Beneath the Bridge
Lithograph, circa 1940, edition unknown. 13 3/4 x 9 7/8 in. Signed in pencil lower right. A fine impression in fine condition. Full margins. All of Gross-Bettelheims prints are rare and this is no exception. She was invloved with the WPA program and produced potent modernist images first in Cleveland and later in New York. She exhibited in the Artists for Victory show in 1943.
SOLD

Factory Houses
Lithograph, circa 1935, edition unknown. 13 3/8 x 9 1/2 in. Signed and titled in pencil. A fine, rich impression in fine condition. The margins are full with a deckle edge showing on all sides. This fine, early work was done in Cleveland where Gross-Bettelheim lived before moving to New York. This is a known WPA print but this impression is not stamped.
SOLD

Imperialism
Lithograph, circa 1945, edition unknown. 11 3/8 x 9 7/8 in. Signed in pencil. This is a superb, rich impression of this extremely rare and important print. The margins are most likely full and the condition is excellent. Gross-Bettelheim was living in New York from 1938 until about 1956. This potent image was done during this period along with a few other works such as Assembly Line and the Fascism series. Previously, she had been living in Cleveland and produced several prints for their WPA program from 1935-1943. "Imperialism" represents a culmination of Bettelheim's modernist explorations and stands as one of American printmaking's most powerful anti-war statements. The formal perspective of the composition–an assembly line of war weapons and regimented figures–pulls the viewer into the image . The skull-like gas masks look out to the viewer, hollow-eyed in warning. The repetition of the shapes and abstraction of the figures emphasize the inhumanity of the war machine and makes poignant the paradox of man's vunerability in the face of his own creation. Although this lithograph was created during WWII, the image feels absolutely contemporary, as relevant today as it was when first produced. (Source for the last five sentences: Keith Sheridan). Impressions of this work are found in the Smithsonian in Washington, DC and the Crystal Bridges Museum of American Art.
SOLD

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

New York Rooftops
Drypoint, circa 1940, small edition; proofs only. 8 x 5 7/8 in. Signed in pencil, lower right. This is a superb, rich impression printed on off white laid paper. The margins are full and the condition is excellent. The artist moved to New York in 1938 and this work was done during this period.
SOLD

Smelting (Smelter)
Lithograph, circa 1949, edition about 25. 17 1/2 x 14 in. Signed in pencil. This is a superb impression of this large, rare print. The margins are full and the condition is fine. There's just a faint suggestion of toning along the extreme outer edges of the sheet. The artist was born in Hungary and lived and worked in the United States from the 1930s-1950s. She was active with the WPA. We've located an impression in Grinnell College art collection (Falconer Gallery) with the title Smeltery.
SOLD

Under the High Level Bridge (Cleveland)
Lithograph, probably done in 1936, edition unknown but probably fewer than 25 impressions. 10 1/2 x 8 in. Signed in the image, lower left. Signed and titled in pencil below the image. This is a fine impression of this rare early WPA print. The condition is very good other than the faint trace of a crease in the upper right corner and a fold mark showing in the lower margin below the writing. The margins are full. This impression bears the stamp "Federal Art Project No.1" We also have the original labels which accompany this work.
SOLD