The Crenellated Hill
LOUISE BOYER
American, (1890-1976)
Drypoint, 1940, edition unknown. 9 1/8 x 10 1/2 in. Signed in pencil. This is a fine impression with full margins. The condition is also fine other than for two small old paper hinges at the top. This is from her Pittsburgh Series (# 9) and was published by the Society of Print Connoisseurs and bears their blindstamp in the lower left margin. In the early 1930s, Boyer began experimenting with anodized aluminnum plates which allowed her to bypass the grounding and acid biting procedures of copper or zinc plates.
$750

Woman Drying her Hair
ROSS BRAUGHT
American, (1898-1983)
Lithograph, 1950, edition only 18. 20 5/8 x 15 1/4 in. Signed, dated ("1950"), titled and numbered in pencil. This is a superb impression of this rare print. The margins are full and the condition is excellent. This beautifully drawn, surrealist style image reflects Braught's skills as a draughtsman. Braught attended the Pennsylvania Academy of Fine Arts from 1918 to 1921. He moved to Woodstock, NY, in 1928 where he was introduced to the art of lithography. Braught was head of the painting Department at the Kansas City Art Institute from 1931-35 and his work was highly regarded. After a few years working in the British Virgin Islands, he returned and taught at Cornell from 1936-1939 and later was back at the Kansas City Art Institute until his retirement in 1962. Braught's work has been overlooked over the years but fortunately Hirsch & Adler Galleries gave him a major show and catalogue in 2000. Braught was a uniquely talented artist and a true visionary in both lithography and painting.
$2,500

Allen Street El
BERNARD BRUSSEL-SMITH
American, (1914-1989)
Wood engraving, 1941, Teller 12, edition 140. 4 1/16 x 6 1/16 in. Signed, titled and numbered in pencil. This is a fine impression printed on a fairly thin wove paper. The margins are full and the condition is excellent. New York artist Bernard Brussel-Smith was born in Greenwich Village, New York City, in 1914. He studied art at the Pennsylvania Academy of Fine Arts in Philadelphia and the New School for Social Research in New York. It was during his time at the New School that Brussel-Smith became interested in wood engraving and began a career in this demanding art form. The Allen Street El is now a creation of the past. It was demolished in 1942.
$700

Wisconsin Forest (also called Cut-Overland)
BERNARDA BRYSON (SHAHN)
American, (1903-2004)
Lithograph, 1935-36, Wien 14, edition unknown. 9 5/8 x 12 1/2 in. Signed and titled in pencil. This is a fine impression of this very rare print. The margins are wide and the condition is very good. (There's some glue residue along the top edge of the sheet from an early mount. There's also a small repaired tear in the lower right margin not affecting the image.) This outstanding work is from her early series called, The Vanishing American Frontier. This series of historical lithographs was created for the Resettlement Administration of FDR. As described by Wien, "This lithograph of deforestation and its implied aftermath - land erosion and river pollution - starkly portrays the consequences of the rapacious appetite of growing America and its subjugation of long-term environmental concerns to the short-term interests of the lumberyards. The ecological subject matter of this lithograph is close to the artist's heart." This print is in the collection of the Crystal Bridges Museum of American Art and the National Gallery in Washington, DC.
SOLD

Cactus Flowers
CONRAD BUFF
American, (1886-1975)
Lithograph printed in colors, circa 1938-1940, edition unknown. 10 x 7 7/8 in. Signed and titled in pencil. This is a superb impression with vibrant colors. The margins are full and the condition is fine other than for a very slight trace of an old mat line around the image. This print relates to paintings of the same subject.
$450

The Heavens
CHARLES BURCHFIELD
American, (1893-1967)
Wood engraving in collaboration with JJ Lankes, 1923-24, Czestochowski 4, Cleveland/Prasse 185, edition 13. 6 1/8 x 4 5/8 in. Initialed in the block (B+L) by Burchfield and Lankes. Signed and titled by both artists in pencil and also inscribed "no. 5". The print is titled along the bottom margin in pencil. This is a superb impression of this extremely rare work. The margins are full and the condition is fine apart from small old hinges showing at the top corners, well away from the image. Burchfield and Lankes published eleven wood engravings together. Burchfield did the designs and Lankes cut the blocks. The Heavens deals with the world of the spirit and it reaffirms the mysticism of Burchfields's work from 1915-17. This wood engraving was intended for a publication of Ecclesiastes along with three other prints. That publication never materialized. The checklist of Burchfield's prints by Joseph Czestochowski appeared in the American Art Journal, November 1976, pages 99-110.
SOLD

Father and Son
CALVIN BURNETT
African American, (1921-2007)
Screenprint, 1956, edition 15. 28 1/4 x 18 3/8 in. Signed, dated, numbered and titled in pencil. This is a fine impression of this large and impressive print. The margins are full (but modest in size) and the condition is fine other than for a small stain at the top edge of the margin and old hinges, verso. Burnett taught at the Massachusetts College of Art for thirty-three years. He received his MFA from Boston University in 1960. He specialized in the screenprint medium and was also a painter.
$2,200

Piñon Trees and Spanish Peaks, Colorado
GEORGE ELBERT BURR
American, (1859-1939)
Etching printed in colors, 1906-07, Seeber 42, edition perhaps 50. 6 1/8 x 9 3/8 in. Signed in pencil, lower left. This is a superb impression of this uncommon early color etching. The margins are probably full and the condition is fine. (There's stray printer's ink on the verso which is faintly showing on the right margin.) This was Burr's "first experiment in color" after moving to Denver in 1906. He was forty-seven. He was also a gifted watercolor painter and he viewed color etching as an ideal means to transition from one medium to the other. This rare print is illustrated on the cover of the Seeber catalogue raisonné.
$2,400

Old Oaks in Winter
GEORGE ELBERT BURR
American, (1859-1939)
Drypoint, 1920, Seeber 81, edition unknown. 9 7/8 x 6 7/8 in. Initialed in the plate, lower left. Signed and titled in pencil. This is a superb impression with full margins. The condition is excellent. An outstanding winter scene by Burr, this image captures the atmosphere of cold and snow. There's a later version where the plate was cut down by an inch on the bottom.
$1,100

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

Birthday Party
MARGARET BURROUGHS
African American, (1915-2010)
Linoleum cut, 2002, edition 10 plus later proofs. 16 1/8 x 19 3/8 in. Signed, dated and titled in ink. This is a good impression printed on a sturdy wove paper. The margins are narrow along the top and bottom but this appears to be the full sheet as printed. The condition is fine. This large and charming image was created in 1960 and printed in an edition of only ten impressions. This is a later printing from 2002. Margaret Burroughs was a pioneering African American artist, writer and activist. She co-founded the Ebony Museum in Chicago which is now the DuSable Museum of African American History. An impression of this print is in the Art Institute of Chicago. Burroughs also produced a 1986 etching of the same subject.
SOLD

Stewart's
PAUL CADMUS
American, (1904-1999)
Etching, 1934, Davenport 35, Johnson & Miller 78; edition 50. 8 x 11 3/4 in. Signed in pencil, lower right. Inscribed "edition of 50" in the lower margin. This is a superb tonal impression printed with nice contrasts. The margins are full and the condition is fine. (There's just the faintest suggestion of toning within an earlier mat opening.) This great, early work relates closely to a painting which is now in the collection of the Museum of Modern Art in New York. That work has the title "Greenwich Village Cafeteria."
SOLD

Eulalia Barthold
PAUL CADMUS
American, (1904-1999)
Drypoint, circa 1926, Davenport 16, small edition. 14 3/4 x 12 in. Initialed in the plate, left of center, near the chair. Signed in pencil and inscribed "collection of the artist." This is a superb impression of this rare and fashionable early work. The sitter was a cousin of the artist. The condition is basically fine apart from a repair in the lower left corner margin and a couple of printing wrinkles in the left edge of the image which are inconspicuous. This impression is from the estate of the artist, left to his partner of many years, Jon F. Anderson. The print is inscribed "collection of the artist."
SOLD

Stewart's
PAUL CADMUS
American, (1904-1999)
Etching, 1934, Davenport 35, Johnson & Miller 78; edition 50. 8 x 11 3/4 in. Signed in pencil. This is a superb impression printed on white wove paper. The margins are full and the condition is fine. (There's a tiny speck to the left of the platemark which does not show when matted.) This great, early work relates closely to a painting which is now in the collection of the Museum of Modern Art in New York. That work has the title "Greenwich Village Cafeteria."
SOLD

11:45 P.M.
LETTERIO CALAPAI
American, (1902-1993)
Etching, engraving and aquatint, 1947, edition 35. 19 5/8 x 12 in. Signed, dated, titled and numbered in pencil. This impression bears the blindstamp of Calapai in the lower right corner of the margin. This is a superb, rich impression with full margins. The condition is excellent. Among Calapai's best known images, this print combines elements from his traditional study at the Art Students League, New York, with the influence of Stanley W. Hayter's Atelier 17, where Calapai worked in 1946-47.
$3,000

Labor in a Diesel Plant
LETTERIO CALAPAI
American, (1902-1993)
Wood engraving, 1940, edition 50. 15 3/4 x 9 1/2 in. Signed in the block, lower right. Signed, dated and numbered in pencil. This is a fine impression printed on Japanese paper. The margins are substantial and probably full. The condition is very good apart from some light toning within an early mat opening. This Boston born artist was involved with the New York WPA program in the 1930s. This is arguably his finest blockprint from his best period and impressions are found in the National Gallery, the Library of Congress and the Art Institute of Chicago.
SOLD

Transubstantiation
LETTERIO CALAPAI
American, (1902-1993)
Etching and aquatint, 1951, edition 50. 15 7/8 x 9 7/8 in. Signed, dated, titled and numbered in pencil. This is a fine, rich impression with probably the full margins. The condition is excellent. Calapai was born in Boston and studied there. He moved to New York in 1928 and later was active in the WPA program. As an outstanding student of Hayer at Atelier 17, he matured as an artist and then moved to Buffalo to teach printmaking and then again, moved to New York in 1960 and opened a printmaking workshop in Greenwich Village. His teaching continued throughout his career and he later settled in Chicago to teach at the University of Illinois.
$1,500

City Canyon
LETTERIO CALAPAI
American, (1902-1993)
Wood engraving, 1950, edition 75. 10 3/4 x 6 1/2 in. Initialed in the block, lower right. Signed and titled in pencil and also inscribed "artist's proof." This is a fine impression with substantial margins. The condition is fine. The artist's embossed stamp is in the lower right.
SOLD

Underground
LETTERIO CALAPAI
American, (1902-1993)
Etching and aquatint, 1946, edition 30. 17 5/8 x 11 3/4 in. Signed, dated, titled and numbered in pencil. This is a superb impression of this extremely rare work. The margins are full and the condition is excellent. This dramatic, modernist view shows the subway station at 42nd Street and Times Square in New York. Calapai was active with the WPA program from 1935-1943. He worked with Stanley W. Hayter at his studio in New York from 1946 to 1949. This outstadning print is in the National Gallery, the Art Institute of Chicago and Boston University, among others. We have had this print custom framed and that cost is included in the price.
SOLD