Via Appia I
HANS FRANK
Austrian, (1884-1948)
Woodcut printed in colors on thin Japanese paper, 1929, edition unknown. 11 3/8 x 15 1/4 in. Signed and dated in pencil. A fine impression with full margins. Fine condition. Faint trace of a printing crease in upper right side. Uncommon.
$750

Along the Nile
LEO FRANK
Austrian, (1884-1959)
Woodcut printed in colors, 1920s, edition unknown but probably about 100. 9 1/8 x 11 in. Signed in pencil. This fine impression on thin Japanese paper is inscribed "No.82." The margins are wide and the condition is fine. This wonderful print combines just the right paper with subtle colors and inking to produce a dramatic vista.
$800

Mondsee (Austria)
HANS FRANK
Austrian, (1884-1948)
Woodcut printed in colors, 1935, edition unknown. 13 1/4 x 12 1/2 in. Signed and dated in pencil. This is a superb, luminous impression printed on thin Japanese paper. The margins appear to be full. The condition is excellent. Here we have a large and exemplary work by Frank which shows a scene near Salzburg. This impression is from the celebrated collection of Robert O. Muller from Connecticut.
$1,200

Before the Thunderstorm (Vor dem Gewitter)
LEO FRANK
Austrian, (1884-1959)
Woodcut printed in colors, circa 1925, edition unknown. 9 x 14 in. Signed in pencil lower right, in the image. This is a fine, atmospheric impression printed on thin Japanese paper. The margins are full and the condition is fine. Leo and his twin brother, Hans, both studied at the School of Applied Arts in Vienna and later at the Vienna Academy. Their woodcuts were clearly influenced by Japanese prints and they were superb technicians.
SOLD

Death and the Girl (Tod und die Mädchen)
KARL FREUND
German, (1892-1943)
Woodcut, 1938, edition unknown. 13 x 9 1/8 in. Signed, dated and titled in ink. This is a fine impression with full margins. The condition is fine apart from a few soft wrinkles in the margins only. This image is a potent contribution to the love and death theme encountered in art history over the centuries. Freund was well trained as an artist and he also took several courses in philosophy. He served in the military in WW1 and spent two years as a POW in Siberia. He later became a curator at the Hessisches Landesmuseum, Darmstadt, but was later dismissed for being Jewish. He was sent to Buchenwald in 1938 and ultimately met his demise in Auschwitz in 1943.
SOLD

Le Petit Déjeuner
ETHEL GABAIN
British, (1883-1950)
Lithograph, 1912, Wright 112 (i/II), edition 30. 15 1/2 x 11 1/4 in. Signed on the stone lower right along with the artist's monogram. Signed in pencil. This is a very fine impression with full margins. The condition is excellent. Gabain studied at the Slade and the Central School in London. She flourished as a lithographer and was a founding member of the Senefelder Club. She regularly exhibited at Colnaghi's along with her husband, John Copley. They both exhibited at the Royal Academy over the years. This impression is inscribed "1st state" and "2/24." Wright describes the first state as "before the border line."
$900

Cheval Anglais
THEODORE GERICAULT
French, (1791-1824)
Lithograph, 1822, Delteil 54 (ii/IV), edition unknown. 6 3/4 x 8 3/4 in. Signed on the stone, lower left. This is a fine impression printed on sturdy wove paper. The margins are probably full and the condition is very good. There's some marginal staining and occasional fox marks. This early state is before the number. This print is from the series "Etudes de Chevaux lithographiés."
$750

Sic Transit Gloria Mundi (Thus Passes the Glory of the World)
WILLIAM GILES
British, (1872-1939)
Woodcut and relief print from zinc plates printed in colors, circa 1925, edition 100. 13 1/8 x 17 5/8 in. Signed with the artist's monogram, lower right. Signed and numbered in pencil. This is a fine impression with fresh colors. The margins are full and the condition is excellent. "President of the Society of Graver Printers in Colour, William Giles was one of the most important innovators in original colour printmaking in Britain during the first three decades of the twentieth-century. Having begun with the traditional colour woodcut method, he experimented widely, first with aquatint and then with relief printing from zinc plates in an attempt to produce pure, even areas of colour. He developed a novel range of inks ranging from watercolour mixed with rice paste, to powered colour dissolved in volatile oil, in order to achieve an ever greater range and depth of colour throughout his prints." (See Michael Campbell's detailed and informative explanation of Giles's technique described in depth on his website entry for the artist; www.campbell-fine-art.com). This is arguably the artist's most famous print.
SOLD

Young Woman Viewing Paris from the Heights of Montmartre (Jeune Femme Regardant Paris des Hauteurs de Montmartre)
NORBERT GOENEUTTE
French, (1854-1894)
Etching and drypoint, 1885, Duvivier 45 (iv/IV), edition probably about 30-50. 21 x 18 in. Signed and dated in the plate. Signed with the artist's red stamp (Lugt 1182) in the lower right. This is a superb impression rich with burr. The margin are somewhat narrow (1/2-1 in.) on the top and sides but this is probably the full sheet as printed. This large work is a fine example of Goeneutte's work as a printmaker. He did not generally record his editions and probably printed them "sur demande." He rarely signed anything in pencil and was content with his red stamp, as was so often the case with Buhot. Marcellin Desboutin is credited with inspiring the artist to make prints and Goeneutte was also friendly with Manet and Dr. Paul Gachet, among others. Ex-collection: Henri M. Petiet.
$1,600

Dandelion
WILLIAM GREENGRASS
British, (1896-1970)
Linocut printed in colors, 1936, edition 50. 10 x 8 1/8 in. Signed, dated, titled and numbered in pencil. This is a fine impression with wide margins. Old tape hinges at the four corners and top and bottom, verso, not affecting the image. Also, two small cello hinges at the top corners, recto. Greengrass enrolled at the Grosvenor School of Modern Art in 1930 and he studied with Claude Flight. He was a curator at the Victoria & Albert Museum in London.
SOLD

St. Mary's, Nottingham
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1928-29, Comstock 41 (iv/IV), edition 76 in this state. 7 3/8 x 10 1/4 in. Signed in pencil. This is a superb impression on a sturdy wove paper. The margins are full and the condition is excellent. On the verso is the Dover House Press stamp and this impression is numbered "30" in ink nearby. The first three states have a total of 22 impressions. The church was destroyed by fire in the 12th century. The present church was begun in the 14th century and completed over 100 years later.
$1,700

Sarras
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1926-28, Comstock 35 (viii/VIII); edition 84. 7 1/2 x 11 in. Initialed and dated in the plate, lower right. Signed and dated "June 7" in pencil. This is a fine impression with full margins. The condition is excellent. This impression bears the Dover House Press ink stamp on the verso at bottom (Lugt 760a). (Note: This stamp was designed and cut by Eric Gill and used by the artist from 1922.) A pencil study is in the Ashmolean Museum, Oxford, and another "working" drawing is in the Lessing Rosenwald collection in Washington, DC. Comstock states on page 161, "This is a conception of the Sarras of Le Morte d'Arthur."
$2,000

Lanterns of Sarras
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1932, Comstock 47 (iv/IV); edition 41. 10 1/16 x 7 1/8 in. Signed in pencil and inscribed "Nov. 9". This is a superb, luminous impression of this uncommon print. The margins are trimmed to just outside the platemark and the condition is excellent. (Comstock notes that all fourth state impressions were trimmed as such.) This remarkable print is a product of Griggs' imagination like many of his etchings. One can see a suggestion of the influence of Meryon here but Meryon literally etched what he saw in the Paris of his day. The two artists are different, indeed, yet their best works rival each other for skill and achievement.
SOLD

Tattershall
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1930, Comstock 44 (iii/IV); edition 65. 7 x 10 1/4 in. Signed in pencil. This is a superb, luminous impression with full margins. The paper is a sturdy laid and on the verso it says "DHP" in ink and is also numbered. The condition is excellent. As stated by Comstock, "This splendid Collegiate Church, close by to Tattershall Castle, in Lincolnshire, was entirely rebuilt from the ground up in 1439 by Ralph Lord Cromwell, Lord High Treasurer of England under Henry VI."
SOLD

The Maypole Inn
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1929, Comstock 42 (iii/IV); edition 53. 6 1/2 x 9 5/8 in. Initialed and dated in the plate, lower left. Signed in pencil. The verso bears the Dover House Press stamp and "10" in ink. This impression was printed by the artist. The margins are full and the condition is excellent. This is the only plate where some impressions were printed by someone other than Griggs, himself. Charles Blakeman printed twenty-four impressions from this state but he found the work to be "too tiring and trying."
SOLD

Owlpen Manor
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1930-31, Comstock 46 (iii/III), edition 48. 7 3/8 x 9 1/4 in. Initialed and dated in the plate, lower left. Signed in pencil. Here we have a stellar impression of this beautiful and highly desirable print. The paper is a medium weight laid with the DHP stamp on the verso and with the numbering "XX" in ink. The condition is excellent. "Owlpen Manor is near Uley, in Gloucestershire. It was built, and the yews were planted, in 1515, and remained in the hands of Daunt family until 1925 when it was bought and put in good repair by the architect Norman Jewson, the close friend of the artist." This rare print was one of Griggs' favorites. The historic manor house and gardens have been open to the public since 1966.
SOLD

St. Botolph's Bridge, No. 2
FREDERICK L. GRIGGS
British, (1876-1938)
Etching, 1936-37, Comstock 56 (iii/IV); edition unknown. 9 3/4 x 7 7/8 in. Initialed in the plate, lower right. Signed in pencil. This is a fine, rich impression with probably the full margins. The condition is excellent. This is the larger version of the subject etched originally in 1917 (see Comstock 19). In the fourth state the artist removed the four horizontal lines and filled in the blank areas. In both states "a considerable edition was printed."
$1,650

Les Petites Machines à Ecrire (The Little Typewriters)
RENE GEORGES HERMANN-PAUL
French, (1864-1940)
Lithograph printed in colors, 1896, Johnson 64, not in BN-IFF, edition 100. 12 x 8 3/4 in. Initialed on the stone. Signed and numbered in pencil. This is a superb impression with full margins. Fine condition apart from minor toning in the upper left sheet corner. This print was published by Ambrose Vollard for his Album des Peintres-Gravures. The artist focused on social and political commentary and this early work has a Nabis like quality to it.
$3,500

The Bull and the Beast
BLAIR HUGHES-STANTON
British, (1902-1981)
Wood engraving, 1926, Hughes-Stanton pg. 13; edition 12. 3 7/8 x 4 5/8 in. Signed, dated and titled in pencil. A fine impression printed on very thin Japanese paper. The margins are wide and probably full. Fine condition. This is an illustration to "The Bull and the Beast" by Velona Pilcher, Theatre Arts Monthly, June 1926.
SOLD

The Pavers (Les Paveurs)
HENRI-GABRIEL IBELS
French, (1867-1936)
Etching, 1894, Stein & Karshan 38, edition 100. 12 x 7 3/4 in. Signed in the plate, lower right. Signed in colored pencil. This is a fine impression printed with plate tone. The margins are full. The condition is very good other than for a few specks of foxing in the margins and wrinkling along the very top edge of the sheet. This work was published in l'Estampe Originale and bears their blindstamp in the lower left corner of the margin (Lugt 819). (From the collection of André Fildier (1928-2001), a prominent expert on postcards.)
$1,400