Doorway into Street
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1929, Flint 23, edition 15 (plus 10 more printed in 1972) 14 x 7 in. Signed with the monogram in the lower right corner. Signed in pencil. This is a superb impression of this uncommon, early work. The margins are full and the condition is fine. This impression is from the early printing. The 1972 impressions are numbered in Roman numerals; ix-x/x.
SOLD

Angry Skies (Andante Cantabile)
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1935, Flint 123. edition 250. 9 1/2 x 13 3/8 in. Initialed on the stone, lower left. Signed in pencil, lower right. This is a fine impression printed on white wove paper. The margins are trimmed a bit on the top and bottom but are still substantial enough. The condition is very good. This impression is from the 1948 edition published by Associated American Artists and printed by George Miller. There was a small edition of ten impressions printed in 1935.
$1,500

Debutante
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1930, Flint 53, edition 25. 14 1/2 x 11 in. Initialed on the stone, lower right. Signed and dated in pencil. This is a very fine impression printed on BFK RIVES paper. The margins are full and the condition is fine apart from minor wrinkles showing here and there in the extreme outer margins. This classic academic nude study shows the range of Lozowick's skills as a draughtsman.
$1,600

Edison Plant
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1929, Flint 24, edition 20. 13 5/8 x 7 15/16 in. Signed and dated in pencil, lower right. This is a fine impression printed on RIVES wove paper. The margins are full with a deckle edge showing on all sides. The condition is fine apart from three tiny splits in the bottom edge of the margin and old paper hinges, verso, at the two top corners. This stellar, early work was reprinted in 1972 in an edition of ten numbered impressions. Lozowick actually worked at this plant after his return from Europe in 1924.
SOLD

Mending Nets (Provincetown)
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1950, Flint 232, edition only 15. 13 1/16 x 7 1/2 in. Signed on the stone with the monogram, lower left. Signed and titled "Provincetown" in pencil. Here we have a fine impression in excellent condition. The margins are full. Lozowick produced very few lithographs of Provincetown; two from 1950 and a couple from 1967.
$1,500

Distant Manhattan from Brooklyn
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1937, Flint 145, edition 200. 7 15/16 x 13 in. Signed and dated on the stone. This is a fine impression with full margins. The condition is excellent. This stellar image was published by the American Artists Group and printed by George Miller. The Flint catalogue does not mention any other editions. The print is not pencil signed as is the case with all AAG editions and we have the original folder which accompanies the print.
$3,500

The Fox Woman
BERTHA LUM
American, (1869-1954)
Woodcut printed in colors, 1916, Gravalos / Pulin 38, edition at least 197. 16 1/2 x 10 in. Signed, dated and numbered in pencil. This is a fine impression with fresh colors. The margins are narrow but probably full. The condition is fine apart from soft rippling here and there at the sheet edges. This lovely print provides an elegant and refined visualization of the age-old role of the fox in oriental folklore. This theme is discussed in the catalogue raisonne entry for this print on page 96.
$2,200

Sugar Snow
GUY MACCOY
American, (1904-1981)
Screenprint, 1946, edition unknown. 10 1/4 x 13 3/8 in. Signed, titled and dated in pencil. This is a fine impression printed on light gray paper. The margins are full and the condition is excellent. Maccoy made his first artistic screenprints in 1932 and taught the medium in Colorado and Los Angeles during the 1940s and 1950s. He was married to the artist, Geno Petit.
$750

Chaos
JOHN MACGILCHRIST
American, (1893-1977)
Etching, 1932, edition 100. 12 1/2 x 9 3/8 in. Signed and dated in the plate, lower right. Signed, numbered and titled in pencil. This is a fine impression printed on cream wove paper. The margins are full and the condition is very good. (There's just a very faint suggestion of toning within an earlier mat opening.) MacGilchrist was born in Scotland and came to the US for a degree in architecture. He returned to his home country during WWI and ended up on the Western Front in France where he became a balloon pilot-observer. He returned to the US after the war and flourished in the 1920s as an etcher of aviation subjects. He remained here until his death in 1977. This compelling, highly detailed print makes a bold statement about the horrors of war and the battle of good versus evil.
SOLD

Arrangement
DORIE MARDER
American, (b. 1916)
Screenprint, 1945, edition 35. 9 3/4 x 11 1/2 in. Signed, numbered and titled in pencil. This is a fine impression with fresh colors. The condition is excellent other than for a couple of small smudges in the right margin, well away from the image. The sheet is untrimmed. Marder was born in Poland. She lived in New York and was active with the National Serigraph Society and the American Color Print Society in the 1940s and 1950s. An impression of this print is in the Williams Collection at the National Gallery of Art. In addition, her papers are in the Archives of American Art in Washington, DC.
SOLD

Lobster Fisherman
JOHN MARIN
American, (1872-1953)
Etching, 1948, Zigrosser 172, edition 125. 8 7/8 x 7 in. Signed, dated and titled in the plate. Signed in pencil. This is a fine impression printed with plate tone. The margins are full. The condition is excellent. This print was published with a Portfolio of Reproductions of Marin Drawings by Twin Editions, 1950. This is the fifth and published version of this subject.
$3,000

Bridge Over Canal, Amsterdam
JOHN MARIN
American, (1872-1953)
Etching, 1906, Zigrosser 13 (ii/II), edition 30. 5 15/16 x 7 1/2 in. Signed and dated in the plate. Signed in pencil, lower right. This is a superb impression of this lovely, rare work. The paper is a cream Japanese and the margins are full. The condition is excellent. Like Whistler and his Amsterdam etchings, Marin appreciated the uniqueness of every impression and applied the ink in such a dramatic way that no two impressions are exactly the same. We sold a rare first state of this print a couple of years ago and the inking was substantially different than this one. Other impressions are found at Colby College, The Philadelphia Museum of Art and the Art Institute of Chicago.
$4,500

Notre Dame, Paris
JOHN MARIN
American, (1872-1953)
Etching, 1908, Zigrosser 79 (iv/V), edition about 30. 12 3/4 x 10 1/2 in. Signed, dated and titled in the plate. Signed in pencil. This is a very fine impression of the large, early work. The margins are full and the condition is excellent. The copper plate is in the Philadelphia Museum of Art.
$3,500

Ohmpeer
KYRA MARKHAM
American, (1891-1967)
Lithograph, 1944, edition 25. 13 3/8 x 10 1/8 in. Signed, dated and titled in pencil. The edition size is also written in pencil below the image. This is a fine impression in fine condition. The margins are wide and probably full. A very good, short biography about Markham is found in Paths to the Press, Printmaking and American Women Artists, 1910-1960 (2006), pages 194-195. This is a nice example of her later work.
$2,200

Jersey City Landscape
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1939, Sasowsky 187 (iii/III), edition 20 plus five trial proofs. 7 7/8 x 11 7/8 in. Signed and dated in the plate and signed in pencil lower right. A fine impression of this rare print. In very good condition apart from traces of an old tape adhesive along the top edge of the sheet. The margins appear to be full. An outstanding example of Marsh's skills as a printmaker.
SOLD

George Washington Bridge (Palisades)
REGINALD MARSH
American, (1898-1954)
Etching, 1936, Sasowsky 166 (i/III); one of only three proofs in this state. 8 x 10 in. Signed in pencil, lower right. This is a superb impression printed on a white wove paper. The condition is fine and the margins are wide. This appealing print is quite rare with only five impressions listed in the final state. There are only six artist's proofs listed in the catalogue in addition to the above five impressions. (We sold a third state impression several years ago.) We feel Marsh prints are underrated and undervalued in the current market. His editions tend to be small, in general, which makes them much harder to find in signed, lifetime impressions.
SOLD

Two Models on a Bed
REGINALD MARSH
American, (1898-1954)
Lithograph, 1928, Sasowsky 9, edition 15. 9 x 10 1/2 in. Initialed and dated on the stone. Signed in pencil and inscribed, "15 proofs." Here we have a fine impression printed on chine appliqué. The margins are full and the condition is fine. This early figurative study was done in Paris.
$2,000

Irving Place Burlesque
REGINALD MARSH
American, (1898-1954)
Etching with engraving, 1930, Sasowsky 101 (viii/VIII), edition 33. 9 7/8 x 11 7/8 in. Signed and numbered in pencil. This is a superb impression of this large, exemplary work. The paper is a white wove and the margins are full. (They are unevenly trimmed which is often the case with Marsh.) The condition is generally fine other than for a few specks of foxing in the lower left corner below the platemark. This plate was reprinted in 1969 by the Whitney Museum. The Irving Place Theatre was located at the southwest corner of Irving Place and East 15th Street. The building was demolished in 1984.
$6,500

New York Harbour
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1941, Hardie/Carter 279, edition 65 plus 19 trial proofs. 10 1/4 x 15 in. Signed, titled and dated in the plate. Signed and numbered in ink. Here we have a fine impression with probably the full margins. The condition is also fine. This is one of McBey's best views of New York as pictured from Brooklyn across the East River.
$1,650

California, San Luis Obispo
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1944, Hardie/Carter 283, edition 48. 6 1/2 x 14 1/8 in. Signed, titled and dated in the plate, lower left. Signed and numbered in ink. This is a fine, luminous impression printed on cream wove paper. The margins are wide and the condition is fine. (There's a little bit of brown paper tape along the left and right margin and a fraction along the top edge at right.) This appealing, later work by McBey shows his fascination with the diversity of the American landscape. In this same year he produced an etching of Ranchos de Taos in New Mexico and, of course, he was quite familiar with New York.
$600