellow prostitutes - gathered around Moll's coffin in anything but a mournful state. Two of the women use the gathering as an opportunity to ply their trade: On the left a parson, staring into space, finds his way beneath the skirt of the young and as yet unblemished bawd at his side, who looks toward the viewer with half-closed eyes and a faint smile as the clergyman distractedly spills his brandy. The undertaker, at the right of the scene, has similar designs upon the street-worn and syphilitic woman to his left. Moll's son, the chief mourner, sits on a box near the head of the coffin, seemingly unaware of anything but the top that he is winding. Sprigs of Yew and of rosemary were commonplace at funerals of the era because they were thought to be a preventative against infection.

Part of a complete set of six engravings. See above

Lars Hokanson (1942 - )

Painter and wood engraver Lars Hokanson received his Bachelor's Degree in Fine Arts from the University of the Arts in Philadelphia, Pennsylvania in 1967. He works as a free-lance muralist and book illustrator, often teamed with his wife, Lois.

Rainbow Over Wadsworth Bridge

Wood Engraving, 1988. Edition of 200. Image size 6-1/16” x 3-11/16”; sheet size 11” x 15”. Published by Lisa Dodington, Bowne & Company, New York. Numbered 142/200, titled, and signed by the artist in the lower margin. Fine condition; printed on Fabriano Artistico paper.

$120.00

Nigel Holmes (1942 - )

Primarily a graphic designer specializing in the theory and presentation of information through lucid design, Nigel Holmes was born in Britain and received his Master's Degree in illustration from the Royal College of Art in London. He was a freelance designer in London, and in 1978 moved to New York City, where he was Executive Art Director for Time magazine until 1994. In 1995, Holmes started his own company, providing illustrations to corporations, institutions, and periodicals. He teaches annually at The Stanford Professional Publishing Course, Stanford University, California and at The Poynter Institute for Media Studies, St Petersburg, Florida, and lectures here and abroad.

Erin

Wood Engraving, 1988. Edition of 200. Image size 3" x 4”; sheet size 11” x 15”. Published by Lisa Dodington, Bowne & Company, New York. Numbered 142/200, titled, and signed by the artist in the lower margin. Fine condition; printed on Fabriano Artistico paper.

$100.00

Marlene von Gemmingen-Hornberg (1910 - 2002)

Designer, illustrator, and print maker Marlene vonGemmingen-Hornberg was born and spent her early years in Remscheid. She studied at the School of Applied Arts in Wuppertal, and subsequently worked as a fashion designer for a number of large firms. In the 1960s she left her business career behind and devoted herself fully to the fine arts, with her first solo exhibition at Schloss Remseck, a 16th century castle in Remscheid on the Neckar River. Following her divorce, she moved to Munich, where she worked as a freelance artist until her death.

das Pferd der Kleopatra

Etching, 1968; edition not stated. Image size 5¾" x 7-5/8"; sheet size 10-5/8" x 15". Initialed and dated in the plate. Titled and signed in pencil by the artist in the lower margin. Note the cloven pumps. Fine.

$225

Victoria Hutson Huntley (1900 - 1971)

Lithographer and muralist Victoria Hutson Huntley grew up in New York City and studied at the New York School of Fine and Applied Art and at the Art Students League, where she studied with George Bridgman, John Sloan, Max Weber, and George Luks. She accepted an appointment as an Associate Professor of Fine Arts at the College of Industrial Arts in Denton, Texas during the time of her marriage to William Hutson. In 1934, she married Ralph Huntley and settled in West Cornwall, Connecticut. In succeeding years, commissions took her to a number of states as far west as Texas. Beginning in 1934, Huntley taught art a private school in New York City, and was resident artist at the Pomfret School in Pomfret, Connecticut. She was elected an Associate Academician at the National Academy of Design; her work is held by many institutions including the Museum of Fine Arts, Boston, the Whitney Museum, The New York Public Library, and the Metropolitan Museum of Art.

Dawn Came

Lithograph, 1946, edition of 250. Image size 12-5/8” x 9½” with full margins. Published by Associated American Artists, New York. Signed by the artist in lower right corner. Fine overall condition.

SOLD

Vermont Covered Bridge

Lithograph, 1946; edition of 250. Image size 11-7/8” x 8-3/4”; sheet size 15-7/8” x 12”. Signed and dated in pencil by the artist in the lower margin. Very good overall condition.

$350

George Hurrell (1904 - 1992)

Born in Cincinnati, Ohio, George Hurrell originally studied painting, gradually embracing photography as an artistic medium. He settled in California in 1925 and won the praise and encouragement of Edward Steichen. He established a photography studio in Los Angeles, where he was introduced to – and photographed - actor Ramon Novarro, who recommended Hurrell to the actress Norma Shearer. He produced a suite of glamorous photos designed to refashion her image. As a result, Hurrell was made head of portrait photography at MGM by Shearer's husband, production chief Irving Thalberg. Hurrell left MGM in 1932, re-establishing and operating his studio until 1938. In the early 1940s, Hurrell became the portrait photographer at Warner Brothers. During his long career, he photographed virtually all of the leading screen artists of the era.. He died in Los Angeles.

Joan Crawford, from Letty Lynton, 1932

Silver gelatin print'ca. 1968. Image size 10-7/8” x 14”; sheet size 16” x 20”. Signed in ink by Hurrell in the lower margin. Studio portrait for the film Letty Lynton showing the famed actress displaying the low-keyed emotional restraint for which she was famous. Letty Lynton is generally remembered for the remarkable white organdy gown made for Ms. Crawford by the noted designer Adrian, which was knocked off by Macy's, selling about fifty thousand copies nationwide. Apart from a few clips, the film has been unavailable since the courts decided and later upheld a copyright infringement lawsuit in favor of the plaintiffs and against MGM in 1936. Fine.

$3,500

Joan Crawford, 1932

Silver gelatin print, ca. 1981, printed under the supervision of George Hurrell. Image size 19-5/16” x 15-1/8”; sheet size 19-15/16” x 16”. Numbered III/XXIII and signed by Hurrell in the lower magin. Fine, in a very good black wooden gallery frame.

$900

Ann Sheridan, 1939

Silver gelatin print, 1968; edition of 250. Image size 19-5/16” x 15-5/16”; sheet size 19-15/16” x 16-1/16”. Printed under the supervision of George Hurrell, numbered 176/250, and signed in ink by Hurrell in the lower margin. A beautiful image in fine condition.

$2,500

James Cagney, 1935

Silver gelatin print, ca. 1981, printed under the supervision of George Hurrell. Image size 19-3/8” X 15¼”; sheet size 19-15/16” x 16”. Numbered III/XXIII and signed by Hurrell in the lower margin. Fine, in a very good black wooden gallery frame.

$900

Dorothy Wackerman Hutton (1899 - 2001)

Painter, illustrator, and etcher Dorothy Wackerman Hutton was born in Cleveland, attended the University of Minnesota and graduated from the Minneapolis School of Fine Arts in 1922. She subsequently studied with André L'Hote in Paris and with Earl Horter and Hobson Pitman in Philadelphia, whereupon she pursued a career as a freelance artist in New York. Working in tandem with her husband, Hugh Hutton, she was later able to concentrate on fine arts after he became an editorial cartoonist for The Philadelphia Enquirer in 1934.

Dorothy Wackerman Hutton was active in arts-related clubs and societies in Philadelphia and was a founding member of the Philadelphia Water Color Society. She received numerous awards for her work, which was widely exhibited and which is held in the permanent collections of numerous institutions including the Library of Congress, the Harvard Art Gallery, and the Richmond, VA Art Museum. She died at Philadelphia.

Pine Street, Old Philadelphia

Etching, 1940; edition of 50; image size 4-7/8” x 3”; sheet size 6¼” x 5-1/8”. Titled, numbered, and signed in pencil by the artist in the lower margin. A well-inked impression in overall very good condition, with tape remnants in upper corners verso.

SOLD

Eli Jacobi (1898 - 1984)

Printmaker and illustrator Elias Jacobi was born in Khar'kov, Ukraine, Russia in 1898. His art studies began in Palestine, where he attended the Bezalel Art Institute. During the Turkish occupation of Palestine, he was imprisoned in Jersualem, but ultimately emigrated to the United States with the assistance of the American Consul, and settled in New York ca. 1917. There, he studied at the Art Students League, The National Academy of Design, and The Grand Central School of Art.

He worked as a freelance illustrator for numerous newspapers including The New York Times and The New York World and magazines including The Nation and The Saturday Review, but is best remembered for his work for the Graphic Arts Division of the Federal Arts Project of the Works Progress Administration, where he specialized as a block printer.

A large proportion of his printmaking for the WPA between 1935 and 1940 dealt with the impact of the Great Depression on Manhattan life, especially in its poorer neighborhoods such as The Bowery. His work was exhibited at numerous venues including the Museum of Modern Art, New York; The National Arts Club, New York; and The Art Institute of Chicago.

Eli Jacobi's prints are held in the permanent collections of The New York Public Library; The Metropolitan of Art, New York; The Philadelphia Museum of Art; and The Library of Congress. He died in New York City.

Hotel Front

Linocut on thin, translucent paper, 1938; edition of 75. Image size 8" x 10"; sheet size 12" x 16". Titled and signed in pencil by the artist in the lower margin.

The Progress, located at 11 Chatham Square was one of about twenty Bowery flop houses in and near the point named for William Pitt, First Earl of Chatham and twice Prime Minister of Britain, where eight different streets, including the Bowery, converged. With its greasy spoon diners and affordable rooms, the district was a magnet for destitute, emotionally disturbed, and alcoholic castaways, and the locus of numerous memorable scenes of the Depression era in New York created by Jacobi and other printmakers employed by the WPA federal artists project. Apart from a few very small tears and losses at the edges of the sheet, this scarce image is in near fine condition. Ryan 16.

SOLD

Maxie's Moose

Linoleum cut, 1939; edition not stated. Image size 6¾" x 9-5/8" with full margins. Published by W. P. A. Federal Arts Project, New York. A fine impression in overall fine condition. Titled and signed in pencil by the artist in the lower margin; W.P.A. stamp in lower left corner. Archival mat and mount in custom wood frame. Ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio.

$2,800

East of the Bowery (Bowery "L")

Linoleum cut, 1939; edition not stated. Image size 6¾" x 9-5/8" with full margins. Artist's monogram in the block and in pencil in the lower margin. A fine impression in overall fine condition. Archival mat and mount in custom wood frame. Ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio. Mary Ryan Gallery 10.

$1,900

Bar in Front

Linoleum cut on Japan paper, 1939; edition not stated. Image size 8” x 9¾”; sheet size 12¼” x 15-3/16”. Published by the Federal Artists’ Project of the Works Progress Administration. Artist’s stamp in lower right-hand corner. Beautifully inked impression in fine overall condition.

SOLD

Midwinter Night

Linoleum cut on Japan paper, 1938; edition not stated. Image size 9-7/8” x 7-7/8”; sheet size 14-1/16” x 12-1/8”. Published by the Federal Artists’ Project of the Works Progress Administration. Artist’s stamp in lower right-hand corner. Beautifully inked impression in fine overall condition.

SOLD

Michael Jacques (1945 - )

Michael L. Jacques is a master printmaker, painter, and sculptor. His works are in the permanent collections of many major institutions including the Museum of Fine Arts, in Boston; the United States House of Representatives; the Museum of American Art, Washington, D.C.; the National Collection, Beijing, China; the Rose Art Museum, Brandeis University, Waltham, Massachusetts, and the Smithsonian Institution's National Collection of American Art.

Jacques has won a variety of awards for his art including a prestigious American Book Award Nomination for Book Illustration. He regularly exhibits his paintings at the annual Laguna Beach Festival of the Arts, and for many years has taught at the Laguna College of Art & Design.

Boardwalk

Etching, 1974, edition of 65. Image size 10¼" x 8½"; sheet size 15-3/8" x 13½". Numbered 24/65, titled, and signed in pencil by the artist in the lower margin. A well detailed impression in fine condition.

$175

Georg Jahn (1869 - 1940)

Painter and print maker Georg Jahn was born in Meissen. He studied at the Academy of Fine Arts in Dresden during a period of intense artistic ferment, a struggle between classical and emerging styles. The dispute came to a head with a scathing critique of Dresden's artistic contributions to the International Art Exhibition at Berlin in 1891, resulting in the growing tolerance of wider artistic experimentation and the formation of the secessionist Dresden Association of Visual Artists, in which Jahn played a significant role. He enjoyed a long career as a painter and print maker producing some 350 etchings. He died at Loschwitz.

Mädchenkopf

Etching and drypoint on cream wove paper, 1908; edition not stated. Image size 6¼" x 8-5/8"; sheet size 11-7/16" x 15-1/16". Not signed. Printed and published by der Gesellschaft für vervielfältigende Kunst, Vienna. Fine.

SOLD

Junges Mädchen (The artist's daughter)

Etching, ca 1898. edition not stated. Image size 7-1/8" x 9"; sheet size 13-5/8" x 18¼". Printed by Carl Jakob Otto Felsing, Berlin. Not signed. A scarce, beautiful impression in fine condition.

$525

Judith Jaidinger (1941 - )

Judith Jaidinger, a noted wood engraver, was born in Chicago, Illinois and received her B.F.A. In Drawing, Painting and Printmaking at the School of the Art Institute of Chicago. She studied wood engraving under Adam Troy. Her work is found in numerous private collections, museums, and educational 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 Jaidinger in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$75

Bertha Clausen Jaques (1863 - 1941)

Born in Covington, Ohio, Jaques lived in Cedar Rapids, Iowa from 1885 to 1889, after which she settled in Chicago with her surgeon husband. In 1893, she saw examples of printmaking by eminent artists including Zorn and Whistler at the Columbian Exposition and became immediately interested in etching, using tools that her husband made from surgical instruments. Following her purchase of a press, Jaques made her first etchings in Chicago in 1894, where her talent and enthusiasm for printmaking was widely recognized, leading to her involvement in the founding of Chicago Society of Etchers in 1910; she served as its secretary/treasurer for nearly thirty years. During her career, Jaques created 461 prints and was an influential teacher, mentor and writer whose book, Concerning Etchings, in published in 1912. Her print work consists of two broad categories: the first, views of the everyday world, grew from her extensive travels in Europe and America and form a realistic portrayal of the age; the second, botanical prints, arose from her interest in wildflowers and their preservation.

A Turn in the Road

Etching and aquatint, ca. 1895; edition not stated. Image size 6-5/8” x 3-13/16”; sheet size 11” x 7½”. Signed in pencil by the artist in the lower plate margin, with artist's monogram in lower left corner of plate image. Very good overall condition, with moderate toning outside sight area.

$ 225

Canal Boat, Utrecht

Etching on laid paper. Date unknown, edition unknown. Image size 4-1/8” x 3”; sheet size 8-7/8” x 5¾”. Titled and signed in pencil by the artist and inscribed ”To Reynold Weidener (sic) / 1940”. Fine.

SOLD

Delft Mill

Etching, date unknown; edition unknown. Image size 3-7/8” x 5”; sheet size 5½” x 8-5/16”. Titled and signed in pencil by the artist in the lower margin and inscribed “To Reynold Weidener (sic) / 1940”. Fine

SOLD

San Barnaba

Etching on Japan paper, date unknown. Edition unknown. Image size 3” x 5-7/16”; sheet size 5½” x 8-1/8”. Signed in pencil by the artist in lower margin. A very good image; the sheet has wrinkling at the bottom and an adhesive stain at the upper edge.

$70

Wind Mill, Delft

Etching, date unknown; editiion unknown. Image size 6” x 9-7/8”; sheet size 8-5/8” x 11-11/16”. Signed in pencil by the artist in the lower margin. A very good impression in overall good condition.

$175

Augustus Edwin John (1878 - 1961)

Augustus John, a masterful draftsman, painter, and etcher was born in Tenby, Pembrokeshire, and studied art at the Slade School in London. Even while a student, his drawings were widely regarded as the best of their era. He was highly unconventional both in his personal life and in his artistic career. In time, his style became more colorful and more direct. The resulting portraits that emerged from his mature style are among the most famous of the twentieth century. John also produced etchings inspired by Rembrandt and other masters. The immediacy and dramatic character of his work resulted in a striking body of etchings consisting primarily of portraits, reflecting the central focus of his artistic career.

A Glass Of Wine

Etching, 1902, edition of 25. Image size 4” x 5-3/8”; sheet size 8-7/8” x 11-1/8”. Signed in the plate and in pencil lower right corner. Titled, inscribed "Plate No 45" and numbered 14/25 in ink, lower margin. Matted and framed with archival quality materials.

$1,400

Ursula

Etching, 1903, edition of 25. Image size 3-7/8” x 6-3/8” sheet size 8¼” x 11-3/8”. Signed in pencil lower right. Titled, numbered 13/25 and inscribed "Plate No 70" in ink lower margin. Fine. Matted and framed with archival quality materials.

$975

A Girl's Head

Etching, 1919, edition of 50. Image size 4” x 6”; sheet size 8” x 10-7/8”, signed in pencil lower right. Fine. Matted and framed with archival quality materials.

SOLD

Woman In Hat

Etching, 1933; edition of 750. Image size 6¼” x 8¼”; sheet size 10-3/8” x 12¼”. Likely a portrait of Dorelia McNeil (1881-1969), who lived with Augustus John from 1904 until his death in 1961.

SOLD

Louis Jou (1881 - 1968)

Louis Felipe Vicente Jou I Senabre was born in Spain, in the village of Gracia (now part of Barcelona). At about age ten, his parents apprenticed him to a printer in Barcelona, where his evident talent was recognized by Euald Canibel, the resident creative director of the firm and a curator of Barcelona'sArus Library. Canibel took the young boy under his wing and exposed him to the library's collection of manuscripts, early books, fine bindings, and typography.

At age sixeen, Jou joined a group of young intellectuals and artists, and ultimately moved to Paris in 1906, where he became a typographer, engraver, and book illustrator, and by 1921 had established his own shop on rue du Vieux-Colombier, in the 6th Arrondisement of Paris, which he abandoned in 1940 in the face of the German occupation and re-established his shop in Vieux-Colombier, where he had owned a house since 1921. Fully re-established there by 1944, Jou continued his work until 1967, and died there in 1968.

Infortune (unfortunate)

Woodcut, ca. 1934; edition of 30. Image size 6-3/8" x 9"; sheet size 8¼" x 10¾". Numbered, titled, and signed in pencil by the artist. Very good overall condition.

$175

Mervin Jules (1912 - 1994)

The painter and printmaker Mervin Jules was born in Baltimore, Maryland, where he received his initial arts training at Baltimore City College and the Maryland Institute College of Art. He first exhibited his work in 1935 at The Baltimore Museum of Art. Jules later studied in New York at the Art Students League under Thomas Hart Benton, and held his first one-man show in New York City in November 1937. Jules' art reflected his disillusionment with the plight of the poor, and attacked seemingly intractable social ills.

Jules' woodcuts are represented in numerous collections. He was a teacher of art at the Fieldston School, the Museum of Modern Art (1943-46), the Baltimore Educational Alliance, the Veterans' Art Center and at Smith College. After teaching at Smith College from 1946-1969, in 1969 he became Chair of the Art Department at the City College of New York. He kept a studio in Provincetown, Massachusetts, where he died.

Crescendo

Lithograph, 1949; edition of 250. Image size 6-7/8” x 10-7/8” sheet size 12” x 16”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. A fine impression in very good overall condition.

$275

Morning Practice

Lithograph, edition of 250, ca. 1950. Image size 11" x 13½"; sheet size 13" x 26½". Titled, numbered, and signed lower margin. Published by Associated American Artists, New York. Ownership stamp of Harold Hugo (President of Meriden Gravure Company) lower border. Fine.

SOLD