11 West 11th Street (New York)
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1939, Kraeft 79, edition 100. 12 7/8 x 9 3/4 in. Signed, dated and numbered in pencil. This is a fine, rich impression printed on white wove paper. The margins are full and the condition is excellent. A great many of the impressions from this plate were printed after 1939. Mohammad Omer Khalil, a master printer, started filling out Landeck's editions is the early 1970s and his blindstamp appears in the lower right corner of the margin. Khalil has also printed for Jim Dine, Louise Nevelson and Romare Bearden. This is an exceptional early work by Landeck.
SOLD

Studio Interior, No. 1
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1935, Kraeft 57, edition 100. 8 x 10 5/8 in. Signed in pencil, lower right. This is a superb impression with full margins. The condition is fine. In this classic study of a printmaking studio, Landeck here depicts his first atelier in Cornwall, CT. Shown on the wall in the upper right corner is his rare lithograph, View of New York, from 1932.
$1,800

Exhibition Announcement
BLANCHE LAZZELL
American, (1878-1936)
Woodcut printed in colors, circa 1930, Shapiro/MFA 52, edition unknown. (image) 7 1/2 x 3 3/4 in. (sheet) 10 1/2 x 5 5/8 in. Initialed in the block, lower left. This is a fine impression of this very rare print. The paper is a thin Japanese and the margins are full. The condition is fine apart from a small, barely visible 1/2" tear at the top edge at left and another tiny split at the bottom. This endearing Provincetown image captures the essence of what was happening in this New England artists community during the 1920s and 1930s. The sheet was first printed (or applied by hand) with this vibrant background color and then the image and text were printed, possibly from two separate blocks. This charming print is illustrated on page one of "From Paris to Provincetown: Blanche Lazzell and the Color Woodcut (2002).
$5,500

Pennies
JOSEPH LEBOIT
American, (1907-2002)
Lithograph printed in colors, circa 1935, edition probably about 25. 17 7/8 x 12 5/8 in. Signed and titled in pencil. This is a fine impression of this rare WPA print. The margins are mostly full and the condition is very good. (There's a small loss in the lower right corner margin, a repaired tear in the right margin just to outside the image and minor stains on the verso and top edge of the front of the sheet.) Leboit was born in New York, studied at the Art Students League, and was prominent in the Artists for Victory organization. He was politically active as an artist for various liberal organizations including the paper PM and New Masses. Leboit's work is illustrated and discussed in The American Scene, Prints from Hopper to Pollack (2008) by Stephen Coppel. This impression bears the stamp of the NYC WPA Art Project and an impression of this print is located in the Newark Museum.
SOLD

Haymaking: June
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, BPL 212, edition 60. 8 1/16 x 10 in. Signed, titled and numbered in pencil. This is a fine, early impression printed on cream Japanese paper. The margins are full. The condition is fine other than for a modest old stain in the upper margin edge away from the image. This rich impression is from the Farmer's year series. It's numbered in Roman numerals therefore it's from the British edition of 30.
SOLD

Landing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1931, Boston PublicLibrary 195, edition 130. 8 3/8 x 12 1/2 in. Signed and numbered in pencil. This is a fine impression printed on cream Japanese paper. The margins are full and the condition is excellent. This work is among Leighton's best known works called the Lumber Camp series. Six images were done in an edition of 30 for the UK and 100 for the US. These prints were based on her trip to the Laurentian Mountains in Quebec, Canada.
$3,800

Cod Fishing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1949-50, BPL 613, edition 50. 9 1/2 in. in diameter. Signed, titled and numbered in pencil. This is a very good impression printed on thin Japan paper. The margins are full. Very good condition apart from a trace of an old adhesive along the outer left margin edge, verso. This is one of Leighton's twelve woodcut designs for New England industries which were also made into Wedgewood plates.
SOLD

Apple Picking: September
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, Boston Public Library 209, edition 60. 8 5/8 x 11 7/8 in. Signed, numbered and titled in pencil. This is a fine early impression from the British edition of 30, numbered in Roman numerals. (30 impressions for the American market were numbered in Arabic.) Printed on a fine cream Japanese paper, the margins are full. The condition is fine other than for small old hinges at the top corners, verso, and a small ripple in the lower margin at left. This stellar image is from the Farmer's Year series.
SOLD

To the Milking: July
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, BPL 218, edition 60. 8 x 9 7/8 in. Signed, titled and numbered in pencil. Here we have a fine, early impression printed on thin cream Japanese paper. The margins are full. The condition is fine other then for a tiny hinge remnant on the lower right corner of the sheet, recto. There's a tiny speck in the sky area which appears to be inherent to the paper. This print is from the Farmer's year series and from the British edition of 30 signed in Roman numerals.
$2,500

Limbing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1931, BPL 191,edition 130. 8 5/8 x 12 in. Signed, titled and numbered in pencil. This is a fine, rich impression printed on Japanese paper. The margins are full. This work is numbered from the American edition of 100. There was an additional edition of 30 for the British market. This print is from the Lumber Camp series which was based on a trip to the Laurentian Mountains in Quebec, Canada.
$3,800

Waiting for the Breeze
PEDRO JOSEPH DE LEMOS
American, (1882-1954)
Woodcut printed in colors, 1925, Edwards 29b, edition unknown. 8 1/4 x 7 3/4 in. Signed and titled in pencil. This is a fine, luminous impression printed on Japanese paper. The margins are wide and probably full. The condition is very good apart from a soft wrinkle in the lower right corner of the margin. Lemos' work is illustrated and discussed in A Spectrum of Innovation, Color in American Printmaking 1890-1940, by David Acton (1990), see pages 94-95. A leading exponent of the the California arts and crafts movement, Lemos had a major retrospective at the Monterey Museum of Art in 2015 accompanied by a catalogue by Robert W. Edwards.
$4,000

Puffing Billies
MARTIN LEWIS
American, (1881-1962)
Etching and sand ground, 1916, McCarron 20, edition 15. 13 x 9 3/4 in. Signed in pencil. This is a superb, atmospheric impression with full margins. The condition is fine. (There's a minor smudge on the right margin.) This dynamic, early work depicts New York harbor and the subject of tugboats turns up in other Lewis prints (see McCarron 2,21,28 & 38.) Provenance: Kennedy Galleries, NY (with their label).
$8,000

Rain on Murray Hill
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1928, McCarron 75, edition 110. 7 7/8 x 11 7/8 in. Signed in the plate. Signed in pencil, lower right. This is a fine impression with full margins. The paper is a medium weight off white wove with an acorn leaf watermark. The condition is fine. This exemplary work depicts a scene just a few blocks from the artist's studio at 145 East 34th Street in New York. Impressions are cited in twelve museum collections.
SOLD

Cronies
MARTIN LEWIS
American, (1881-1962)
Aquatint, 1932, McCarron 96, edition 60 including three trial proofs. 9 3/8 x 10 7/8 in. Signed in the plate, lower left. Signed in pencil, lower right and also inscribed, "first trial proof." This is a rich, dark impression of an UNRECORDED FIRST STATE. This impression is before considerable work (lightening) on the clothes of the figures at left, and before multiple changes (lightening) on the right between the tire tracks and also further to the right side. The margins are full and the condition is excellent. This print was done while Lewis was living in rural Connecticut.
$5,500

Tree, Manhattan
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1930, McCarron 87, edition 91 including ten trial proofs. 12 7/8 x 9 7/8 in. Signed in the plate, lower left. Signed in pencil. This is a superb, luminous impression with full margins. The condition is fine. This exceptional print contains all the elements of a great Martin Lewis; dramatic lights and darks, solitary figures, well-integrated architectural design and there's that added element of urban mystery to engage our imagination.
$13,000

Under the Street Lamp
MARTIN LEWIS
American, (1881-1962)
Etching, 1928, McCarron 70, edition 83. 14 7/8 x 9 3/8 in. Signed in the plate, lower right. Signed in pencil. This is a superb impression printed on white laid paper with full margins. The condition is very good apart from a skillfully repaired tear in the center right margin, well away from the image. This impression bears the round estate stamp of Lucile Deming Lewis.
SOLD

Quarter of Nine, Saturday's Children
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1929, McCarron 78, edition 107. 9 7/8 x 12 7/8 in. Signed in the plate, lower left. Signed in pencil, lower right. Also inscribed by the artist,"watakashi no E." This is a superb impression printed on off white laid paper. The margins are full and the condition is excellent. Provenance: Kennedy Galleries (with their label). The scene is 34th Street at Park Avenue, New york.
PRICE ON REQUEST

The Passing Freight, Danbury
MARTIN LEWIS
American, (1881-1962)
Drypoint and sand ground, 1934, McCarron 108, edition 47. 8 7/8 x 14 7/8 in. Signed in pencil. This is a superb impression with full margins. The condition is excellent. A locomotive also appears his lithograph, Veterans, from 1935. Hopper and especially Marsh were also interested in the train as subject matter. Provenance: Kennedy Galleries, NY.
SOLD

Ha'nted
MARTIN LEWIS
American, (1881-1962)
Drypoint and sand ground, 1932, McCarron 100, edition 107. 13 1/8 x 8 15/16 in. Signed in the plate, lower left. Signed in pencil. This is a fine, luminous impression in excellent condition. The margins are full. This underrated, nighttime scene contains all the elements of a great Lewis print; crossed shadow lines, solitary figures, well-integrated architectural design, subtle stars highlighting an otherwise pitch black sky and there's an added element of psychological mystery to engage our imagination. Dedicated in pencil, "for John O'Gara," who was a Macy's VP at the time and a friend of the artist.
SOLD

Clothes Shop (New York)
CHARLES LOCKE
American, (1889-1983)
Lithograph, 1936 or 1937, edition about 25. 11 x 6 5/8 in. Signed on the stone with the artists monogram. Signed and titled in pencil below the image. This is a fine impression with full margins. The condition is excellent. This print was done as part of the New York Federal Art Project and bears the ink stamp. Locke excelled in lithography and he worked closely with Joseph Pennell at the Art Students League. He eventually succeeded Pennell there as Instructor of Lithography. There was a retrospective of his work at the Pratt Graphics Center and Pratt Institute in 1985. This work is illustrated on page 107 of The Federal Art Project: American Prints From the 1930s (1985) University of Michigan.
$750