Connectors
JAMES ALLEN
American, (1894-1964)
Etching, 1934, Ryan 66, McRae pg. 6; edition probably 100. 12 7/8 x 9 3/4 in. Signed in pencil. This is a fine impression in excellent condition. The margins are full. This dynamic print was part of Allen's Steel Workers Series. It was inspired by the construction of Radio City Music Hall which took place from 1931 to 1932 as part of Rockefeller Center. This stellar work is found in the collections of the British Museum, the Crystal Bridges Museum of Art, the National Gallery and the Smithsonian American Art Museum, among others. "Connectors" is illustrated on the cover of the Ryan catalogue. It's illustrated in Graphic Excursions, American Prints in Black and White," by Reba and Dave Williams (1991), (entry 44). And, it's illustrated on page 115 of "The American Scene, Prints From Hopper to Pollack," by Stephen Coppel published by the British Museum (2008).
$5,000

Pipe and Brawn
JAMES ALLEN
American, (1894-1964)
Lithograph, 1938, Ryan 28, McRae pg. 22; edition 40. 11 7/8 x 14 3/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is excellent. Allen produced a series of twelve lithographs concerning pipe workers from 1937 to 1938. "After Allen's etchings, these are the most recognized and collected of all his works." (see MacRae pg. 18, The Prints of James E. Allen; Etchings, Lithographs, and Linocuts 1925-1945 (2002). Ryan dates this print to 1937.
$2,000

Big Bend
JAMES ALLEN
American, (1894-1964)
Lithograph, 1938, Ryan 5, MacRae pg. 23; edition 10 (30?) 11 1/8 x 14 3/8 in. Signed and numbered "ed 10." This is a fine impression with full margins. The condition is excellent. MacRae lists the edition as thirty however our impression is numbered as above. Ryan states the edition is ten which agrees with our numbering. MacRae dates this print to 1938 whereas Ryan lists the date as 1937.
$1,800

The Last Trumpet
BORIS ARTZYBASHEFF
Russian/ American, (1899-1965)
Wood engraving, 1937, edition 200. 11 3/8 x 7 7/8 in. Signed and titled in pencil. This is a fine impression printed on a cream wove paper. The margins are full. The condition is very good apart from old adhesive on the top corners, verso, where the sheet was attached to the accompanying portfolio. This potent image was published by the Woodcut Society of Kansas City with an introduction by Carl Carmer. Artzybasheff was a gifted set designer and illustrator and he created more than 200 covers for Time magazine before his death. This potent image was perhaps partially inspired by his early time in the front lineswhen the Russian Revolution broke out in 1917. He was drafted into the German sponsored Ukranian army and was forced to fight for a separatist Ukranian Republic. With his life at risk, he eventually escaped and made it to New York and commenced his career as an artist. This is a universal statement about war and destruction against the background of a large metropolis.
$3,500

The Invasion of Art
PEGGY BACON
American, (1895-1987)
Drypoint, 1943, Flint 147, edition unknown. 9 3/8 x 13 7/8 in. Signed and titled in pencil. Inscribed, "For Josephine with morbid affection from Peg." This is a superb impression of this large, uncommon print. The margins are full. The condition is fine apart from a paper tape hinge on the verso at the top, and two tiny white tape hinges at the corners also on the back. The paper bears a WHATMAN watermark. This entertaining work with an equally satirical dedication reflects the personality of the artist. There's a drawing of this same location (Kennebunkport, ME) in the Princeton University Art Museum. It's listed as the same year as the print.
$2,200

Gateside Conversation
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1946, Fath 69, AAA 753; edition 250. 9 3/4 x 13 7/8 in. Signed on the stone, lower right. Signed in pencil. This is a fine, rich impression with full margins. The condition is excellent. A painting of this subject was made prior to the lithograph.
$3,500

Toucans
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Linocut printed in colors, 1929, edition unknown. 10 5/8 x 9 1/8 in. Signed with the monogram in the block, lower right. Signed in pencil. Here we have a fine, vibrant impression with probably the full margins. The condition is excellent. This stellar work was published in a special edition of the 1920 Gesellschaft für Vervielfältigende Kunst, Vienna. There is also the published, unsigned edition with the printed descriptive text along the bottom edge of the sheet.
$2,250

Youth (Jugend)
NORBERTINE BRESSLERN-ROTH
Austrian, (1891-1978)
Linoleum cut, 1930, edition unknown. 10 1/4 x 11 1/4 in. Signed in pencil and inscribed, "handdruck." This is a fine impression printed on her typical thin Japanese paper. The margins are substantial and this is probably the full, untrimmed sheet. The condition is fine apart from a tiny stain just to the right of the image in the upper corner. The is a beautiful impression. Bersslern-Roth studied with Ferdinand Schmutzer at the Academy of Fine Arts in Vienna. In the 1920s, she was one of the first women to become deeply involved with the linocut process which she focused on up until about 1952.
$1,650

La Falaise - Baie de Saint Malo
FELIX BUHOT
French, (1847-1898)
Etching, drypoint, aquatint and roulette, 1886-1890, Bourcard-Goodfriend 165. 11 3/4 x 15 1/2 in. Signed with the artist's large red owl stamp (Lugt 977) along the lower left of the image. This is a fine, rich, luminous impression printed in two slightly different tones of black ink. The margins are full and the condition is very good. (There's a professionally repaired break along the right edge from plate mark pressure in the printing process.) The central image (state v/VI) is printed from one plate and the outer image (state iii/III) is printed from a second plate. There's a pencil inscription on the verso which reads," Eau Forte de Felix Buhot purchased from the artist's son, Jean Buhot, in 1919... R. Lawson." In addition, this beautiful print comes from a Norwegian private collection.
$5,000

The Large Cottages (Les Grandes Chaumières)
FELIX BUHOT
French, (1847-1898)
Drypoint, aquatint and roulette, 1881, Bourcard/Goodfriend 150 (v/VI); edition unknown. 5 1/2 x 10 3/4 in. Signed below the imaged with the artist's large red owl stamp (Lugt 977). This is a superb impression printed on a cream laid paper. The margins are probably full and the condition is excellent. There's an unidentified collector's mark on the verso "AEB" printed in blue ink.
$2,300

The Return of the Artists to the Champs-Elysées (Le Retour des Artistes aux Champs-Elysées)
FELIX BUHOT
French, (1847-1898)
Etching, drypoint, aquatint and roulette, 1877, Bourcard-Goodfriend 125 (iv/IV); edition unknown. 8 1/8 x 12 1/2 in. Signed, titled and dated in the plate, lower left. This is a fine, richly inked impression of this uncommon print. The margins appear to be full with a deckle edge on three sides. The condition is fine. According to Jim Goodfriend, "The precise time and date (March 20, 6 in the evening) are etched into the plate, memorializing the final day on which artists could submit paintings for exhibition in the 1877 salon." (See his Catalogue Number Six, page 10 (1998). This, the published state, bears the printed title "Le 20 Mars au Palais des Champs Èlysées." It was published by Cadart.
$1,400

Frontispiece for L'Illustration Nouvelle
FELIX BUHOT
French, (1847-1898)
Etching, drypoint, aquatint and roulette, 1877, Bourcard/Goodfriend 124 (v/V) 13 5/8 x 10 7/8 in. Signed in the plate, lower left. Signed in pencil. This superb impression also bears the following inscription, "à mon camarade et ami, E." There's a further Buhot pencil inscription, "frontispiece pour L'Illustration Nouvelle de Cadart". The paper is a fine laid and the margins are full. This impression is before the plate edges were cleaned. This print is described by Goodfriend as follows: "The subject of this curious allegory is the 'death' of reproductive engraving (the spirit of the engraver's tool is carried aloft by angels, while the 'body' is taken off by an old hearse labeled 1876, drawn by a winged horse) and the triumphant arrival of original etching transported by a modern locomotive called 'L'Illustration Nouvelle' and dated 1877." Signed impressions of this print are rare. Based on the pencil dedication it appears that this is the impression illustrated in Catalogue Number Four (1986) by C. & J. Goodfriend, page 35, # 90.
$4,500

Cloud Shadows, Apache Trail, Arizona
GEORGE ELBERT BURR
American, (1859-1939)
Drypoint and aquatint, undated (circa 1927-28), Seeber 268, edition unknown. 7 7/8 x 9 7/8 in. Initialed in the plate, lower right. Signed and titled in pencil. Here we have a fine impression with full margins. The condition is also fine. The view shows the Salt River which is found in Gila and Maricopa counties.
$1,400

Mexican Girl
MARGARET BURROUGHS
African American, (1915-2010)
Linoleum cut, 1998, edition unknown. 21 1/2 x 13 3/4 in. Initialed in the block, lower left. Signed, titled and dated in ink. This is a superb impression printed on white wove paper. The margins are probably full and the condition is fine. (There's a small bent corner, lower right, and a smudge on the bottom center margin.) This large, dynamic print relates to an earlier and smaller version of the same subject. (An impression from the Melvin Holmes Collection of African American Art measures 13 3/4 x 8 3/4 in. It's dated 1953 and the edition was only five impressions.) Dr. Margaret T. Burroughs was a visual artist, writer, educator and founder of the DuSable Museum of African American History in Hyde Park (Chicago). Burroughs spent a brief time in Mexico where she studied printmaking under the direction of Leopoldo Méndez at the Taller de Gráfica Popular. As a leader of the Black Arts Movement in Chicago, her works focused on community and the social empowerment of art.
$3,500

Eagle Dance
HOWARD COOK
American, (1901-1980)
Wood engraving, 1942, Duffy 201, edition 200. 10 x 8 in. Signed and dated in pencil. This is a superb impression in fine condition. The margins are full. This print was published by the Woodcut Society of Kansas City. The print is still in the folder it was published in and it's attached at the two top corners, verso. Duffy cites ten impressions in museum collections.
$1,800

New England Church
HOWARD COOK
American, (1901-1980)
Wood engraving, 1931, Duffy 161, edition 50. 11 3/8 x 8 3/8 in. Signed and dated in pencil. This is a very fine impression on a cream Japanese paper. The margins are full and the condition is fine apart from old hinges on the verso at top, well away from the image. The church depicted here is the First Congregational Church in Springfield, MA. This historic church was built in 1819. There were actually three church buildings at this site before the 1819 structure, the first built in 1637.
$1,600

Wheat Shocks
JOHN ROGERS COX
American, (1915-1990)
Lithograph, 1951, AAA 1141, edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a fine impression with wide margins. The condition is very good apart from faint light toning within an earlier mat opening and very slight toning of the back of the sheet. This is the only print by Cox and it was published by Associated American Artists in New York. Cox was born in Indiana and studied at the Pennsylvania Academy of Fine Arts. He was appointed the first Director of the Swope Art Museum at the age of twenty-six. He organized important shows of American painters and was buying American painters' works from the 1930s and 1940s for the Swope before it became the trendy thing to do. Cox was a fine painter but he produced a small body of work. He tended towards a magic regionalist landscape tradition and his work is quite compelling.
$3,500

Coastal Scene at Night
EUGENE DELATRE
French, (1864-1938)
Etching and aquatint, 1906, edition unknown. 18 5/8 x 25 in. Signed and numbered "113" in pencil. This is a superb, luminous impression with wide margins. The condition is very good apart from traces of adhesive, recto, in the margins from an early mount and a few repaired tears also in the margins. This large and ambitious print shows Delâtre at his best as an intaglio printmaker. This painterly print effectively conveys the mood of the moment. (There's no proper catalogue of his prints apart from the Inventaire du fonds français après 1800 which lists prints in the Bibliothèque Nationale.) Eugène was the son of Auguste Delâtre.
$2,500

Pia (Opus 319)
JAKOB DEMUS
Austrian, (b. 1959)
Diamond drypoint, 2010, edition of just a few impressions. 9 3/4 x 5 5/8 in. Signed, titled, dated and inscribed, "313/I/probedruck.) This is a superb impression printed with plate tone. The margins are full and the condition is excellent. This exceptional print is from the artist's 2010 "Nike" series in which he draws directly from nature on the copper plate and then he prints an edition of only a few impressions. These "plein air" drypoints were done in the forests around Vienna and demonstrate the artist's exceptional skills as a draughtsman. Inspired by the work of Rembrandt, Demus here shows remarkable freedom with the copper plate and the prints from this series are a notable departure from his more restrained and detailed prints from the 1980s. Nike refers to the Greek goddess of victory. The prints are all titled with the names of women.
$1,400

Peacocks (Oblong Plate)
CHARLES M. & EDWARD J. DETMOLD
British, (1883-1908 & 1883-1957)
Etching, 1905, Dodgson 8, edition unknown. 3 1/8 x 6 1/2 in. Signed in pencil by Edward, lower right, and signed in pencil lower left, M.D. (by) E.J.D. This is a fine impression in fine condition with full margins. The paper is a cream-colored Japanese paper. This collaborative etching by the twins is the companion piece for Dodgson 10. Very few impressions were printed in 1905 and this one dates from the 1920s when Edward reprinted a small edition and signed both their names. (Maurice died in 1908). Their work was very much in demand at the time and even today the Detmold etchings have many admirers.
$800