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November Textures FRANCES GEARHART American, (1869-1959) Block print printed in colors, 1933, Pasadena catalogue page 96; edition unknown. 10 x 11 3/8 in. Signed and titled in pencil. This is a superb impression with fresh colors. The margins are full and the condition is fine. This print is the cover illustration for the first major retrospective of Gearhart's work. "Behold the Day, the Color Block Prints of Frances Gearhart" was published in conjunction with the 2009-2010 exhibition at the Pasadena Museum of Art. Authors include Susan Futterman, Victoria Dailey and Nancy Green. $9,000 |
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Herein to Meditate FRANCES GEARHART American, (1869-1959) Block print printed in colors, circa 1933, from a small edition. 10 1/8 x 10 in. Signed and titled in pencil. This is a superb impression printed on a light cream, fibrous Japanese paper. The margins are full and the condition is fine. (There's tiny paper repair in the upper left margin corner where the original hinge is.) This exceptional print is illustrated on page 67 of Frances H. Gearhart, Color Block Prints in Wichita, 1922-1937 by Roger Genser, Wichita Art Museum, 2019. The bold blue color provided by the trees in the foreground make this a potent, expressionist style print and it's more daring than many of her images. (This print was exhibited in the 1933 Wichita Block Print Exhibition which suggests to us a possible date for the print.) $8,500 |
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Olympus (new York) GERALD GEERLINGS American, (1897-1998) Drypoint, 1929, Czestochowski 7 (iv/IV), edition 100. 9 x 5 7/8 in. Signed, titled and dated in pencil. This is an especially fine, rich impression with full margins. The condition is excellent. Twenty-six impressions are cited in museum collections in the catalogue raisonné. $2,500 |
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Grand Canal, America GERALD GEERLINGS American, (1897-1998) Drypoint, 1933, Czestochowski 31 (ii/II), edition 100. 11 7/8 x 8 7/8 in. Inscribed in the plate, lower right, Chicago Fair 1933. Signed in pencil. This is a fine impression printed on RIVES watermarked paper. The margins are full and the condition is fine. This print was published by the Chicago Society of Etchers. $3,500 |
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Civic Insomnia GERALD GEERLINGS American, (1897-1998) Aquatint in color, 1932, Czestochowski 28; edition 38. 10 3/4 x 14 1/8 in. Signed, titled and dated (New York, 1932) in pencil. This is a fine impression of this exceedingly rare color version. The margins are full and the condition is excellent apart from two old hinges at the top corners, verso. Geerlings would occasionally use green paper for his prints and in this case, this is the only time we have seen the buildings and some of the water with color; possibly a unique version. Civic Insomnia is a remarkable tour de force of aquatint and it's also become very rare. There are twenty-three impressions cited in museum collections including multiple trial proofs in two institutions. This amounts to twenty-nine impressions. (This is the third impression we have sold.) On page 14 of the catalogue it states, "Geerlings's temperament was intrinsically experimental; he was an avid student of techniques...Even when he worked in black and white, Geerlings would not let a subject go until he exhausted all of its chromatic possibilities." SOLD |
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Grizzily Giant, Mariposa Grove FRANZ GERITZ American, (1895-1945) Woodcut or linoleum cut, 1936, unknown. 12 1/4 x 8 5/8 in. Signed, dated and titled in pencil. Here we have a fine impression of this large work. The margins are probably full. The condition is very good apart from a small spot of foxing to the left of the image and backing along the top edge verso from earlier hinging. There's a small hole in the paper on the left margin away from the image. SOLD |
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Outposts LEON GILMOUR American, (1907-1996) Wood engraving, 1936, edition 50 plus artist's proofs. 7 x 11 3/4 in. Signed, dated and titled in pencil. This is a very good impression printed on a fibrous, Japanese paper. The margins are full and the condition is fine. (There's a modest printing crease just to the edge of the image at top right.) Gilmour, like Rockwell Kent, was a visionary thinker and his images often suggest an Orwellian, futuristic look. "Outposts", with the reference E=mc2 showing in the image at left, projects an expansive world view where technology and the masses can interact for better or worse. His stylized imagery, like Kent's, is very well-crafted and shows a timeless, ongoing respect for the human figure. SOLD |
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Manhattan Backyards HENDRIK GLINTENKAMP American, (1887-1946) Wood engraving, 1932, edition 50. 7 x 5 in. Initialed and dated in the block, lower right. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine other than for a faint, soft vertical crease in the right margin edge. Glintenkamp studied at the National Academy of Design from 1903-06 and he was employed by the NYC WPA program. $900 |
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National Horse Show (Madison Square Garden) JOSEPH W. GOLINKIN American, (1896-1977) Lithograph, 1938, edition 200. 15 1/4 x 19 5/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine. This New York artist was also in the Navy and achieved the rank of Read Admiral. (He resigned from the Navy in 1922 to pursue his art career and was reactivated in 1938.) He produced many large scale lithographs of New York sporting events which are quite well done. George Miller printed his work. $950 |
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Express Stop DOUGLAS GORSLINE American, (1913-1985) Etching, 1948, edition 100 (or 125). 6 1/2 x 5 7/8 in. Signed in pencil. This is a fine impression with full margins. The condition is excellent. This fine work was published by the Society of American Etchers. This print was not published by Associated American Artists as is occasionally stated. AAA did published four other prints by the artist. SOLD |
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Bootleg Coal HARRY GOTTLIEB American, (1894-1993) Lithograph printed in colors, 1937-38, edition possibly 25. 13 3/4 x 17 7/8 in. Signed and titled in pencil. This is a superb, luminous impression with full margins. The condition is fine and the paper bears a RIVES watermark. Gottlieb joined the Federal Art Project in New York in 1935 and he was one of the first members of the Silk Screen Unit. His work in this medium as well as in color lithography is outstanding. Coal mining was a subject he was very interested in and there's at least one variation of this image with the same title. This image was printed in a black and white version and Gottlieb also produced a screenprint version, including touched proofs, a couple of which are located in the Crystal Bridges Museum collection. This subject shows coal miners from Pennsylvania who had lost there jobs over trying to organize labor unions. They are shown here digging illegally from surface seams to try to earn a living. SOLD |
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Food Market, Old Style HARRY GOTTLIEB American, (1894-1993) Lithograph, 1935-43, edition probably about 25. 10 5/8 x 13 1/2 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is very good other than for subtle spots of foxing here and there in the margins. This is a NYC WPA print but it does not have the stamp. An impression of this print is in the Metropolitan Museum of Art. $1,250 |
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The Aquarium GORDON GRANT American, (1875-1962) Lithograph, 1948, AAA 969, edition 250. 9 1/2 x 12 5/8 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This appealing print was published by Associated American Artists in New York. $500 |
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Smelting (Smelter) JOLAN GROSS-BETTELHEIM American, (1900-1972) Lithograph, circa 1949, edition about 25. 17 1/2 x 14 in. Signed in pencil. This is a superb impression of this large, rare print. The margins are full and the condition is fine. There's just a faint suggestion of toning along the extreme outer edges of the sheet. The artist was born in Hungary and lived and worked in the United States from the 1930s-1950s. She was active with the WPA. We've located an impression in Grinnell College art collection (Falconer Gallery) with the title Smeltery. SOLD |
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Manhattan Roofs JOLAN GROSS-BETTELHEIM American, (1900-1972) Drypoint, circa 1940., small edition. 11 7/8 x 9 7/8 in. Signed in pencil. This is a very fine, rich impression with full margins. The condition is very good. The artist created about forty prints in her lifetime, largely architectual and industrial in nature. Between her time in Cleveland and New York, her best work was created. The is no proper catalogue raisonné
of her work. $2,200 |
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Rugged Terrain LENA GURR American, (1897-1992) Silkscreen printed in colors on black paper, circa 1950, edition unknown. 7 7/8 x 9 7/8 in. Signed and titled in ink. This is a fine impression with full margins. The condition is also fine. Gurr studied at the Art Students League with John Sloan and Maurice Sterne. She was active with the New York Society of Women Artists among other organizations. Her early work was realistic and as time went buy her style became more abstract. She exhibited regularly at the ACA Gallery in New York and had her first solo exhibition at the Brooklyn Museum in 1932. She was well known as a painter and she also produced lithographs and screenprints. $650 |
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October in Santa Fe NORMA BASSETT HALL American, (1890-1957) Woodcut printed in colors, 1948, Patterson 86, edition probably 100. 9 7/8 x 8 in. Initialed in the block with the artist's monogram. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine. This outstanding southwestern image was published by the American Color Print Society in 1948. The artist used seven blocks to complete the image. $2,600 |
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Navajo Land NORMA BASSETT HALL American, (1890-1957) Woodcut printed in colors, 1947, Patterson 82a, edition 100. 9 3/8 x 14 in. Initialed in the block, lower right, with the artist's monogram. Signed, titled and numbered in pencil. This is a fine, luminous impression with probably the full margins. The condition is very good apart from a few minor traces of an old adhesive here and there in the outer margins not near the image. There's a small paper imperfection just touching the image on the top right side. In the background is Shiprock, a sacred Navajo mountain located in San Juan county, New Mexico. This exceptional woodcut by Hall was originally intended to be printed in an edition of 50, but due to its success, the edition was extended to 100 impressions. $3,500 |
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Aspen and Spruce NORMA BASSETT HALL American, (1890-1957) Screenprint, 1949, Patterson 92, edition unknown. 11 x 13 in. Signed and titled in pencil. This is a fine impression in excellent condition. The margins are full. In addition to her work in the woodcut medium, Hall started marking serigraphs (silkscreens) not long after her arrival in Santa Fe. She probably learned the medium from Louis Ewing who was employed by the New Mexico WPA project in the late 1930s. "Aspen and Spruce" is a very good example of her work in this medium.
SOLD |
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The Home Sweet Home Cottage, Easthampton CHILDE HASSAM American, (1859-1935) Etching, 1921, Cortissoz/Clayton 174, small edition. 10 x 11 3/4 in. Signed in the plate, lower right. Signed in pencil. This is a superb, luminous impression in fine condition. The margins are full with tack holes showing on all sides. This house is where the author of the lyrics for the song lived as a child. His name was John Howard Payne. Childe Hassam can certainly be described as the quintessential American impressionist printmaker of the early 20th century. This is an outstanding example of his work as an etcher. SOLD |
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