The Steps
FRITZ EICHENBERG
American, (1901-1990)
Wood engraving, 1934, edition 200. 6 1/4 x 4 3/4 in. Signed and titled in pencil. This is a fine, rich impression with full margins. The condition is excellent. Born in Germany, Eichenberg moved to America when Hitler came into power. In New York he taught at Pratt and the New School and was active in the WPA program. He was a member of the National Academy of Design. The Steps is one of four early prints depicting life in New York.
$1,400

Rooftops
OSCAR ERICKSON
American, (1883-1968)
Woodcut printed in color, circa 1930, edition 100. 7 x 7 7/8 in. Initialed in the block, lower right, with the artist's monogram. Signed, titled and numbered in pencil. This is a fine impression printed on japan paper with full margins. The condition is fine apart from very slight toning within an earlier mat opening. Erickson studied at the Herron Art Institute and the Art Institute of Chicago. He was active in Door County, WI as well as Brown County, IN and further south into Tennessee and the area around Asheville, NC. He produced many woodcuts in an arts and crafts style.
SOLD

Third Avenue El
HELEN FARR (SLOAN)
American, (1911-2005)
Lithograph, 1932, edition unknown. 10 x 12 1/2 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is very good other than for a couple of subtle, soft ripples in the upper left corner of the image. At the age of sixteen Farr enrolled at the Art Students League where she met and studied with her future husband, John Sloan. She was a talented artist in her own right and focused on NY street scenes and also New Mexico subjects. An impression of this work, printed by Grant Arnold, is in the National Gallery of Art. She was also a devoted philanthropist and the Delaware Art Museum holds the definitive collection of her husbands work.
$1,000

Under the Bridge
HAROLD FAYE
American, (1910-1980)
Lithograph, 1938, edition probably about 25 impressions. 15 7/8 x 11 3/8 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is very good apart from very minor staining and handling creases in the margins. Faye was born in Illinois and later moved to New York. He studied at the Art Students League and was active in the NYC WPA program as a lithographer. This large print is listed in the Newark Museum collection as a WPA print from 1938. (Our impression is not stamped.) Another impression is listed in The Metropolitan Museum of Art. The bridge shown in this scene is the Queensboro Bridge. A retrospective of his lithographs was held at the Hudson River Museum in 1987.
$1,500

Girl Reading
LORSER FEITELSON
American, (1898-1978)
Lithograph, 1938, edition 50. 8 x 11 1/2 in. Signed on the stone, lower right. Signed and numbered in pencil. The print is initialed by the printer, Lynton Kistler, lower left next to the numbering. Here we have a fine impression in fine condition. The margins are full. In 1934, Feitelson and his artist wife, Helen Lundberg, developed a style they called "subjective classicism" which is really a brand of surrealism; Post-Surrealism as it was often referred to. In addition to making his own work, He became the Supervisor of murals, paintings and sculpture for the California WPA Federal Art Project. This print was included in the exhibition, Los Angeles Prints 1883-1980 by Ebria Feinblatt and Bruce Davis (1980), entry # 52. An impression of this stellar lithograph in the National Gallery among other institutions.
SOLD

Waterfront, Manhattan
ERNEST FIENE
American, (1894-1965)
Lithograph, 1931, edition 100. 11 x 17 3/4 in. Signed, dated and numbered in pencil. Titled in pencil in the lower margin. The print is also dedicated in pencil, "to Mr. & Mrs. Arnold Ronnebeck." Here we have a fine, rich impression with full margins. The condition is very good other than for minor soiling here and there in the outer margins and a tiny tear at the left edge. This is one of Fiene's best prints.
$1,400

Salinas River - California
FRANK MORLEY FLETCHER
British/American, (1866-1949)
Woodcut printed in colors, 1927-28, edition 100. 12 3/4 x 16 7/8 in. Signed and titled in pencil. This is a good impression printed on Japanese paper. The margins are full and the condition is good. (There are three small areas touched in with gouache(?) certainly by the artist, and faint traces of soiling in the water.) The importance of Fletcher both in England and later in America cannot be overstated. His seminal publication, Wood-Block Printing, published in 1916, had a lasting impact on many printmakers who explored the color woodcut medium. He came to America in 1923 and settled in Santa Barbara where he taught at the Santa Barbara School of Art. He became a naturalized citizen in 1926. This large print is an iconic arts and crafts California woodcut.
SOLD

Three to Make Ready
DON FREEMAN
American, (1908-1978)
Lithograph, 1933, McCulloch 73, edition 35 or fewer. 11 5/8 x 13 3/4 in. Signed on the stone, lower left. Signed, dated and titled in pencil. Also inscribed, "with best regards to Grant Reynard." This is a fine, rich impression with wide margins. The condition is quite good apart from traces of old tape adhesive on the verso in a few isolated spots, formerly used as hinges.
$1,650

Uncle Frank's Workshop
WANDA GAG
American, (1893-1946)
Lithograph, 1935, Winnan 106, edition 50. 13 x 9 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is also fine. The edition was printed on a zinc plate by George Miller in New York. A preliminary drawing is in the collection of the Philadelphia Museum of Art.
SOLD

Barns (Barns at Glen Gardner)
WANDA GAG
American, (1893-1946)
Lithograph, 1941-43, Winnan 118, edition 50. 10 1/8 x 15 1/8 in. Signed and dated ('43) in pencil. Inscribed, "For George Miller." (The print is also inscribed by George Miller himself, "Geo C Miller, Litho." This is a fine impression of this uncommon print. The margins are full with a deckle edge on all sides. The sheet is watermarked RIVES. The condition is excellent. This print was based on drawings that Gag did in the vicinity of Tumble Timbers, Glen Gardner, NJ. One of the drawings is in the Graphische Sammlung Albertina and others are in the Philadelphia Museum of Art. This lovely print was selected as one of the Fifty Prints of the Year by the American Institute of Graphic Arts.
SOLD

Spinning Wheel
WANDA GAG
American, (1893-1946)
Wood engraving, 1928, Winnan 57 (iii/III), edition 100. 4 3/4 x 3 3/4 in. Signed in pencil. This is a fine impression on light cream wove paper with substantial margins (possibly full). The condition is fine. This impression is from the signed edition of 100 printed by the Spiral Press. There was an additional unsigned edition of 2,000 on card stock for a Weyhe Gallery invitation to a show of Gag's work.
SOLD

Airtight Stove
WANDA GAG
American, (1893-1946)
Wood engraving, 1927-1933, Winnans 49 (ix/IX), edition 250. 4 7/8 x 3 5/8 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. The edition was printed in 1934 by the International Print Guild for distribution to their membership. In the lower right corner, there's a vague outline of a cat's face.
$900

The Forge
WANDA GAG
American, (1893-1946)
Lithograph, 1932, Winnan 96 (ii/II), edition 100. 11 1/2 x 13 3/4 in. Signed and dated in pencil. this is a fine impression with full margins. The condition is also fine. The edition was printed on a zinc plate by George Miller in New York. Sixteen impressions are cited in museum collections. The scene for this print is a Blacksmith's shop in Carversville, PA.
SOLD

Wagon House
WANDA GAG
American, (1893-1946)
Lithograph on zinc plate, 1929, Winnan 74, edition 75. 12 5/8 x 9 7/8 in. Signed and dated in pencil. Here we have a fine impression with full margins. The condition is also fine. This work is found in multiple museum collections and there's a preliminary drawing in the Philadelphia Museum of Art. (The scene is Gaylordsville, Connecticut.)
SOLD

Evening
WANDA GAG
American, (1893-1946)
Lithograph, 1928, Winnan 62, edition 100. 8 x 11 7/8 in. Signed, dated and titled in pencil. This is a fine, rich impression with full margins. The condition is fine apart from a soft crease in the lower left corner of the margins and two discreet archival hinges on the top corners, recto. The edition was printed by George Miller in New York and nineteen impressions are located in museum collections. This print is illustrated and discussed in Paths to the Press, Printmaking and American Women Artists, 1910-1960, by Elizabeth Seaton, et al. (2006), pages 130-131.
$1,850

Vase of Flowers
WANDA GAG
American, (1893-1946)
Etching, 1927, Winnan 35 (ii/II), edition 25. 7 x 4 7/8 in. Signed in pencil. This is a fine impression printed with tone. The margins are probably full and the condition is fine. (There's subtle soft wrinkle on the left margin and two small prior archival hinges on the top, recto.) The printer of this edition is unknown however some impressions were printed by Howard Cook and Carl Zigrosser according to Winnan. There was only one impression taken of the first state.
SOLD

Spring in the Garden (Spring II)
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 38, edition 100. 10 x 13 in. Signed in pencil. This is a fine impression printed on a wove paper with a BFK (RIVES) watermark. The margins are full and the condition is excellent. George Miller was the printer and the zinc plate in in the Philadelphia Museum of Art. Fifteen impressions are cited in museum collections and this print is the cover illustration for the catalogue raisonné.
SOLD

Gumbo Lane
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 36, edition 100. 10 x 12 3/4 in. Initialed "w" on the stone, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. "This slightly surreal scene captures Wanda Gág’s rapture over the garden at her rural retreat Tumble Timbers. She nicknamed the garden Gumbo Lane. It produced nothing more exotic than lima beans and Swiss chard, but to Gág it was something primal and passionately alive. The plants sprout eyes, the wooden posts rear up like snakes, and the grape arbor appears ready to charge. The little building at upper right was the outhouse for Tumble Timbers..." (Tumble Timbers was located in rural Glen Gardner, New Jersey.) The above quotation is from the entry for this print on the Mineapolis Institute of Art's website. It was written by Marla Kinney. This outstanding print was selected as one of the Fifty Prints of the Year by the American Institute of Graphic Arts.
SOLD

Progress
WANDA GAG
American, (1893-1946)
Lithograph, 1936, Winnan 110 (ii/II); edition 50. 8 1/8 x 11 3/4 in. Signed and dated in pencil. Here we have a superb impression with full margins. (The paper bears a RIVES watermark.) The condition is fine apart from two small tan paper hinges at the top corners, recto. Fifteen impressions are cited in museum collections. This print is somewhat unique for Gag and it shows the rise of a more urban America with advertising billboards and other assorted signs. So many of her prints are rural in nature depicting landscapes, country homes, flowers and intimate home settings. This memorable image is certainly meant to be a social commentary on Gag's part.
SOLD

Grandma's Parlor
WANDA GAG
American, (1893-1946)
Lithograph, 1930, Winnan 78, edition 100. 10 1/2 x 13 1/8 in. Signed, dated and titled in pencil. This is a fine, luminous impression with full margins. The condition is excellent. There are two study drawings for this print in the collection of the Philadelphia Museum of Art. Eleven impressions are cited by Winnan in museum collections and George Miller printed the edition.
$1,800