Abandoned Quarry, Rockport
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1936, Flint 129, edition 20. 14 x 10 7/8 in. Initialed on the stone, lower right. Signed and dated in pencil. This is a fine impression with full margins. The condition is fine apart from old hinges at the top corners. According to the catalogue, Lozowick spent several summers at Rockport, MA. Quarrying for granite was a major industry for the town.
SOLD

Blast Furnaces (New Jersey)
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1929, Flint 16, edition 50. 7 1/2 x 14 1/2 in. Initialed in the stone, lower right. Signed and dated in pencil. Titled in the lower left margin. This is a fine impression with full margins. The condition is excellent. According to Flint, these blast furnaces may have been located near Dover, NJ, which was once considered the "Pittsburgh of New Jersey". In 1972, an additional five numbered impressions were printed by Burr Miller. The original edition was printed by George Miller.
$5,000

Birth of a Skyscraper
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1930, Flint 46, edition 25. 12 1/4 x 8 5/8 in. Initialed on the stone, lower right. Signed and dated in pencil. Titled in pencil in the lower left margin. This is a fine impression of this uncommon and exceptional print. The original price of $20 is written in the lower right margin. Impressions are located at the Zimmerli Art Museum at Rutgers and at the Smithsonian American Art Museum.
SOLD

Central Park
LOUIS LOZOWICK
American, (1893-1973)
Woodcut printed in colors, 1940, Flint 174, edition 15. 9 1/16 x 5 1/2 in. Signed and dated in pencil. This is a fine impression of this veryy rare print. The paper is a thin light cream wove and the margins are most likely full. The condition is excellent. Lozowick produced very few color woodcuts and the Flint catalogue lists six in total. They were all produced in 1940. This charming scene shows a child on a sled and a couple in the distance.
$1,850

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.
SOLD

A gathering of Mice
BETTINA "PETER BOY" LUM
American, (1911-1983)
Woodcut printed in colors, 1920, edition unknown (this impression inscribed # 6 in pencil.) 8 1/4 x 4 1/8 in. Signed and numbered in pencil with a hard to read date as mentioned above. This is a fine impression of this rare print. The margins are modest and the condition is fine. Bettina was born in Minneapolis and was the daughter of Bertha Lum. She was called "Peter Boy." She was married in 1938 to a British diplomat named Sir Colin Crowe and Crowe was added to her name. Her work is in the collection of the Fine Arts Museums of San Francisco and has been exhibited at other US museums.
SOLD

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

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.
SOLD

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.
SOLD

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

Girl Walking (Elevated)
REGINALD MARSH
American, (1898-1954)
Lithograph, 1945, Sasowsky 28, AAA 709; edition 250. 10 5/8 x 8 in. Initialed and dated on the stone, lower right. Signed in pencil. This is a fine impression printed on white wove paper. The margins are full and the condition is excellent. This very well drawn lithograph was published by Associated American Artists in New York. Marsh enjoyed depicting this subject and he did many other such images in drawings and oil sketches. The edition was printed by George Miller.
$1,600

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.
$5,500

Café Brasserie
REGINALD MARSH
American, (1898-1954)
Lithograph, 1932, Sasowsky 24, edition 22. 7 3/4 x 8 1/4 in. Signed and dated on the stone, lower right. Signed and numbered in pencil. This is a fine impression printed on a cream chine appliqué. The wide margins are probably full and untrimmed. The condition is fine. This lithograph was probably printed in Paris and is an uncommon print.
$2,200

Gaiety Burlesque
REGINALD MARSH
American, (1898-1954)
Etching, 1930, Sasowsky 102, edition 39. 11 7/8 x 9 3/4 in. Signed and dated in the plate, lower left. Signed in pencil. This is a superb impression in fine condition. The margins are irregular and somewhat modest in the lower left corner but this is almost certainly the sheet Marsh printed on. The paper bears a WHATMAN watermark which is the paper used for most of the lifetime edition. This is one of Marsh's most famous prints and is found in many museum collections including: The Cleveland Museum of Art, the Metropolitan Museum of Art, the Fogg Art Museum and the Indianapolis Museum of Art. Provenance: The Old Print Shop, NY (with their label on the back of the frame.)
$8,000

Maine (Sunrise)
JAN MATULKA
American, (1890-1972)
Lithograph, circa 1925, Flint 25, edition unknown. 11 1/2 x 14 1/8 in. Signed and dedicated "to Fitch" in pencil. This is a superb, luminous impression with full margins. The condition is fine apart from areas of stray printer's ink in the margins. "Maine" was selected as one of two Matulka prints for the Modern Section of the first "Fifty Prints of the Year" exhibition held in New York in 1926. This print is dedicated to Eugene Fitch who introduced Matulka to lithography at the Art Students League. Fitch was a gifted teacher and lithographer and had worked with Joseph Pennell. "Sunrise" is an alternate title for this dynamic print. Ex-collection: Lois Torf, Boston.
$4,500

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.
SOLD

Spring Umbrellas
KATHARINE HOOD MCCORMICK
American, (1882-1960)
White line woodcut printed in colors, probably 1946-1947, edition unknown. 14 x 11 3/8 in. Initialed in the block, lower right. Signed and titled in pencil. This is a fine impression of this very rare print. The paper is a cream fibrous Japanese and the margins are full. The condition is fine apart from a wrinkle in the upper right corner of the sheet and remains of old tape on the verso along the top edge in three places. McCormick was one of the original Provincetown printers and her work was included in Janet Flint's seminal catalogue, "Provincetown Printers: A Woodcut Tradition." (1983). McCormick was a Philadelphia artist, studied at the Pennsylvania Academy of Fine Arts and was treasurer of the American Color Print Society. She was a regular visitor to Provincetown and became a frequent correspondent of Blanche Lazzell. Lazzell advised her to use colors freely and rely on inspiration at the time of printing. McCormick wrote, "It is not a paying business as far as price is concerned. I do them (blockprints) because I like to." There are six woodcuts by McCormick in the collection of the Philadelphia Museum of Art including this one.
SOLD

Aerial Conjunction
DOROTHY MCCRAY
American, (1915-2008)
Color lithograph, 1958, edition 10. 14 1/2 x18 1/2 in. Signed and titled in pencil. Printed by the artist.A fine example of abstract expressionist printmaking in New Mexico during the 1950s.Her work is included in The Stamp of Impulse; Abstract Expressionist Printsby David Acton.(see pages 128-129).
SOLD

Points of Departure
DOROTHY MCCRAY
American, (1915-2008)
Lithograph, 1956, edition 8. 16 x 20 1/4 in. Signed, dated and titled in pencil. This is a fine impression printed on off-white wove paper. The condition is very good other than traces of an old adhesive at top corners, verso, from earlier hinges. The margins are wide except at the top where they measure about 1/2". McCray's work is discussed at length in The Stamp of Impulse, Abstract Expressionist Prints (2001), page 128-129. Her editions are traditionally very small.
SOLD

Fruit
DOROTHY MCENTEE
American, (1902-1990)
Woodcut printed in colors, circa 1940, edition 15. 8 1/16 x 10 in. Signed, titled and inscribed, 15 proofs/trial proof. Here we have a fine impression printed on a thin cream Japanese paper. The margins are full and the condition is very good. (There's a trace of an old mat line from an earlier mount.) McEntree lived and worked in New York.
$450