En Déshabillé (also called, Italian Girl)
MARY CASSATT
American, (1844-1926)
Drypoint, circa 1889, Breeskin 95, edition unknown. 7 1/4 x 5 1/2 in. Signed and numbered (No. 1) in pencil. This is a superb impression, rich with burr. The paper is a textured, white laid without a watermark. The margins are full and the condition is quite good apart from a little toning in the top part of the sheet and a couple of faint handling creases showing in the background. This lovely work is from the collection of Robert Hartshorne, New York, (Lugt 2215b.) His collector's stamp is on the verso in two places, one showing slightly though on the bevel below the image and above Cassatt's signature. This subject was one of more than sixty prints included in the important retrospective of her work held at Durand-Ruel in Paris, 1893.
SOLD

Mrs. Gardner Cassatt and her Baby Seated near a Window
MARY CASSATT
American, (1844-1926)
Drypoint, circa 1887, Breeskin 112; from a very small edition. 8 3/8 x 5 1/2 in. Signed in pencil lower right. This is a superb, early impression with full margins. The paper is a light cream laid without a watermark. The condition is fine. This finely detailed work is exceptionally rare. The subject of this portrait was Eugenia Carter Cassatt who married the artist's younger brother, Joseph Gardner Cassatt, in 1882. Here she is depicted with her young son, Gardner, born in 1886. The young family visited Mary in Paris where this portrait was done. We've located two impressions in museum collections; the Cleveland Museum of Art and the Library of Congress. Provenance: Kennedy Galleries, NY, and a private Washington, DC collection.
SOLD

Self Portrait with H
FEDERICO CASTELLON
American, (1914-1971)
Etching, 1942, Freundlich 26, edition 50. 7 7/8 x 6 in. Signed in the plate, lower left. Signed and numbered in pencil. This is a fine, rich impression printed on a sturdy wove paper. The margins are full and the condition is excellent. Castellon was born in Spain and his family moved to Brooklyn in 1921. He was actively exhibiting in the early 1930s and had his first one man show at the Weyhe Gallery in 1934. His wife, Hulda, is shown standing behind the artist.
$750

Black Maternity
ELIZABETH CATLETT
American, (1915-2012)
Lithograph, 1959, edition 50. 17 x 12 1/4 in. Signed and numbered in pencil. This is a fine impression of this rare early work. The margins are full and the condition is excellent. This powerful print shows the influence of the Mexican printmakers, most notably David Alfaro Siqueiros. She began working at the Taller de Gráfica Popular in in Mexico in 1946 and was active there until 1966. She married Francisco Mora and became a Mexican citizen. She was friendly with Diego Rivera and Frida Kahlo. As quoted in a May, 2006 New York Times review of her work, " She also embraced more cheerful subject matter, producing portraits of black women and children and, later, the Hispanic and Indian populations at her home in Cuernvaca. Among the best of them is 'Black Maternity,' a tender and loving lithograph from 1959. It shows a young black woman holding her newborn child to her chest, their cheeks touching. There is no more anger here, just joy and love." This impression has been exhibited at the Brenau University Galleries in 2007 and at the North Carolina Central University Art Museum in 2001. Ex-collection: Reverend Douglas Moore and Dr. Doris Hughes-Moore.
SOLD

Children reading (Literacy), Ninas Leyendos
ELIZABETH CATLETT
American, (1915-2012)
Lithograph, 1950, edition 30. 11 7/8 x 16 3/8 in. Initialed on the stone, lower left. Signed, dated and numbered in pencil. This is a fine impression with full margins. The condition is excellent. This beautiful print shows the influence of the Mexican printmakers of the time including Siquieros. Catlett began working at the Taller de Gráfica Popular in Mexico in 1946 and was active there until 1966. She married Francisco Mora (after divorcing Charles W. White) and became a Mexican citizen. She was friendly with Diego Rivera and Frida Kahlo. As seen here, Catlett embraced thoughtful and beautifully drawn subjects, producing portraits of black women and children as well as the Hispanic and Indian populations at her Mexican home. Previously, Catlett studied at Howard University and one of her teachers was Lois M. Jones. She later enrolled in the graduate program of the University of Iowa and was attracted to the work of Grant Wood who taught there and she studied drawing and painting with him. "Children Reading" is an uncommon print from a relatively small edition.
SOLD

Manhattan Twilight
SAMUEL CHAMBERLAIN
American, (1895-1975)
Etching with mezzotint, 1932, Chamberlain/Kingsland 111, edition 100. 13 5/16 x 9 1/2 in. Signed and numbered in pencil. Here we have a superb, luminous impression with full margins. The condition is excellent. Chamberlain produced six prints related to New York City and this is the finest.
SOLD

Manhattan Old and New
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1929, Chamberlain/Kingsland 81, edition 100. 8 7/8 x 7 in. Signed and numbered in pencil. The artist also titled the print in the lower margin. This is a fine, luminous impression with full margins. The condition is fine apart from a a couple of inherent paper imperfections in the sky and one tiny rust spot.
$675

Soarning Steel
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1929, Chamberlain/Kingsland 79, edition 125. 12 3/8 x 9 5/8 in. Signed and numbered in pencil. Titled below by the artist. This is a superb impression with full margins. The condition is excellent. Here the artist depicts the Chicago Daily News building under construction. (Note: The catalogue lists an edition of 125 impressions but our impression is numbered from an edition of 100.)
SOLD

Drizzly Morning in Chicago
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1929, Chamberlain/Kingsland 84, edition 100. 3 7/8 x 7 3/8 in. Signed, numbered and titled below in pencil. There's a pencil inscription as follows, "a la petite Bertie avec mille lendresses." This is a fine impression with plate tone. The margins are full and the paper bears a BFK RIVES watermark. Fine condition apart from a very faint suggestion of toning from a previous mat opening.
SOLD

Early Morning Market, Senlis
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1939, Chamberlain/Kingsland 273, edition 300. 9 x 6 3/4 in. Signed in pencil. This is a superb impression in fine condition. The margins are full. The plate was engraved for presentation to the Society of American Etchers, renamed the Society of American Graphic Artists.
$500

Squid Under Pier
MINNA CITRON
American, (1896-1991)
Etching and engraving printed in color, 1949, edition 50. 15 x 17 7/8 in. Signed, dated, titled and with the following inscription, "2 color plates etch & engr, ed. 50." This is a very fine impression of this large and important work which Citron produced at Atelier 17. The margins are wide and the condition is very good. (There's a faint suggestion of toning within on old mat opening and soiling here in there in the margins and on the verso.) This print was included in Pursuit of Abstraction, American Prints 1930-1950, at the Metropolitan Museum of Art (1986); is illustrated and discussed in, A Spectrum of Innovation, Color in American Printmaking 1890-1960, pp. 182-183, by David Acton (1990); and was exhibited at the Susan Teller Gallery (this impression) in their exhibition, Sue Fuller and the New York Atelier 17, in 2004. Impressions are found in the Art Institute of Chicago, MOMA, the Metropolitan Museum of Art, and the Fogg Art Museum, among others.
SOLD

Buffeted
MINNA CITRON
American, (1896-1991)
Graphite on thin paper, 1935, unique (sold with the print ) 5 x 4 1/8 in. (image) Signed and dated in the lower right. This fine drawing is the study for the same image done in etching in 1937. The drawing is mounted on a thin white support sheet and is in fine condition. The etching measures 5 x 4 in. and is signed and inscribed "etat AP." The condition is fine overall apart from a soft wrinkle in the lower right corner of the margin. (There was a second edition of the print published in 1985 published by the June 1 Gallery which shows an embossed "EP" just to the lower left of the image. This does not appear in our impression. (It's a reference to the printer, Eldindean Press Edition, done in an edition of 100 as part of a portfolio of eight prints.) Citron studied at the Arts Students League with Kenneth Hayes Miller and became a member of the "14th Street School" of artists. She was also a member of of the New York WPA program.
$1,400

Rainy Day, New York
MAX ARTHUR COHN
American, (1903-1998)
Screenprint, circa 1940, edition unknown. 8 3/4 x 13 1/8 in. Signed in ink within the image, lower left. This is a fine impression in fine condition. The margins are full and untrimmed. Cohn studied at the Art Students League and was active in the New York WPA program. He co-authored a book in 1942 entitled, Silk Screen Stenciling as a Fine Art, which has an introduction by Rockwell Kent. Cohn is credited with teaching Andy Warhol how to make silkscreens at his art studio in New York during the 1950s.
SOLD

Gathering Wheat
MAX ARTHUR COHN
American, (1903-1998)
Screenprint, circa 1935-40, edition unknown. 13 5/8 x 20 in. Signed in ink in the image, lower right. This is a fine impression in excellent condition. The margins are full. This exemplary work shows the artist in command of screen printing as an artistic, painterly medium. Cohn moved from London to New York in 1905. He was employed by the WPA program and in the 1950s he taught Andy Warhol the basics of the silkscreen process.
SOLD

Fishermen
MAX ARTHUR COHN
American, (1903-1998)
Screenprint, 1945, edition 29. 10 x 13 3/8 in. Signed in ink within the image, lower right. This is a fine, rich impression in excellent condition. The margins are full. Cohn was one of the better screenprint artists working during the 1940s. He co-authored a book in 1942 with J. I. Biegeleisen called Silk Screen Stenciling as a Fine Art. This print shows the early morning hours as the fishermen board a rowboat heading for a larger fishing boat docked in the bay. The location is possibly Gloucester, MA.
$500

Mexican Landscape
HOWARD COOK
American, (1901-1980)
Etching and aquatint, 1933, Duffy 177, edition 250. 8 7/8 x 11 7/8 in. Signed in pencil. This is a fine, luminous impression with full margins. The condition is excellent. There was an edition of thirty impressions and Associated American Artists published a 1941 edition of 250 which was titled Desert Tree. (See AAA index # 431).
SOLD

Mexican Family
HOWARD COOK
American, (1901-1980)
Lithograph, 1940, Duffy 200, edition 250. 10 1/4 x 13 3/8 in. Signed in pencil. This is a fine impression with wide margins. The condition is excellent. This endearing image was published by Associated American Artists in New York.
$750

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 York Night
HOWARD COOK
American, (1901-1980)
Lithograph, 1931, Duffy 162, edition 75 (35 printed). 10 x 12 in. Signed on the stone, lower left. Signed and dated in pencil. This is a superb, luminous impression with full margins. The sheet shows a deckle edge on all sides. The condition is excellent. This stellar lithograph ranks among his finest views of the New York skyline.
$9,000

Sun and Desolation
HOWARD COOK
American, (1901-1980)
Woodcut, 1926, Duffy 34, edition 50. 9 1/4 x 13 3/4 in. Signed in the block, lower right. Signed in pencil. This is a superb impression printed on thin, cream japan paper. The margins are full and the condition is fine. This large work was probably done in Maine where he spent the summer of 1926.
$1,500