A Note in Pattern # 3
CHARLES W. DAHLGREEN
American, (1864-1955)
Etching and aquatint, circa 1933, edition 100. 7 7/8 x 10 3/4 in. Signed, numbered and titled in pencil. This is a superb impression of this rare print. The margins are full and the condition is fine. The paper is a light cream wove. This memorable, modernist image shows the Chrysler Motors Building at "A Century of Progress" Exhibition in Chicago, a.k.a. The 1933 World's Fair. (The building was designed by the Chicago firm of Holabird & Root.) This print is illustrated and discussed in Graphic Excursions, American Prints in Black and White from the collection of Reba and Dave Williams (see pages 141-142.) (The Smithsonian owns an impression of this print in a variant state.) For some reason this exceptional American print rarely appears for sale.
SOLD

View from Palomar
DOROTHY DEHNER
American, (1901-1994)
Engraving, 1959, edition 55. 13 7/8 x 9 3/4 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed with tone. The margins are full and the condition is fine. After her marriage to David Smith ended, Dehner began teaching after getting a degree in 1952 and renewed her acquaintance with Stanley Hayter at Atelier 17. She began to work in sculpture in 1957 and this 1950s period is when she made her most successful abstract prints. Her work is illustrated and discussed in: Paths to the Press, Printmaking and American Women Artists, 1910-1960, by Elizabeth Seaton et al.(2006), pages 118-119, and in David Acton's 2001 publication, The Stamp of Impulse, Abstract Expressionist Prints, pages 124-125. Ex collection: James Heald.
SOLD

The People v. The Bridge
DOROTHY DEHNER
American, (1901-1994)
Engraving, 1959, edition 35. 9 3/4 x 13 7/8 in. Signed, dated, titled and numbered in pencil. This is a superb impression with full margins. The condition is excellent. This exceptional work is representative of her engraving style from the 1950s. Her stellar work is illustrated and discussed in: Paths to the Press, Printmaking and American Women Artists, 1910-1960, by Elizabeth Seaton, et al.(2006), pages 118-119, and in David Acton's 2001 publication, The Stamp of Impulse, Abstract Expressionist Prints, pages 124-125. In addition, Dehner's prints are included in the British Museum's landmark publication, The American Scene, Prints from Hopper to Pollock, by Stephen Coppel (2008), pages 254-255. Ex-collection: James Heald.
SOLD

Ride a Cock Horse
JOHN DEMARTELLY
American, (1903-1980)
Lithograph, 1940, Zink 26, edition 250. 9 3/8 x 12 1/8 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is excellent and we have to original AAA label which goes with the print. Theis scene depicts the artist's wife playing with their first child while there were living in Kansas City. A painting of the subject is in the Whitney Museum.
$750

Blue Valley Fox Hunt
JOHN DEMARTELLY
American, (1903-1980)
Lithograph, 1937, Zink 10, edition 250. 12 3/4 x 16 1/2 in. Signed in pencil. This is a fine impression as published by Associated American Artists in New York. The margins are wide and the condition is very good. There's a trace of an old adhesive around the outer edges of the margins, verso, not showing on the front. De Martelly taught printmaking at the Kansas City Art Institute and he became a close friend of Thomas Hart Benton. In fact, the reclining figure in this print is Benton.
$1,750

Reader
ISAMI DOI
American, (1903-1965)
Wood engraving, 1939, edition unknown. 7 x 5 1/8 in. Signed, dated and titled in pencil. This is a fine impression on Japanese paper. The margins are full. The condition is very good apart from slight light toning within an earlier mat opening and old hinges at the top corners. Doi was born in Hawaii and later moved to New York where he studied art at Teachers College with Albert Heckman. He achieved great success as a printmaker and exhibited at the Downtown Gallery for many years. He spent time in Europe and was back and forth between New York and his native Hawaii. He was active in the WPA program and ultimately, his best work consists of the wood engravings which tend to be uncommon.
SOLD

Interior Scene
ISAMI DOI
American, (1903-1965)
Woodcut printed in dark brown ink, 1928, edition unknown. 8 1/2 x 6 1/2 in. Initialed in the block, lower center. Signed and dated in pencil. Here we have a fine impression with full margins. The condition is fine apart from a few soft ripples in the image from the printing process and a small paper imperfection in the lower right just to the image. Doi studied for two years at the University of Hawaii. He then went to Columbia University for five years and susequently spent a year in Paris. He stayed in New York until 1938 then he returned to his native Hawaii. This is a rare print and we are aware of another, similar image done around the same time.
SOLD

Stairwell, Dark
ISAMI DOI
American, (1903-1965)
Woodcut printed in dark brown ink, circa 1928, edition unknown. 8 1/2 x 6 3/8 in. Initialed in the block, lower left. Signed in pencil. This is a superb, luminous impression printed on fairly thin light cream wove paper. The margins are full. The condition is very good. Doi studied for two years at the University of Hawaii. He then went to Columbia University for five years and subsequently spent a year in Paris. He stayed in New York until 1938 then he returned to his native Hawaii. This is a rare print and we recently sold a very similar print which was dated 1928.
SOLD

Marsh Island, Ipswich
ARTHUR WESLEY DOW
American, (1857-1922)
Color metal relief print, 1901, edition about 800. 3 1/2 x 5 1/2 in. Unsigned as usual. A fine impression with full margins. Light struck. With the printed information in the lower left: "Marsh Island, Ipswich Prints, Series M, Print 1, copyright 1901 by Arthur W. Dow, Ipswich, MA." These works were used as teaching aids for Dow's many students.
SOLD

Modern Art
ARTHUR WESLEY DOW
American, (1857-1922)
Lithograph printed in colors, 1895-96, edition unknown. 10 1/4 x 8 in. Signed on the stone, lower left. Here we have a fine impression with full margins. The condition is fine apart from subtle toning at the extreme outer edges of the sheet. This is the most common version of this iconic arts and crafts image which was originally published by Louis Prang & Co. in Boston. (As David Kiehl states, "The consummate skill of the Prang firm sensitively reproduced Dow's woodcut "Sundown, Ipswich River" for this poster... capturing the subtle washes of color that characterize his watercolors and Japanese-style woodblock prints." (See pg 119 of American Art Posters of the 1890s.) This smaller version was published in a large edition by Les Maitres de l'Affiche (Paris), (Plate 36) and bears their blindstamp in the lower right corner of the margin (Lugt 1777c). This print was created to promote the journal by this name which was edited by J.M. Bowles and published from 1893-1897. A careful comparison between the two versions does show slight differences in color. (See: American Art Posters of the 1890s by David Kiehl and others, Metropolitan Museum of Art (1988), color plate 4.) There is a third version of this print from 1897, printed in Dresden by Verlag von Gerhard Kuhtmann for the portfolio, Das Moderne Plakat.
SOLD

New Towers
WERNER DREWES
American, (1899-1985)
Woodcut, 1931, Rose 58 (iii/III); edition 20. 11 5/8 x 8 1/8 in. Signed, dated and numbered in pencil. This is a fine impression printed on cream Japanese paper. The margins are full and the condition is fine. (There are minor paper imperfections in the margins and a few tiny specks of foxing.) Drewes produced a number of stellar expressionist woodcuts of New York from 1930-32. They are generally uncommon today.
$2,000

Laguna, Venice
FRANK DUVENECK
American, (1848-1919)
Etching, 1880, Poole 11, edition 40. 7 15/16 x 13 1/2 in. Initialed in the plate, lower right. Signed in pencil, lower left. This is a very fine impression printed with light plate tone. The margins appear to be full and the condition is excellent. This very rare print was published by Robert Dunthorne, London, in an edition of 40 under the the title "View of Shipping from the Riva." Twenty-five impressions were signed and fifteen were unsigned. The printer was Frederick Goulding. This stellar print is illustrated and discussed in the Stamp of Whistler by Robert Getscher (1977), (entry 88), pages 154-155. The Doge's Palace and the Campanile of St. Mark's are shown in the background. Provenance: Hirschl & Adler, New York (See their catalogue, The American Image (1982), entry # 27.)
SOLD

Dusk (Staten Island)
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1929, Robinson / Pirog 39 (ii/II), edition 100. 13 1/8 x 9 3/4 in. Signed, dated and titled in pencil. This is a superb impression with full margins. The condition is fine. The edition was printed by George Miller in New York. Eight impressions are listed in museum collections. In the artist's own words, "But I have always been peculiarly susceptible to the magic of twilight." (see Robinson / Pirog, pg. 85.)
SOLD

Sunday Afternoon
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1934, Robinson/Pirog 73 (i/II), edition only 15. 10 1/8 x 12 1/2 in. Signed and dated in pencil. This is fine impression of this rare print. The margins are full. The condition is fine apart from two small old spots of tape reside on the bottom margin edge. The scene is Central Park in Harlem.
SOLD

Toy Shop Window
MABEL DWIGHT
American, (1875-1955)
Lithograph printed in colors, 1927, Robinson/Pirog 19, edition 50. 9 1/2 x 12 1/8 in. Signed on the stone, lower center. Signed in pencil and inscribed, "Paris 1927." This is a fine impression with rich colors. The paper is a cream laid and the margins are full. The condition is fine. This charming, beautifully composed print was based on Dwight's time in Paris during 1926-27. Her work there was printed at the studio of Edouard Duchatel which amounted to sixteen lithographs. This work was printed by George Miller in New York suggesting it was drawn on stone after she returned from Paris. Dwight was fortunate to have a master printer in George Miller and she was referred to him by Carl Zigrosser. Dwight admired the work of Daumier and this appreciation is reflected in this print. She created a total of only seven lithographs in color and this is arguably the finest.
SOLD

The Ocean, Coney Island
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1928, Robinson / Pirog 35, edition 50. 8 3/4 x 10 in. Signed and dated in pencil. This is a very fine impression with full margins. The condition is fine apart from subtle rippling in the lower margin area and a little at the top. The edition was printed by George Miller in New York and five impressions are cited in museum collections.
SOLD

Deserted Mansion
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1928, Robinson / Pirog 31, edition 30. 11 1/2 x 9 5/8 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is excellent. Dwight often took the ferry from Manhattan to Staten Island and that's where she discovered this stately yet run down Victorian structure. A watercolor was done of the same subject and the edition was printed by George Miller.
$900

Winter, Central Park
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1931, Robinson / Pirog 58, edition 24. 10 x 11 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The condition is also fine. The edition was printed by George Miller in New York.
$950

Self-Portrait
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1932, Robinson / Pirog 64, edition 50. 10 1/2 x 8 1/4 in. Signed in pencil. This is a fine impression in fine condition with a deckle edge showing on all sides. The margins are full. The edition was printed by George Miller. The catalogue lists thirteen impressions in museum collections. This engaging work was done at he age of fifty-seven and shows her working on a lithographic stone.
SOLD

Book Auction
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1932, Robinson / Pirog 63, edition 40. 7 3/8 x 8 1/2 in. Signed and dated in pencil. This is a fine, rich impression with full margins. The condition is fine other than for a faint trace of an old tape adhesive in the upper edge of the sheet. The edition was printed by George Miller. The subject of this print is the auction of the library of the Marquess of Lothian held at the Anderson Galleries in New York in 1932. Dwight did a sketch on site which provided the basis for the lithograph.
SOLD