Island Hay
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1945, Fath 68, edition 250. 10 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil, lower right. This is a fine impression with full margins. The condition is excellent. The scene depicted is on Martha's Vineyard, MA. This engaging print relates to a painting as well as a drawing, the latter produced during the 1920s.
SOLD

Cradling Wheat
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1939, Fath 27, edition 250. 9 1/2 x 12 in. Signed on the stone, lower left. Signed in pencil. This is a fine impression with full margins. The condition is also fine. (This print came in the original AAA mat and the original hinges are still present.) The lithograph was done after a painting which is now in the St. Louis Art Museum. The scene depicted is the hill country of east Tennessee.
SOLD

Haystack
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1938, Fath 21, edition 250. 10 1/4 x 12 3/4 in. Signed on the stone, lower left. Signed in pencil. Here we have a fine impression with full margins. The print came in the AAA mat and the original hinges are still at the top corners. The print was based on a drawing from 1928 and the subject is a North Carolina hill farm.
SOLD

White Calf
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1945, Fath 67, edition 250. 10 x 12 3/4 in. Signed on the stone, lower left. Signed in pencil. Here we have a fine impression with wide margins. The condition is excellent. This work was done at Chilmark on Martha's Vineyard. Impressions of this print are located at the Whitney Museum of American Art, the Museum of Fine Arts, Houston, the National Gallery of Art and the Nelson-Atkins Museum of Art, among others.
SOLD

Sunday Morning
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1939, Fath 26, edition 250. 9 5/8 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil. Here we have a superb impression printed on RIVES watermarked paper. The margins are untrimmed apart from a minor paper loss(?)to the lower left edge of the sheet. (This is quite possibly the full sheet as printed.) This beautiful print was based on a drawing done in 1938.
$3,600

The Corral
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1948, Fath 71, edition 250. 9 3/4 x 13 7/8 in. Initialed on the stone, lower right. Signed in pencil. This is a fine impression with wide margins. The condition is fine apart from the two original AAA hinges at the top corners of the sheet, recto. There's an oil (whereabouts unknown) and Benton also produced a few drawings relating to this outstanding subject in 1939. The scene is western Nebraska.
$4,200

Old Man Reading
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1941, Fath 44, edition 250. 10 x 12 1/8 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression in excellent condition. The margins are full. According to the artist, "This old man was from one of the small towns near K.C.(Kansas City). A painting was made directly from life - the litho was made from the painting."
SOLD

Lonesome Road
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1938, Fath 18, edition 250. 9 5/8 x 12 1/2 in. Signed on the stone, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. Benton did a painting of this subject in 1927. He also did a drawing of this Arkansas subject in 1926.
$3,500

Unemployed Marchers
LEON BIBEL
American, (1913-1995)
Lithograph printed in black and gray, 1938-1988, edition 25. 11 1/4 x 13 1/4 in. Signed and titled in pencil. This fine impression has full margins. The condition is excellent. This WPA print was originally drawn on stone in 1938 and early impressions are not known. The artist published the work in 1988 in an edition of 25. Bibel was working in New York when this great image was first created.
$1,500

Brooklyn Bridge
LEON BIBEL
American, (1913-1995)
Screenprint, 1938, edition 30. 14 x 11 in. Signed in the image, lower right. Signed, dated, titled and numbered in pencil. This is a fine impression of this uncommon print. The margins appear to be full. (They are narrow on the sides.) The condition is fine. Bibel was born in Poland, immigrated to the United States and trained in California. He moved to New York in 1936 where he was active in the WPA program. Impressions of this print are in the Metropolitan Museum in NY and the National Gallery, Washington.
SOLD

Chicken and Pulque (Pollo y Pulque)
GEORGE BIDDLE
American, (1885-1973)
Transfer lithograph, 1928, Pennigar 89, Trotter 55; edition 50. 12 x 12 in. Signed, numbered and dated in pencil. This is a fine impression with wide margins. The condition is fine. This is from Biddle's Mexican Series. Pulque is a beer-like agave drink which predates the arrival of the Spanish by at least 1,500 years. In 1928 Biddle accompanied Diego Rivera on a sketching trip around Mexico.
SOLD

The Seed
JOHN BIGGERS
African American, (1924-2001)
Lithograph, 1983, edition 100. 17 1/8 x 23 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed on ARCHES watermarked paper. The margins are full with a deckle edge on all four sides. The condition is fine apart from a very small stain in the upper margin, center, and an old adhesive along the top edge of the sheet, verso. Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983, the year of this print. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and the influence of his many trips to Africa is clearly evident.
SOLD

Metamorphosis II
JOHN BIGGERS
African American, (1924-2001)
Lithograph, 1992, edition 50. 30 x 21 1/2 in. Signed, dated, titled and numbered in pencil. The print bears the blindstamp of the Lynton Kistler workshop, the pioneering California lithograper who printed for many of the finest artists working during the mid 20th century. (Kistler, himself, was active from the 1920s to about 1976.) Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and is a compelling and symbolic statement.
SOLD

The Seed
JOHN BIGGERS
African American, (1924-2001)
Lithograph, 1983, edition 100. 17 1/8 x 23 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed on ARCHES watermarked paper. The margins are full with a deckle edge on all four sides. The condition is excellent. Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983, the year of this print. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and the influence of his many trips to Africa is clearly evident.
$6,500

The Preview
ABE BLASHKO
American, (1920-2011)
Lithograph, 1939, edition 35. 16 3/4 x 11 in. Signed on the stone, lower left. Signed, titled and numbered in pencil. This is a strong, rich impression of this large work. The margins are wide and the condition is quite good apart from a skillfully repaired tear in the lower margin, center, just to the image. Blashko had a one-man show of twenty five drawings at the Seattle Art Museum in 1938. He was then only eighteen years old. He worked as a longshoreman at the Seattle docks and eventually moved to NY where he published cartoons and continued making prints, drawings and paintings. He had a major retrospective at the Susan Teller Gallery in 1987. His work is included in several museum collections including the National Gallery of Art.
SOLD

Manhattan Excavation
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1923-28, Dodgson 390 (xvii/XIX), edition of 40 in this state, total of 151 impressions. 12 3/8 x 10 1/8 in. Signed in the plate, lower right. Signed in pencil. Here we have a superb, luminous impression printed on cream laid paper. The margins are full and the condition is fine. This tour de force of the drypoint medium is a great moment in Bone's illustrious career. This location is Madison and 45th Street in New York and depicts the early construction of the Hotel Roosevelt. The hotel opened for business in 1924.
$5,800

Cutting Out a Bull, No. 1
EDWARD BOREIN
American, (1872-1945)
Etching, undated, Galvin 116, edition unknown. 6 x 10 3/4 in. Signed in pencil, lower right. This is a fine impression printed with tone on cream wove paper. The margins are full and the condition is excellent. Borein rarely dated his prints and did not keep formal editions.
$2,800

Going to the Wagon, No. 1
EDWARD BOREIN
American, (1872-1945)
Etching, undated, Galvin 44, edition unknown. 7 7/8 x 9 7/8 in. Signed in pencil, lower right. This is a fine, atmospheric impression in very good condition. The margins are full. (There's just a very faint suggestion of light toning within a previous mat opening.) This outstanding work is also titled "The Texans."
SOLD

Emigrant Train
EDWARD BOREIN
American, (1872-1945)
Etching, undated, Galvin 148, edition unknown. 14 x 6 in. Signed in pencil, lower right. This is fine, luminous impression with full margins. The paper is a cream wove and the condition is excellent. This is an outstanding example of his work. Borein produced over three hundred etchings and his work is consistently good.
$2,800

Bridges
ERNEST BOYER
American, (1884-1949)
Aquatint, undated (circa 1940), edition 25. 8 x 9 3/8 in. Signed and titled in pencil. This is a fine impression printed on UMBRIA ITALIA paper. The margins are full and the condition is fine apart from a very faint trace of toning within the mat opening and old hinge adhesive at the top corners, verso. This rare, exceptional print by this Pittsburgh artist is illustrated and discussed in Graphic Excursions, American Prints in Black and White, 1900-1950, from the Collection of Dave and Reba Williams (1991). Boyer studied architecture at the Carnegie Institute of Technology and he later returned there to study printmaking. His wife, Louise Miller Boyer, and their daughter, Helen King Boyer, were accomplished printmakers as well.
SOLD