Joseph W. Reed

Joseph Reed, Professor Emeritus of English and American Studies at Wesleyan University, became interested in printmaking and painting in the 1970s. Experimenting with all of these mediums, he produced a body of work characterized by its sobriety and painstaking attention to historical detail. Thematic series include “Chief Executives Underwater,” “First Ladies In Space,” and “The History of Western Ant.” Notable individual works include “Carmen Miranda and The Seventh Seal” and “Mamie Doud Eisenhower and Cardinal Richelieu.” More information at www.josephreed.net.

Automatic Edgar

Etching 1977, edition of 100. Image size 5-7/8” x 8”; sheet size 9-1/8” x 12½”. Titled, numbered 3/100, and signed in pencil by the artist. Fine condition, matted and framed using archival materials.

$325

History Of Western Ant

Etching, artist's proof, 1982. Image size 16” x 28¼”; edition not stated. Sheet size 30-1/8” x 22½”. Printed on Rives paper. Titled and signed in pencil by the artist. A most whimsical and interesting satirical work. Fine

$1,200

Alice B. Toklas

Etching, 1980; artist's proof. Image size 5-7/8” x 8"; sheet size 9-1/8” x 12½”. From the imaginary series "American Icons", celebrating the purported author of her autobiography, winner of the Balint Balassi Memorial Sword Award in six odd-numbered years beginning in 1978 (it was revoked in the following five even-numbered years before the dissident insurgents gave up). Fine condition, signed in pencil by the artist/printer in the lower margin. Matted and framed using archival quality materials. (Most fogja tapasztalni, ha valaki tényleg elolvassa ezt az anyagot.)

$225

Sauk - Washington, D.C. February, 1867

Etching, 1979; artist's proof, edition not stated. Plate size 5-5/8” x 8¼"; sheet size 7-7/8” x 9-3/4”. Signed by the artist in the margin. Fine.

SOLD

Chief Red Whip - Ca. 1913

Etching, edition of 100, 1978. Plate size 5-3/8" x 7-3/8"; sheet size 6-5/8" x 10¼". Numbered 6/100 and signed by the artist in the lower margin. Fine.

SOLD

Kicking Bear - Dakota - 1896

Etching, 1978; edition of 100. Plate size 5-3/8" x 7-3/8"; sheet size 6½" x 9½". Numbered 7/100 and signed by the artist in the lower margin. Fine.

SOLD

South Park Street Cemetary, Calcutta

Etching, 1975; edition of 10. Image size 10-1/8" x 7-7/8"; sheet size 13½" x 11½". Titled, numbered 5/10, and signed in pencil by the artist in the lower margin. Fine impression with minor ink traces beyond the plate mark.

$100

James Colbert Reid (1907 - 1989)

Born in Philadelphia, James Reid completed a four-year course at the Pennsylvania Museum and School of Industrial Art, where he studied illustration under Thornton Oakley, a disciple of the Brandywine School made famous by N. C. Wyeth. In 1930, Reid produced seventy-eight wood engravings for The Life of Christ in Woodcuts and in 1931 produced thirty wood engravings for The Song of Songs, both published by Farrar & Rinehart of New York. Because of the deepening economic depression, Reid turned to commercial art for his livelihood, producing work for many corporations in the metropolitan Philadelphia region. He nonetheless continued as an active printmaker on a more limited basis in his later years.

Ancient of Days

Wood engraving, ca. 1950; edition not stated. Image size 8½” x 7”; sheet size 12” x 9-3/4”. A fine, dark impression, Signed JR in the block and titled, annotated "Imp" and signed in pencil by the artist. The print has been cleaned, de-acidified and re-matted using archival materials. The sheet outside of the sight area retains darkening caused by the original acidic mat, and spots at three corners caused by the staining effects of the rubber cement originally used to mount the print.

SOLD

Wood engraving by James Reid, a variant of the image originally published in The Life Of Christ In Woodcuts, published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 4½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet. This image is far more nuanced and sophisticated than the one actually published. It is likely that the original block was lost or damaged, and was re-cut in order to maintain a complete set of the narrative blocks.

REID-C-ALT $125.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C2 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C1 $175.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C3 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C4 $175.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C5 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C6 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C7 $125.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C8 $125.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C9 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C10 $100.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C11 $125.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C12 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C13 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C14 $175.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C15 $225.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C16 $175.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C17 $150.

Wood engraving by James Reid for The Life Of Christ In Woodcuts published by Farrar and Rinehart in 1930. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press in June, 2013. Image size 3½" x 5"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-C18 $200.

Wood engraving by James Reid for The Song Of Songs, published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S3 $225.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S7 $150.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S8 $200.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 4½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S9 $225.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S12 $175.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S16 $150.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S19 $225.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S20 $100.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S22 $175.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S23 $200.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S25 $250.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S26 $75.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of twelve Publisher's proofs on Mohawk Superfine 80 lb. cover for the limited edition portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013. Image size 4" x 5½"; overall sheet size 9" x 12". Numbered in pencil lower left corner of image; publisher's blind stamp lower right corner of sheet.

REID-S30 $150.

Wood engraving by James Reid for The Song Of Songs published by Farrar and Rinehart in 1931. One of two test proofs on newsprint from the original block. This image was not included among the engravings in the portfolio James Reid: Selected Wood Engravings, published by Brier Hill Press, 2013, but instead was scanned at high resolution and slightly modified for detail clarity by Michael Russem in order to create the stamping die used to emboss the cover of the portfolio box itself. Image size 3½" x 4"; overall sheet size 8½" x 11".

REID-S11 $150.

Kenneth Rexroth (1905 - 1982)

Lovers who feed the Goldfish ...

Broadside, 1972; edition of 250. Overall size 18½" x 14". Published by The Pomegranate Press and boldly signed by Kenneth Rexroth. Fine.

SOLD

Grant Tyson Reynard (1887 - 1968)

Painter, etcher, lithographer, and illustrator Grant Reynard was born in Grand Island, Nebraska and originally trained as a pianist, which he abandoned in favor of the visual arts, studying at the Art Institute of Chicago, 1906-07. In 1913 he became Art Director of Red Book and contributed illustrations to it, as well as to Colliers and the Saturday Evening Post. Reynard pursued advanced training with Charles Chapman, Harvey Dunn, Mahonri Young and Harry Wickey at Leonia, New Jersey during this period, and maintained a studio there for many years. From 1926 through 1937, he was a fellow of the MacDowell colony in Peterborough, New Hampshire. Reynard was elected an Associate of the National Academy, and taught at several different schools. He died at New York City.

Cellist

Etching, ca. 1935; edition not stated. Image size 6-7/8” x 9¼”; sheet size 9-15/16” x 12¾”. Signed in pencil by the artist in the lower left corner. Fine image condition, with mall tape remnants recto and a ¼" loss in the lower left corner of the sheet.

$225

Robert Riggs (1896 - 1970)

Printmaker and illustrator Robert Riggs was born in Decatur, Illinois and first studied art at Millikin University there, moving to New York and the Art Students League in 1915 when he received a scholarship underwriting two years of study. Riggs subsequently joined the advertising firm A. W. Ayer & Company of Philadelphia; during World War I, he served in France with a Red Cross hospital unit, an experience that strongly influenced the tone of his mature print work. While there, Riggs also studied at the Académie Julian. Returning to Philadelphia, in addition to his work at A. W. Ayer, Riggs also worked as a freelance magazine illustrator. In 1924, he traveled extensively throughout Africa, Asia, and the Caribbean. He was strongly influenced by the work of George Bellows producing a series of boxing prints in his own style, followed by a series of lithographs depicting circus-related subjects and, in 1940, four lithographs dealing with modern medical practice commissioned by Smith, Kline, and French.

Of the eighty-four prints Riggs made over two decades, most were produced in the mid-1930s. Riggs gave up printmaking around 1950 but continued to produce advertising illustrations for major corporate clients. He was elected to associate membership in the National Academy of Design in 1939 and bercame a full member in 1946. Between 1961 and 1963, Riggs taught at the Philadelphia College of Art.

Accident Ward

Lithograph, ca. 1940; edition of approximately 50. Image size 18-15/16” x 14-3/8”; sheet size 23-5/8” x 19-3/4”. Titled and signed in pencil by the artist in the lower margin. A fine impression of this important lithograph on Rives GCM. Minor wrinkles at edges well away from the sight area. The dramatic scene shows the interior of the Emergency Ward at The Graduate Hospital in Philadelphia, one of four lithographs commissioned by Smith, Kline, and French Laboratories depicting contemporary medical practice. It was first exhibited at The Whitney Museum in its 1942-43 exhibition of Contemporary American Art. This full-sized lithograph and its three companions are very scarce, not to be confused with the promotional portfolio of signed 11" x 8" copies in a larger edition for promotional distribution to physicians.

$2,800

Frederick Robbins (1893 - 1974)

Born in Oak Park, Illinois, Frederick Robbins was a portrait painter, etcher, lecturer, teacher and writer. He studied at the California School of Fine Arts (now the San Francisco Art Institute), and with a number of leading California artists. During the 1920s, Robbins worked in San Francisco but subsequently moved to the Los Angeles area. He eventually relocated to Westboro, Massachusetts.

Market St., San Francisco #2

Etching, ca. 1929; edition not stated. Image size 9¾" x 7¾"; sheet size 11" x 9¼". Titled and signed in pencil by the artist in the lower margin. A fine impression in very good condition. There is a small smudge in the upper RH corner recto, and inked fingerprints on the verso.

SOLD

Powell Street, San Francisco

Etching, ca. 1929; edition not stated. Image size 5-13/16” x 9-11/16”; sheet size 7¼” x 11”. Titled and signed in pencil by the artist in the lower margin. In overall fine condition, with a 1/8" x 3/4" paper loss in the lower left corner not affecting the sight area.

SOLD

San Francisco, 1929

Etching, edition not stated. Image size 6-13/16” x 5-13/16”; sheet size 8¼” x 7-9/16”. Titled and signed in pencil by the artist in the lower margin. A very good impression in overall fine condition.

SOLD

Downtown San Francisco

Etching, ca. 1929. Image size 4-13/16” x 7¾”; sheet size 5-15/16” x 8”. Titled and signed in pencil by the artist in the lower margin. A very good impression in overall very good condition.

SOLD

Umberto Romano (1905 - 1984)

Born in Bracigliano, near Salerno, Italy, Painter, muralist and printmaker Umberto Romano came to the United States at the age of 9 with his parents and grew up in Springfield, Massachusetts. He enrolled at the National Academy of Design in New York and subsequently won a Pulitzer traveling scholarship that enabled him to tour and study European museums and to attend the American Academy in Rome. Upon his return, Romano settled in Gloucester, Massachusetts, where he established the Romano School of Art and held summer classes for many years thereafter. During the 1930s, he also worked for the WPA Federal Arts Project and created, among other such projects, a six-panel mural at the Springfield Massachusetts Post Office. He moved to New York and taught at the National Academy of Design from 1968 to 1978.
Romano, who received many awards and prizes, had more than 70 one-man shows. His work is at such institutions as the Metropolitan Museum of Art, the Whitney Museum of American Art, the Fogg Art Museum of Harvard University and the Corcoran Gallery and Smithsonian Institution in Washington. He died at New York.

Frightened Horses

Lithograph, 1948; edition of 250. Image size 13¾” x 9”; sheet size 15-5/8” x 11”. Published by Associated American Artists, New York. Signed by the artist both in the stone and in pencil in the lower margin. Fine overall condition.

$175

Abigail Rorer (1949 - )

Born in Norristown, Pennsylvania, Abigail Rorer is a noted wood engraver and book illustrator. She received her BFA in Printmaking from the Rhode Island School of Design, and is the founder and proprietor of the Lone Oak Press in Petersham, Massachusetts. Rorer has published fine-press, limited edition books and broadsides, and has illustrated many titles for other publishers. Her work is held by many libraries and museums, and has been exhibited both here and abroad.

Twins

Wood engraving, 1988; edition of 200. Image size 4½” x 3-5/8”; sheet size 11” x 15”. Printed by Lisa Dodington on Fabriano Artistico paper and published by Bowne & Co., New York. From The Wood Engraving Portfolio. Numbered 142/200, titled, and signed in pencil by the artist. Fine impression and fine overall condition.

$75

Herman Rose (1909 - 2007)

Herman Rose, an etcher and painter, was born in Brooklyn, New York and began his studies at the National Academy of Design in Manhattan. During the Depression, he was employed in the Mural and Easel divisions of the federal Works Progress Administration (WPA) program in New York, serving as assistant to Arshile Gorky. He taught at Brooklyn College, The New School of Social Research, Hoftra College, and the University of Virginia. His work has been widely exhibited at venues including the Museum of Modern Art and The Whitney Museum. He was elected to the National Academy of Design, and has received numerous awards.

Bailey's Island

Etching, undated; etching of 250. Image size 8-3/4” x 5-7/8”; sheet size 13-1/8” x 9-7/8”. Published by Associated American Artists, New York. Numbered 107/250, titled, and signed in pencil by the artist in the lower margin. Very good.

$175

John Rosen (?)

Boy with leaves

Etching and aquatint, date and edition not stated. Image size 7-3/16” x 5-1/8”; sheet size 9-3/8” x 6-3/16”. Artist proof, titled and signed in pencil by the artist. Overall fair condition with wrinkling and creasing.

$50

Gatja Helgart Rothe (1935 - 2007)

Born in Beuthen, Germany Gatja Helgart Rothe studied drawing, art history, anatomy, and goldsmithing (her father's craft) before emigrating to New York in 1970 where, in addition to her work as a jewelry designer, she developed her technical skills in mezzotint, including the innovative use of transparency in this challenging medium. In 1979, she moved to Carmel, California and established a gallery and studio there. In the mid-1980s, she opened studios in Brooklyn and Manhattan, and pursued her new interest in "graffiti" art, producing a number of large works in this style. She died at Geneva, Switzerland.

Bolshoi

Mezzotint, 1973; edition not stated. Image size 24” x 35”; sheet size 28½” x 41”. A fine impression on Arches paper. Artist's proof, titled and signed in pencil by the artist in the lower margin. The print has been removed from its frame, and is being cleaned and de-acidified. It will be furnished matted using museum quality archival materials. Owing to size, shipping charges will be significant; please request a quotation.

$2,700

Margery Austen Ryerson (1886 - 1989)

Born in Morristown, New Jersey, Margery Austen Ryerson was a painter, etcher, lithographer, and watercolorist. After graduating from Vassar College, she studied with Robert Henri at the Art Students League in New York, and with Charles Webster Hawthorne at the Cape Cod School of Art in Provincetown, Massachusetts. Ryerson received many portrait commissions throughout her career. She was a member of the National Academy of Design and other professional organizations; her work is held in the permanent collections of many institutions, including the Smithsonian, Bibliotheque Nationale in Paris, and the Uffizi Gallery in Florence.

Little Ballerinas

Lithograph, undated; edition of 250. Image size 8½” x 10-3/4”; sheet size 12-1/8” x 15-1/4”. Published by Associated American Artists, New York. Signed in pencil by the artist lower right margin.

$125

Hemilce Saforcada (1912 - 2004)

Painter and printmaker Hemilce Saforcada was born in Buenos Aires, Argentina and studied at the Ernesto de la Cárcova School of Fine Arts there. She was the wife of artist Rodolfo Castagna. Her portraits are nuanced and spiritually expressive. In the United States, Saforcada's work is held in collections including the San Francisco Museum of Fine Arts, the Library of Congress, and the New York Public Library. Throughout her career, she stood at the front rank of Argentine artists, and won numerous prizes and awards.

Ilse And Monica

Drypoint, ca. 1945; edition of 250. Image size 8-3/4” x 13” with full margins. Titled and signed in pencil by the artist in the lower margin. Very good.

$175

Elise Mitchell Sanford (1930 - 2018)

American educator and photographer Elise Mitchell Sanford was born in Burlington, Iowa. She received Bachelor’s degrees from both Tulane University (BA) and at Ohio University, where she received both her Bachelor’s and Master’s degrees in Fine Arts.

She worked throughout her career as a writer and consultant for various public service agencies and enterprises, and since 1990 pursued photography as an artist and instructor.

Much of her work in that time has been directed toward the use of photography as an artistic tool for the exploration of reality in its many incarnation by the mentally ill. To that end, Sanford has served on the Board of Trustees of the National Alliance for the Mentally Ill, and as a member of the Ohio Mental Health Commission.

In 2000, she founded The Athens Photographic project, where students with serious mental illness learn the art and techniques of photography in a ten-week course. The program has provided transformative benefits to its students, sparking their creativity, fostering their autonomy, and nurturing their sense of worth and self-esteem.

Her own portfolio includes a series of self portraits exploring the interplay of clothing, gesture, and context in the formation of both external and internal manifestations of individual identity. This work ultimately led to work on a series of portraits of older women posing as those individuals who had served them as role models, and eventually grew to include men of a certain age as well. Ms. Sanford mounted several collaborative exhibitions of her work in the 1990s.

Elise Mitchell Sanford died in Athens, Ohio on March 23, 2018.

Elise Mitchell Sanford as Hedy Lamarr

Selenium toned silver gelatin print, ca. 1990; edition not stated. Image size 14-3/16” x 17-7/8”; sheet size 15-7/8” x 19¾. Signed and annotated by Sanford in pencil on the reverse of the print. Overall fine condition, with an archival mount in a black gallery frame,

One of a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life. When asked why she selected Hedy Lamarr for her portrait, Ms. Sanford candidly replied "I always wanted to wear a wig."

Not for sale

Marjorie Clarke as Harriet Tubman

Selenium toned silver gelatin print, 1992; edition not stated. Image size 14-3/16” x 17-7/8”; sheet size 15-7/8” x 19¾. Signed and annotated by Sanford in pencil on the reverse of the print. Overall fine condition, with an archival mount in a black gallery frame,

One in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Patricia Grean as Charles Chaplin (from The Pilgrim, 1923)

Selenium toned silver gelatin print, 1990; edition not stated. Image size 14-3/16” x 17-7/8”; sheet size 15-7/8” x 19¾. Signed and annotated by Sanford in pencil on the reverse of the print. Overall fine condition, with an archival mount in a black gallery frame,

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Margaret Cohn as Gloria Swanson

Silver gelatin print, ca. 1990. An homage to Nickolas Muray's famous 1925 portrait of the great film star.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Margaret Cohn as Greta Garbo

Silver gelatin print, ca. 1990. An homage to the iconic photograph by Edward Steichen.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Norman Cohn as Clark Gable

Silver gelatin print, ca. 1995.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Robert Borchard as Johannes Brahms

Silver gelatin print, ca. 1995. 20" x 16" overall.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Anne Braxton as Babe Ruth

Silver gelatin print, ca. 1990; Overall size 16" x 20". An homage to Nickolas Muray's famous 1927 portrait of the Yankee great.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Harolyn Brient as Rita Hayworth

Silver gelatin print, ca. 1990.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Ann Culbert as Martha Graham

Silver gelatin print, ca. 1990. An hommage to Barbara Morgan's famous portrait of the great choreographer.

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Fred Kalister as Julia Child

Silver gelatin print, ca. 1995; Overall size 16" x 20".

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Karen Nulf as Albert Einstein

Silver gelatin print, ca. 1990. Overall size 16" x 20".

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Richard Brackin as Anna Russell

Silver gelatin print, ca. 1995; overall size 16" x 20".

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Laurence Larson as Eleanor Roosevelt

Silver gelatin print, ca. 1995; overall size 16" x 20"

One in in a series of seventy portraits which comprise the cycle The Stuff of Dreams, an attempt by the artist to explore the roles of dress, gesture and context in the internal and external perceptions of individual identity. Each of the subjects in the series appears as someone influential in his or her life.

Not for sale

Kurt Scheele (1905 - 1944)

Painter and print maker Kurt Scheele was born at Frankfurt am Main. He first studied art with Albert Windisch and Rudolf Koch before enrolling at the Frankfut School of Art, where he studied drawing and painting with the expressionist artist Karl Delavilla.

In 1927, Scheele moved to Berlin and became a member of Der Keil (The Wedge), a group of north German expressionist artists. He made several study trips throughout Europe at that time. In 1929, Scheele studied with Martin Bloch and Anton Kerschbaumer at their recently established school in Berlin; it is there that he developed a strong interest in woodcuts, for which he became highly regarded. He participated in numerous group exhibitions across Germany as well as on two occasions in the United States. During that period, his work was acquired by museums throughout Germany as well as in Norway and the United States.

As his style evolved, Scheele fell out of favor with the Nazi regime. His works were deemed degenerate in 1937 and confiscated, and in 1939 he was banned from exhibiting his work in Germany. In 1940, Scheele was offered a teaching post at Cairo, but the outbreak of war prevented him from emigrating and he instead found himself in uniform on the Eastern Front. In 1943, his studio in Berlin was destroyed in an Allied bombing raid and most of his work was lost. Scheele was taken prisoner by the Soviet army and died in captivity near Smolensk in late 1944.

Barlach

Woodcut on imitation Japan paper, 1938; edition not stated, but Scheele's woodcuts – all hand-printed by the artist - are not known to have exceeded six proofs. A portrait of the noted author, printmaker and sculptor Ernst Barlach, a friend of the artist. Image size 10¼” x 13½”; sheet size 14-3/8” x 18-5/16”. Titled, dated, and signed in pencil by the artist in the lower margin. A beautifully inked and printed impression in fine condition. Not listed in Niemann. Rare.

$2,750

Stephen Alonzo Schoff ( 1818 - 1904)

Engraver Stephen Alonzo Schoff was born in Danville, Vermont and grew up in Newburyport, Massachusetts. He took up engraving at age 16 as an apprentice and then studied under Joseph Andrews, an established master. He spent about two years in Paris, studying drawing at the school of Hippolyte Delaroche, and perfecting his skills.
After his return to the United States he was soon employed upon his first important work, "Caius Marius on the Ruins of Carthage," after John Vanderlyn, ca. 1843. In 1844 he was accepted as an Associate Member of the National Academy of Design. Private banknote companies and the U. S. Bureau of Engraving and Printing provided a steady income stream throughout his long career.
Schoff engraved or etched a number of plates after works by William Morris Hunt. He was best known for engraved portraits of leading figures of the day based on works by other artists. He died at Norfolk, Connecticut.

The Sea Serpent (after Elihu Vedder)

Etching on laid paper, 1864; edition not stated. Image size 8-11/16” x 4-7/8”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed and dated in the plate, with descriptive typeset text in the lower margin. Near fine, with faint foxing at the right-hand edge of the sheet.

$125

Carl Schultheiss (1885 - 1961)

Printmaker and illustrator Carl Max Schultheiss was born in Nuremberg and studied at the Munich Academy with Wilhelm von Diez. Prior to his emigration to England in 1939, he worked as an etcher, engraver, and graphic designer. In 1940 Schultheiss settled in the United States. He was elected a member of the National Academy of Design in New York, and exhibited his work at the Art Institute of Chicago; The Library of Congress and the Corcoran Gallery in Washington, D.C.;, and at the Carnegie Museum in Pittsburgh. He died in New York City.

The Shepherd

Engraving, 1948; edition not stated. Image size 3-3/8” x 2-5/16”; sheet size 6-13/16" x 6-6/16". Published by the Miniature Print Society, Hicksville, New York. A fine impression in fine condition; tape marks in upper corners; furnished loose in original presentation mount with accompanying descriptive bulletin.

$110

The Flight Into Egypt

Engraving, ca. 1945; edition not stated. Image size 2-1/16" x 3"; sheet size 4-13/16" x 6-3/8". Published by The Miniature Print Society, Hicksville, New York. Fine, in original presentation folder.

$65

Ben Shahn (1898 - 1969)

Ben Shahn was born in Lithuania in 1898 into a family of Jewish craftsmen. His father’s anti-czarist activities forced the family to emigrate to the United States in 1906. Shahn grew up in a working-class neighborhood in Brooklyn. He became an apprentice in a Manhattan lithographic firm, finishing high school at night and later taking classes at New York University, City College of New York, and the National Academy of Design.

Shahn saw his art as a means to combat injustice and raise social awareness, using satirical depictions of social types. He had his first solo exhibition in 1930, and his series of paintings of the trial and execution of the anarchists Sacco and Vanzetti established his reputation and led to further such work. Shahn painted murals for the Works Progress Administration’s Federal Art Project, notably those in the Bronx Central Annex Post Office and the Federal Security Building in Washington, D.C. He was also a painter and photographer for the Farm Security Administration from 1935 to 1938, and later became well known for his illustrations and prints. He died in New York in 1969.

Futility

Wood engraving, 1960; edition of 300. Image size 6” x 4-3/4”; overall size 10-3/4” x 10”. The original drawing was engraved in wood by Stefan Martin including Ben Shahn's signature. The edition was then signed in red by Ben Shahn and titled, numbered 83/300, and signed in pencil by Stefan Martin. A powerful image in very good overall condition.

$675

William Sharp (1900 - 1961)

William Sharp was born Leon Schleifer in Lemberg, Austria. He attended the Academy for Arts and Industry there and continued his studies in Kraków, Poland, Berlin, and Munich. After service in World War I, he became a newspaper artist in Berlin and a well-known etcher. His biting political cartoons provoked threats of imprisonment from the National Socialists, so he left Austria for the United States in 1934, where he changed his name and found work as a courtroom artist and a staff artist at Esquire magazine. Sharp contributed illustrations to numerous periodicals including The New York Times Magazine, Life, and Colliers. He illustrated books for several publishers and produced several compilations of his illustrations.

From the series "Don Quixote & Sancho Panza"

Aquatint, 1945; edition of 750. Image size 9” x 5”; sheet size 11½” x 7-3/4”. Published by The American Institute of Graphic Arts, New York, as a keepsake for its membership meeting in January, 1945. Fine.

$225

Harry Shokler (1896 - 1978)

Born in Cincinnati, Ohio, Harry Shokler was was a painter and a pioneer in the artistic use of silk screen printing. He studied at the Cincinnati Art Academy, the Chester Springs Academy (a summer program of the Pennsylvania Academy of Fine Arts), and at the New York School of Fine and Applied Arts (later Parsons). He spent several years working and studying in Europe and North Africa, and staged a solo exhibit of his work in Paris. Returning to the United States, Shokler was employed by the WPA, and documented the people and places of New York City in his serigraphs and paintings. He taught at the Brooklyn Museum School, Princeton University, Columbia University, and the Southern Vermont Arts Center. He is the author of Artists Manual for Silk Screen Print Making, a highly regarded work that has been reprinted several times. He ultimately settled in Londonderry, Vermont.

Triple Arch Connecting Reunion and West College, Princeton University

Serigraph in twelve colors, 1945; edition of 200. Image size 10” x 8”; sheet size 12½” x 12½”. Published by The Princeton Print Club. Signed and dated in pencil, lower right margin. A fine impression with full margins. Narrow tape remnants upper edge.

$375

William Simmons (1884 - 1949)

Etcher, painter, and teacher William Simmons was born in an artists' colony at Elche, Spain. His father, Edward Emerson Simmons, was a noted nineteenth century landscape and mural painter. William Simmons studied with Jules Joseph Lefevbre at the Académie Julian in Paris, with Thomas Alexander Harrison, and also with his father. He produced etchings, drypoints, and aquatints whose subject matter was primarily natural history. He was a member of several professional societies, and his works are held by numerous institutions, including the Smithsonian Institution. He died at Baltimore, Maryland.

Bison On The Trail

Etching, 1921; edition not stated. Image size 3-3/4” x 6¼”; sheet size 5-5/8" x 9". Published in The Print Connoisseur, Volume II, Number 2, December, 1921. Signed and dated in the plate. Fine.

SOLD

The Doe

Etching, 1930; edition not stated. Image size 3” x 5-7/8”; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume VIII, Number 2, April, 1930. Fine

$275

Tavik Frantisek Simon (1877 - 1942)

Noted Czech painter, printmaker and writer T. František Šimon was born in Eisenstadtel at Gitschin, Bohemia. He studied with Max Pirner at the Prague Academy of Arts followed by further studies in Dalmatia and Italy. Šimon lived in Paris from 1904 to 1914, and in Prague thereafter. He traveled extensively during the inter-war period including a round-the-world trip in 1926. Beginning in 1928, Šimon was a professor at the Prague Academy of Arts and a member of the Czech Academy. During his career he produced a body of more than six hundred prints including woodcuts, etchings, mezzoints, drypoints, and lithographs, together with many landscapes, portraits, and watercolors. Šimon wrote extensively on all aspects of the arts and published a highly respected manual of the graphic arts. He died at Prague in 1942.

Indian Girls, Ceylon

Color soft ground and etching, 1931; edition of 200. Image size 8-7/8” x 11-3/16;” sheet size 15¼” x 19¼.” Signed and numbered 71 in lower margin, with artist’s red stamp. A fine impression in overall fine condition. Novak 531.

$725

Arab Stalls, Tangier

Color etching, 1913; edition of 200. Image size 17½” x 14”; sheet size 25-1/8” x 19½”. Numbered 176 and signed in pencil by Simon with the blind stamp of the Cercle Librairie Estampes in the lower margin. Fine. Novak 201.

$900

Marketplace in Nice

Color soft-ground & aquatint, 1912; edition of 100. Image size 13¼" x 15¼;" sheet size 17-3/8" x 21". Red stamp in lower margin. Numbered 49, signed, and annotated "imp" by the artist in pencil in the lower margin. A beautiful print in near-fine condition with faint toning. Novak 186.

SOLD

Roman Bridge, Ronda, Spain

Etching, 1912; edition of 150. Image size 9-5/16” x 13¼”; sheet size 12-3/8” x 18”. Numbered 139 and signed in pencil by the artist in the lower margin, together with his red stamp. A fine impression in overall fine condition. Novak 206.

$400

Dreaming

Mezzotint, 1922; edition of 55. Image size 6¼” x 8¼”; sheet size 12-1/8” x 16½”. Numbered 20 and signed in pencil by the artist in the lower margin; artist's chop mark in red lower left margin. A beautifully nuanced impression in very good condition overall. Novak 369; Baker 181.

$925

An Amsterdam Ragman

Etching on tan wove paper, 1911; edition of 150. Image size 8-3/8” x 7-1/8”; sheet size 12½” x 17-3/8”. Numbered 60 and signed by the artist in the lower margin, together with his red stamp. Near fine overall. Novak 182.

$225

Fishermen in Concarneau, Brittany

Color etching on wove paper, 1912; edition of 150. Image size 14-1/8” x 12-5/8;” sheet size 17” x 17.” Very good overall condition, with slight rippling at the upper edges. Novak 192.

$525

Quai d'Anjou, Paris

Color soft-ground and aquatint, 1924; edition of 300. Image size 15½" x 11-7/8;" sheet size 16-7/8" x 13-3/8." Published by Les Graveurs Modernes, Paris and numbered 109 in pencil in the lower left margin. Signed in pencil by the artist in lower right margin. A very good impression with reduced but adequate margins. Novak 408.

$975

Charles Bridge and Kriznovnici, Prague

Etching on wove paper, 1914; edition of 200. Image size 14¼” x 12;” sheet size 19-7/8” x 16.” Artist’s red stamp and signature in lower margin. Overall very good condition. Novak 217.

$225

Štefánik Bridge, Prague (The Iron Bridge)

Etching, 1940. edition not stated. Image size 9-7/8” x 12¾”; sheet size 12¾” x 17-1/16”. Signed in pencil by Simon in the lower right-hand margin, with an illegible notation opposite in a different hand. Fine overall condition. Added to the most recent edition of the Novak catalog by Catherine Bentinck Smith but not numbered.

$275

View In Old Prague

Woodcut in two colors, edition not stated. Image size 3¼” x 3-3/8”; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 2, April, 1930. Fine

$225

Panorama pris du Jardin Furstenburg

Etching on Van Gelder, 1911; edition of 250. Image size 8-5/8” x 6”; sheet size 12-5/8” x 11-3/8”. Dated 1910 with artist’s monogram in the plate. Signed inpencil by the artist in the lower margin. Overall fine condition. Novak 154.

$ 150

Ancien Cloitre Ste Agnes

Etching, 1911; edition of 250. Image size 5-1/8” x 8-5/8” sheet size 12” x 16-7/8”. Annotated and signed in pencil in the lower margin,with the artist’s yellow stamp. A fine impression in overall fine condition. Novak 142.

$225

Horologe of Staré Mesto / Devant l’Horloge

Etching on laid paper, 1911; edition of 250. Image size 6-11/16” x 7-5/8”; sheet size 8-5/8” x 11-3/8”. Numbered 2 and signed in pencil by the artist in the lower margin. Fine impression in very good overall condition. Novak 143.

$225

Rue de Dominicans

Etching on wove paper, 1911; edition of 250. Image size 5-7/8” x 8¾”; sheet size 13¾” x 17-1/8”. Signed in pencil by the artist in the lower margin. A fine impression in overall fine condition.

$175

Pres de St. Eustache, Paris

Etching on Holland wove paper, 1924; edition of 90. Image size 6¾” x 10-3/16”; sheet size 12½” x 16¾”. Numbered 63 and signed by the artist in pencil in the lower margin, with the artist’s yellow stamp. A fine, richly inked impression. Diagonal crease in the lower left-hand corner of the sheet well away from the sight area, with signs of handling at the periphery of the sheet; otherwise fine. Novak 399.

$325

La Nouvel Escalier du Chateau Royal

Etching on Holland wove paper, 1911; edition of 250. Image size 5-11/16” x 8-3/16”; sheet size 12-5/8” x 15”. A fine impression in very good overall condition, with faint toning in the sight area. Signed in pencil by the artist in the lower margin with the artist’s red stamp. Novak 157.

$275

Reims 1919 – Remains of the Old Gates

Etching, 1919; edition of 40. Image size 7¾” x 12½”; sheet size 12-5/16” x 16-7/8”. Annotated “imp.” and signed and dated in pencil by the artist in the lower margin, with the artist’s stamp in red. A very bold impression in overall good condition. Moderate soiling at extremities of sheet and faint diagonal crease upper portion of the image and two others in the uppermost corner of the sheet away from the image. Novak 315.

$175

Reims 1919 – South Tower of the Cathedral

Etching on laid paper, 1919; edition of 40. Image size 7¾” x 11-1/8”; sheet size 11-3/8” x 15½”. Signed and dated in pencil by the artist, with artist’s red stamp. A fine impression in overall fine condition. Novak 310.

$250

Under the Pont Neuf, Paris

Etching on laidpaper, 1924; edition of 100. Image size 6¾” x 10-1/8”; sheet size 12-3/4” x 18”. Numbered 31 and signed in pencil by the artist in the lower margin, with the artist’s yellow stamp. A beautifully inked impression in overall fine condition. Novak 401.

$275

Porte St. Denis, Paris

Etching on tan laid paper, 1910; edition of 100. Image size 6¾” x 9”; sheet size 11” x 17-58”. Numbered 5 and signed in pencil by Simon in the lower margin. Fine overall condition. Novak 131.

$225

The Potters

Color soft ground & etching, 1905; edition of 150. Image size 12” x 9-9/16”; sheet size 15¼” x 12¾”. Signed in pencil by the artist in the lower margin. Overall very good condition, with minor rippling at edges. Novak 40.

$750

Scrap Iron Market, Paris

Color soft ground and aquatint, 1908; edition of 300. Image size 16” x 12-1/8”; sheet size 22-3/8” x 17¼”. Signed in pencil by the artist in the lower margin. Very good overall condition.

$1,100

Nocturne in Aurey, Brittany

Color etching and aquatint, 1922; edition of 200. Image size 16½” x 11½”; sheet size 20-7/8” z 16-1/8”. Signed in pencil by the artist in the lower margin. Fine.

$1,000

Boulevard St. Denis, Paris

Etching on wove paper, 1911; edition of 150. Image size 6-13/16” x 9;” sheet size 11¼” x 14¾.” Initialed and dated in the plate and signed and numbered 25 in pencil in the lower margin, with the artist’s red stamp. Fine overall condition. Novak 132.

$325

John French Sloan (1871 - 1951)

Realist painter and printmaker John French Sloan was born in Lock Haven, Pennsylvania and moved to Philadelphia, where he sold his first etchings after teaching himself the technique. His formal training was limited by the demands of work as a freelance artist and newspaper artist. Sloan took classes at the Pennsylvania Academy of the Fine Arts with Thomas Anschutz. At the urging of friends, he began painting and became one of “Eight”, a group of like-minded artists who formed the nucleus of the Ashcan School. At this time, he also began his long career as a book illustrator.

His series of ten etchings titled New York City Life aroused controversy because of the then-prevailing disdain for social realism, and Sloan found it difficult to sell his work. Several major exhibitions during the subsequent years engendered popularity for the work of Sloan and his friends. In 1912, he became the art editor of The Masses. During the First World War, Sloan summered at Gloucester, Massachusetts and in 1916 began teaching at the Art Students League, an affiliation that lasted until 1932 and was briefly revived from 1935 – 1938.

From 1920, Sloan summered in Santa Fe, New Mexico, where he and his wife were active in local cultural and social activities. During these years, his painting style evolved toward Post-impressionism which, with its deliberate distortions of perspective, puzzled those who prized his earlier realistic style. In 1936 Sloan exhibited one hundred etchings at the Whitney Museum. In1937, the Whitney Museum exhibition New York Realists: 1900-1914 featured the early city scenes for which he was known and praised. John Sloan died at Hanover, New Hampshire.

Breakfast Tray

Etching on cream laid paper, 1933; edition of 100. Image size 6¾” x 5-3/8”; sheet size 12½” x 9½”. Annotated “100 proofs”, titled, and signed by Sloan in pencil in the lower margin. A fine impression in overall fine condition, with wrinkling at the upper left edge and left side of the sheet, well away from the image. Morse 263.

$900

Isadora Duncan

Etching on wove paper in reddish brown ink, 1915. Signed and dated in the plate. Morse records twenty-six states of this image; we believe this to be the twenty-fifth state despite the annotation “XXIII” at the lower edge of the sheet. Overall edition 100 proofs. Beautifully inked and printed. Image size 7-5/16” x 8-7/8”; sheet size 9¾” x 12-11/16”. Overall fine condition, except for damage to the bottom of the sheet in the form of a 1” square tear, well away from the image and stabilized with archival tape verso.

$3,500

Easter Eve, Washington Square

Etching and aquatint, 1926; edition of 60. Image size 7-7/8” x 9-3/4”; sheet size 12-5/8” x 15-7/8”. Very good. Strong impression on evenly and moderately toned sheet with minor staining well away from the image. Matted and framed using archival quality materials.

$5,500

Frankie and Johnnie

Etching, 1928; edition of 100. Image size 7-13/16” x 4-7/8”; sheet size 12½” x 9-3/4”. Printed by Peter Platt (1859 - 1934), one of the leading printers of the era. Signed and dated in the plate; inscribed in the plate "Frankie and Johnnie from "HIM"; and signed in pencil by John Sloan in the lower margin. A superb impression of this most unusual image. Him is the title of a surrealist play by e.e. cummings, written in 1926 and staged in Greenwich Village by the Provincetown Players, where John Sloan undoubtedly saw it and was thus inspired to produce this depiction of Act II, scene 5 from the play in which actor Hemsley Williams and actress Goldye Steiner, who plays Frankie and carries a doll named Johnie (sic), are circled by eight silent characters wearing hoods while an invisible backstage chorus sings a version of the classic "Frankie and Johnny".

This etching is from the collection of Joel and John Weinstock of New Orleans. A graduate of Smith College, Joel Wise began her lifetime of art collecting in Paris when, instead of buying lingeré with the money given to her by her mother, she purchased a print by Georges Roualt. After her marriage to John Weinstock, the couple established Prints International, based in their Carrollton home, and helped establish many significant collections in New Orleans and beyond. The Weinstocks were also generous supporters of - and donated many works of art to - The New Orleans Museum of Art.

Archival mat, mount, and backer in a period solid brass frame.

$2,900

Calf Love

Etching on wove paper, 1916; stated edition of 100. Image size 2-5/8" x 4-1/8"; sheet size 6¾" x 8". Printed and signed by Ernest Roth in the lower left corner of the sheet; Titled, signed, and annotated "12 proofs" by Sloan in the lower margin.

In his diary, Sloan commented "Adolescent affection expresses itself in slaps and kicks and general rough handling" In another entry, he notes "Young girls of fifteen and sixteen and a little younger stand on the corners with the boys Sunday evening - a sort of rough and ready love making goes on, something like the play of animals; a smack in the face expresses the warmest regard."

A fine impression, with slight adhesive residue above the plate mark recto and paper loss on upper portion of the sheet verso; both flaws are well away from the sight area.

$1,200

Fifth Avenue Critics (Une Rue À New-York)

Etching, 1905; ca. 3000 Image size 6-7/8” x 4-7/8”; sheet size 10¾” x 7-5/8”. Eleventh state, with added titles in the lower margin reading, from left to right “John Sloan inv / UNE RUE À NEW-YORK / Imp. A Porcabeuf, Paris” and printed using the steel-faced plate in the Gazette des Beaux-Arts, Paris and published in October, 1909. A very good impression in very good condition. Morse 128.

$425

Carlotta's Indecision (Jewelry Store Window)

Etching, 1906; In addition to the standard edition of 100, this plate was steel faced and was used to print the frontispiece for Canzoni, a book of Italian and Irish dialect poems by T. A. Daly, initially published by Catholic Standard & Times Publishing Co., Philadelphia, and subsequently by Harcourt, Brace & Howe, New York. Image size 3-5.8” x 5½”; sheet size 4-1/8” x 6-5/8” Overall very good condition, with a dampstain in the left margin not affecting the sight area. Morse 140.

$325

Girls Running

Etching, 1914, second state; edition of 100. Image size 2-3/8” x 4-5/8”; sheet size 9-5/8” x 11-1/8”. A nicely inked impression in fine condition on a wove sheet with pin holes around its periphery, undoubtedly the result of longer brads than required for framing. In the artist’s words, “This plaate is another arising from my love for untamed womanhood. Made from reality because made from memory, like all of my city life etchings.” Morse 168.

$950

James David Smillie (1833 - 1909)

Painter, engraver, and etcher James David Smillie was a lifelong resident of New York City; his father, an engraver, had emigrated from Scotland in 1829. Smillie studied with his father and then at the National Academy of Design. He specialized in vignettes for banknotes, certificates, and book illustrations in addition to artistic etchings. Smillie became an associate of the National Academy in 1865, and was elected a full member in 1876. He was a founder of both the American Water Color Society and the New York Etching Club.

Up The Hill

Etching on laid paper, ca. 1880; edition not stated. Image size 5” x 7-7/8”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed in the plate. Overall fine condition.

$150

A Bit on Marblehead Neck

Etching, 1883; second state, edition unknown; Image size 11-7/8” x 4¾”; sheet size 15¼” x 8-7/16”. Signed and dated in the plate; signed in pencil by Smillie in the lower margin. A fine impression with faint mat burn beyond the viewing area.

$775

Frauenkirche, Dresden

Etching, pencil, and white chalk, 1908; edition not stated. Image size 8½” x 11½”; sheet size 12-3/16” x 16-7/8”. "JDS, Dresden, Aug. 6th 04" in plate.Annotated "J.D.S. imp" and signed in pencil by Smillie in the lower margin. A very clean and nuanced impression with slight mat burn. Very good overall.

$375

Yngve Edward Soderberg (1896 - 1971)

Born in Chicago, Illinois, Yngve Edward Soderberg was an American watercolorist, etcher, and printmaker. He studied at the School of the Art Institute of Chicago and the Art Students League in New York. He was a WPA muralist whose work can be seen at the U. S. Coast Guard Academy in New London, Connecticut and at the U. S. Post Office in Morrisville, Pennsylvania. He lived and worked in Mystic, Connecticut and taught at the New London High School. He is best known for his nautical paintings and prints, as well as for winter scenes and vernacular landscapes. He is the author of Drawing Boats and Ships, a popular instructional book which has been reprinted several times. Soderberg belonged to leading etchers' societies, and exhibited at galleries in the eastern states. His work resides in the collections of numerous museums and at the Smithsonian Institution. He died at Mystic, Connecticut.

Gus

Etchng, 1931; edition not stated. Image size 4” x 4-7/8:; sheet size 5-5/8” x 9”. Published in The Print Connoisseur, Volume XI, Number 4, October, 1931. Fine.

SOLD

Evening Light

Aquatint, edition of 85; not dated. Image size 12” x 8-7/8”; sheet size 17¼” x 11-3/8”. Numbered and signed in pencil by the artist in the lower margin. Fine.

SOLD

Nip and Tuck

Etching, ca. 1935; edition of 100. Image size 10-7/8” x 7-3/4”; sheet size 14-7/8” x 11½”. Edition and signature in pencil in the lower margin. A fine, detailed impression in very good overall condition with minimal foxing.

SOLD

Running Free

Etching, ca. 1935; edition of 100. Image size 7-7/8” x 10-3/4”; sheet size 11½” x 14-7/8”. Edition and signature in pencil in the lower margin. A fine impression save for an ink smudge about 2" long parallel to the right edge, apparently caused during printing; small loss in upper LH corner of sheet and hinge stain upper right edge.

SOLD

Untitled

Etching, ca. 1935; edition of 85. Image size 11-7/8” x 9¼”; sheet size 15½” x 11½”. Edition and signature in pencil in the lower margin. A fine impression in very good overall condition.

SOLD

Luis Solari (1918 - 1993)

Born in Fray Bentos, and raised in Montevideo, Uruguay, Luis Solari studied at the Escuela Industrial under Guillermo Laborde and subsequently at Circulo de Bellas Artes de Montevideo and furthered his studies in Buenos Aires, Argentina. He first exhibited his work at the National Painting, Drawing and Print Salon of Montevideo, and in 1941 he received his first major award at the Municipal Plastic Arts Salon in Montevideo. Sent to Paris by the Uruguayan government to study teaching methods there, he studied etching at the print workshop of L'Ecole Superièure de Beaux-Arts under Edouard Goerg.

He returned to Uruguay in 1953, founded the Taller de Artes Plásticas in Fray Bento and ultimately settled in Montevideo. In 1961, Solari traveled to the United States to further his technique at the Pratt Graphics Center, and at the New York Graphics Workshop, and spent several years in residence in Rhode Island. In 1986 he returned to Montevideo, where he died.

Gallina Y Burladores (Mockery)

Mezzotint and electropoint, 1968; edition of 250. Image size 11-3/4” x 8”; sheet size 17¼” x 13-1/8”. Published by Associated American Artists, New York. Titled, numbered (160/250), and signed in pencil by the artist in the lower margin. A fine impression in fine overall condition.

SOLD

Moses Soyer (1899 - 1974)

Moses Soyer was a painter and printmaker born in Russia, who emigrated with his family to the United States in 1912. He studied art at Cooper Union, followed by instruction at the Ferrer Art School in Harlem, where he studied with Robert Henri and George Bellows, members of the Ashcan school. Following his first solo exhibition in 1926, he won a scholarship that allowed him to study drawing in Europe. Upon his return, Soyer began teaching at the Contemporary Art School and The New School in New York. His work was inspired by the fabric of city life, which he presented in a realistic and unsentimental way. During the Depression, Soyer was employed by the Works Progress Administration, which commissioned several murals by him at public buildings across the country. After his WPA work was completed, Soyer devoted much of his work to the depiction of the human figure, particularly of dancers. He died at Hampton Bays, New York.

Backstage

Lithograph, ca. 1945; edition of 250. Image size 9½" x 11¼ with full margins. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Fine.

$200

Ballerina

Lithograph, ca. 1945; edition of 250. Image size 9-3/4" x 12-7/8" with full margins. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Fine.

$175

Raphael Soyer (1899 - 1987)

Raphael Soyer (1899 – 1987)

Painter, muralist and printmaker Raphael Soyer was born in Borisoglebsk, Tambov, Russia, into a large, Jewish family. He and his children were encouraged by their father to embrace intellectual pursuits, in keeping with his position as a teacher and scholar of some renown. He ran afoul of the local authorities because of his liberal views, resulting in the family’s emigration to the United Staes in 1912, where they settled in the Bronx. Raphael’s twin brother Moses and younger brother Isaac each became successful artists. Raphael left school at age sixteen to help support the family, but nonetheless attended free classes at the Cooper Union and the National Academy of Design. At the Art Students Leauge, Soyer studied under Boardman Robinson and Guy Pène du Bois. Impressed by the young man’s talent, du Bois introudced him to Charles Daniel, a well-known dealer at the time, who gave him his first solo exhibition in 1929.

Soyer’s sensitive, realistic portrayals of his fellow New Yorkers brought wide recognition and praise. Beginning in the early 1930s, his work was exhibited at The Whitney Museum of American Art, the Carnegie Institute, the Art Institute of Chicago, the Corcoran Gallery of Art, the National Academy of Design, and the Pennsylvania Academy of the Fine Arts. He also had a series of solo exhibitions in New York galleries, and also worked in the WPA Federal Arts Project in the 1930s. In addition he taught at the Art Students League. He died in New York.

Passer-by

Etching & aquatint in sepia ink, 1973; edition of 250. Image size 10-7/8" x 13-7/8"; sheet size 15-1/16" x 18-15/16". Numbered 159/250 and signed in pencil by the artist in the lower margin. Printed on Arches paper by Emiliano Sorini (1931 - 1999) of Maywood, New Jersey. Published by Fine Arts 260, a division of the Book Of The Month Club, New York.

The original plate was created by Raphael Soyer ca. 1935, and three or so proofs were pulled using black ink before the plate was set aside. It was used to print this, the only edition, in 1973, and the plate was defaced at the completion of the work. The image is based on Soyer's painting New Hat, ca. 1930. In the artist's words, "The model was Erica, a young woman who posed for me a great deal. She also posed for Reginald Marsh. The etching is about a girl dressed up in a coat, gloves, and hat passing a store window on a cold day. I observed people walking like this girl and tried to reproduce it in my studio." (artist's quotation from Raphael Soyer - Sixty-five Years of Printmaking, by Frank Gettings, published by the Smithsonian Institution Press, 1982).

A fine impression in overall fine condition. There is faint mat burn on the sheet outside of the sight area.

$725

Kenneth Steel (1906 - 1970)

Kenneth Steel (1906 – 1970)

Water colorist, printmaker, and poster designer Kenneth Steel was born in Sheffield, England and trained at the Sheffield College of Art. He produced landscapes and street scenes, designed a number of memorable posters for the British Railways, and produced over 40 line engravings & drypoints during his working career. Both his mother and wife fell victim to a German bombing attack on Sheffield but Steel survived, remarried, and worked until his death at Lodge Moor, Sheffield.

Ely Cathedral (east window)

Etching and aquatint, 1934; edition of 75. Image size 7¾” x 14¾”; sheet size 13-1/8” x 17-5/8”. Signed in pencil by the artist in the lower margin. A fine impression with subtle contrasts in overall fine condition.

$475

Edward Steichen (1879-1973)

Photographer and curator Edward Steichen was born in Bivange, Luxembourg. He came to the United States with his mother in 1881, the year following his father’s arrival in Chicago where the family lived until 1889. The Steichen family moved to Milwaukee, where Edward became an apprentice lithographer and first developed an interest in photography, leading to his collaboration with Alfred Stieglitz whom he met in New York in 1900. In 1903, Stieglitz began publishing The Camera Work, a quarterly journal celebrated for its photogravure reproductions of the work of world-renowned photographers. Through The Camera Work, Stieglitz aimed to establish photography as an art form in its own right. It is no coincidence that Edward Steichen’s work dominated the journal throughout its fifteen year history.

Steichen created the first modern fashion photographs, and later commanded the Photographic Division of the American Expeditionary Forces, documenting American participation in World War I. In the inter-war years, Steichen worked for Condé Nast Publications, particularly for Vogue and Vanity Fair, as well as for leading advertising agencies. He was widely regarded as the most famous and most highly paid photographer in the world.

During World War II, Steichen directed Naval Aviation Photographic Unit, and after the war, he headed the Department of Photography at the Museum of Modern Art in New York. He died at his farm in Redding, Connecticut, where he had lived since 1928.

J. P. Morgan, 1903

Mounted silver gelatin photograph, printed 1981/1982 by George Tice for Prestige Art, Mamaroneck, New York, publisher of the portfolio Edward Steichen: Twenty-five Photographs in an edition of 132 (one hundred for sale). Image size 10½" x 13". The print is mounted; the original size of the mount was 15 15/16" x 19-7/8;" it was trimmed for framing to 15-9/16” x 19½." The lower portion of the label bearing the statement of authenticity and the signature of George Tice was trimmed at this time, clipping the bottom of Tice's ink signature. A photograph is available for examination upon request.

In 1903, the painter Fedor Encke was working on a portrait commission by Morgan. In January of that year, he hired the twenty-three year old immigrant Edward Steichen to photograph his famous subject for subsequent reference.

This, the second of two exposures, was taken just after Steichen had asked Morgan to shift his position slightly, causing the old man to show his irritation and sharpen his posture. In that instant, the young man captured the great financier, his left hand holding the arm of the studio chair whose tip reflected the glint of light as if it were the blade of a knife in Morgan's grasp.

This print is ex-collection of the Richard E. Jacobs Group, Cleveland, Ohio and is surely one of the most iconic photographic portraits of the twentieth century.

$1,100

Alfred Stieglitz (1864 - 1946)

Few individuals have exerted as strong an influence on 20th-century American art and culture as the photographer and art dealer Alfred Stieglitz. Born in Hoboken, New Jersey, in 1864 during the Civil War, Stieglitz began to photograph while a student in Berlin in the 1880s and studied photographic technology with chemist Hermann Wilhelm Vogel.

He returned to the United States in 1890 and began his campaign to recognize photography as an art form, publishing numerous articles and editing the periodicals Camera Notes (1897–1902) and Camera Work (1903–1917). In 1902, Stieglitz formed the Photo-Secession, an organization of photographers committed to establishing the artistic merit of photography.

Through his New York galleries—the Little Galleries of the Photo-Secession at 291 Fifth Avenue, which he directed from 1905 to 1917; The Intimate Gallery, 1925–1929; and An American Place, 1929–1946, Stieglitz introduced modern European art to this country, organizing the first American exhibitions for Picasso, Matisse, Braque, and Cézanne. He also championed work by Americn modernists including his wife, Georgia O’Keeffe, and Charles Demuth.

Photography was always of central importance to Stieglitz, who oresaw that it would revolutionize all aspects of the way we learn and communicate and that it would profoundly alter all of the arts. He died in New York City.

Stieglitz - 02 TheCIty Across the River 1500.jpg

The City Across the River and The Ferry Boat

A thematic pair of gravures printed on Japan paper by Manhattan Photogravure Company in 1911 from negatives created by Alfred Stieglitz in 1910 and published in Camera Work XXXVI, October, 1911. Image sizes 6¼” x 9-7/8” and 6-3/8” x 8-3/16”, respectively. Archivally matted and framed in individual 13¼” x 17¼” varnished Maple gallery frames. Fine overall condition; sold as a pair only.

$2,100

Stieglitz - 06 Old & New New York 1500.jpg

Old and New New York and Excavating - New York 1911

A thematic pair of gravures printed on Japan paper by Manhattan Photogravure Company in 1911 from negatives created by Alfred Stieglitz in 1910 and 1911, respectively, and published in Camera Work XXXVI, October, 1911. Image sizes 6-3/16” x 8” and 6-3/16” x 5”, respectively. Archivally matted and framed in individual 13¼” x 17¼” varnished Maple gallery frames. Fine overall condition; sold as a pair only.

$2,300

Stieglitz - 11 The Swimming Lesson 1500.jpg

The Swimming Lesson and The Pool - Deal (Deal Beach, New Jersey)

A thematic pair of gravures printed on Japan paper by Manhattan Photogravure Company in 1911 from negatives created by Alfred Stieglitz in 1906 and 1910, respectively, and published in Camera Work XXXVI, October, 1911. Image sizes 9-1/16” x 5-13/16” and 6¼” x 4-15/16”, respectively. Archivally matted and framed in individual 13¼” x 17¼” varnished Maple gallery frames. Fine overall condition; sold as a pair only.

$1,700

William Strang (1859 - 1921)

Painter and etcher William Strang was born in Dumbarton, Scotland and educated at the Dumbarton Academy. Moving to London in 1875, he studied art for six years at the Slade School under Alphonse Legros, working in drypoint, mezzotint, engraving, lithography, and woodcut. He ultimately became assistant master in the etching class there, and enjoyed great success. Some of his early plates were published in The Portfolio and other art magazines, and Strang, an early member of the Royal Society of Painter-Etchers, showed his work at its first exhibition in 1881. His etchings illustrated many literary works of the period. Strang was also widely recognized for his paintings, which included portraits, landscapes and genre scenes.

The Bath

Color wood engraving, 1904; edition not stated. Image size 8-3/4” x 10”; sheet size 13¼” x 16½”. Published by Macmillan & Co., London and signed in the block. A rich impression in near-fine condition.

$450

The Wine Drinkers

Drypoint, 1904; edition not stated. Image size 7½” x 7-3/8”; sheet size 13-3/8” x 16-5/8'. Published by Macmillan & Co., London and initialed in the plate. A finely nuanced impression in near-fine overall condition.

$325

Andor Sugar (1903 - 1944)

Painter and printmaker Andor Sugar was born in Budapest. He first gathered public attention in 1924 at the exhibition of the students of the Volkmann School of Design. In 1928, he exhibited pastels and etchings at the Mentor Library. An activist member of the Communist Party, Sugar was an eager participant in the New Society of Artists. His work drew praise at the Progressive Art Exhibition at the Tamás Gallery in Budapest and at other venues during the 1930s. With the advent of World War II, his situation became increasingly difficult due to the expansion of fascism in Europe and especially in Hungary. Yet in 1943 Sugar was able to present some works at a gallery exhibition entitled The New Romantics, the last in which took part. He was arrested in April 1944, interned at Sarvar, and transported to Auschwitz, never to return.

Verjely

Etching, ca. 1940; edition not stated. Image size 13-3/4' x 12”; overall size 16-3/8” x 14-7/8”. A dark and unsettling surrealist image, titled and signed by the artist in the lower margin. The print has been cleaned and de-acidified in 2014, and mounted and matted using archival quality materials. Faint stain on reverse outside of image area. Unobtrusive creases in margins obverse. Rare.

$425

Samuel Donovan Swann (1889 - 1954)

Born in Fernandina, Florida, Don Swann was an etcher who specialized in illustrating historic Americana. He attended St. John's College in Annapolis, Maryland and studied art in Germany and Italy. He made his home in Baltimore. His work forms part of the permanent collections of the Metropolitan Museum of Art, the Library of Congress, the U. S. Naval Museum, and the Smithsonian Institution, and numerous private collections. He died at Baltimore.

Chase House Doorway

Etching, 1943; edition of 300. Image size 4” x 5”; sheet size 7-3/4” x 8-3/4”. A fine impression with minor soiling and foxing at the lower right corner of sheet; faint adhesive staining in the corners.

$160

Endre Szász (1926 - 2003)

Endre Szász (1926 – 2003)

Painter, print maker, and award-winning book illustrator Endre Szász was born in Miercurea Ciuc, Romania, who as a young man exhibited strong artistic talent in all media. He studied at the University of Fine Art, Budapest and upon his graduation began working as an illustrator and over his career collaborated on several hundred book projects and produced numerous paintings and prints. He exhibited his work at galleries and museums around the world, and lived for a time in Toronto and in Los Angeles before returning to Hungary in 1982. He died at Mosdós, Hungary.

Akt (Nude)

Etching and aquatint, ca. 1960. Edition not stated. Image size 7¾” x 11-3/8”; sheet size 14¾” x 19¼”. A rich, nuanced impression. Fine.

$ 575

Frederic Taubes (1900 - 1981)

Frederic Taubes, an important 20th Century painter and printmaker, was born in Lwow, Poland and fled with his family to Vienna at the outbreak of the First World War. Private lessons in prewar Poland formed the foundation of his art education. In Vienna, he enrolled at the Vienna Academy of Art where he studied under Franz von Stuck. At war's end, he continued his studies at the Academy in Munich under Max Doerner. Taubes became interested in the new art forms arising from the turmoil occasioned by the dislocations of the recent war. He left the Munich Academy after one year, and enrolled at the Bauhaus in Weimar. During the 1920s, Taubes experimented with several styles and worked as an itinerant portrait painter.

In the early 1930s, Taubes settled permanently in New York, where he became a highly successful society portrait artist and achieved the recognition and respect worthy of his talents. He spent 1942 as the Carnegie visiting professor of art and resident painter at the University of Illinois in Urbana, where he studied materials used in 14th and 15th century Flemish paintings. He wrote several important books and articles during this period which led to a series of lectures at the invitation of Oxford University and the Royal Society of Art. After 1955, Taubes seldom showed his work, but remained an active painter for the rest of his life. He died at New York City.

Girl Combing Her Hair

Etching, date unknown; edition of 250; Image size 12” x 9-3/4”; sheet size 16” x 13”. Published by Associated American Artists, New York. Signed in pencil by the artist in the right lower margin. Fine.

SOLD

Head Of A Girl

Etching, 1952; edition of 250. Image size 7-7/8” x 10-1/8”; sheet size 11” x 13-7/8”. Published by Associated American Artists, New York. Signed in pencil by the artist right lower margin. Rippled across the top edge of the sheet, not affecting image. Fine.

$275

Harry Everett Townsend (1879 - 1941)

Harry Everett Townsend was born in Illinois. Moving to Chicago, he enrolled in the Art Institute of Chicago and studied under Lorado Taft. After two years he moved to Wilmington Delaware where he trained under Howard Pyle, followed by a brief period of study at the Académie Moderne in Paris. He settled in New York and worked as a freelance illustrator for such magazines as Scribner's and Harper's. With the onset of World War I, Townsend was one of eight war artists chosen by the U.S. government to accompany the Allied Expeditionary Force. With the end of the War, the war artists unit was disbanded. Townsend moved to Norwalk, Connecticut, where he established a studio and taught illustration.

Portrait Of The Artist

Woodcut, 1929; edition not stated. Image size 5” x 7-5/8"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

Balzac

Woodcut, 1929; edition not stated. Image size 4-3/8" x 4-7/8"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

Charles Steinmetz

Woodcut, 1929; edition not stated. Image size 4¼" x 5½"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

Clarence Budington Kelland

Woodcut, 1929; edition not stated. Image size 4½" x 6"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

Roshi Nara

Woodcut, 1929; edition not stated. Image size 5½” x 8-1/8"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

Highwayman

Woodcut, 1929; edition not stated. Image size 5” x 7¼"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$175

The Great Oak "Waveny"

Woodcut in two colors, 1929; edition not stated. Image size 3-7/8" x 7¼"; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume X, Number 1, January, 1930. Fine.

$225

Gillian Tyler (1935 - )

Born in Baltimore, Maryland, freelance wood engraver and painter Gillian Tyler received her undergraduate degree from Smith College. The Max Beckmann Scholarship from the Brooklyn Museum School led to two years of advanced study, followed by two years at the Kunst Akademie in Hamburg, Germany under a Fulbright Scholarship. Tyler operated a small letterpress shop and illustrated numerous books for various publishers in recent years. She studied painting under Donald Stone and has turned to paintings and watercolors that capture the essence of her New England surroundings. She lives in Thetford, Vermont.

Self Portrait

Wood engraving, 1985. Printed by Hampshire Typothetae Unnumbered duplicate on 80# Mohawk Superfine Smooth Softwhite Text for the portfolio Face To Face, a gathering of self-portraits by leading contemporary wood engravers. Signed by Tyler in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$60