Spinning Wheel
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 37, edition 100. 7 7/8 x 10 1/8 in. Signed in pencil. This is a fine impression printed on "BFK" (RIVES) watermarked paper. The margins are full and the condition is fine. This image was printed on a zinc plate by George Miller and the uncancelled plate is in the collection of the Philadelphia Museum of Art. In addition, there are two preliminary drawings in the same museum. Sixteen impressions are cited in museum collections.
$1,400

Kestrel
WILLIAM GILES
British, (1872-1939)
Woodcut printed in colors , circa 1920-25, edition unknown buy probably small. 10 3/4 x 16 1/2 in. Initialed in the block, lower left. Signed in pencil and inscribed, "No.4." This is a superb impression of this extremely rare print. It's not included in the British Museum collection nor the V & A collection. We've never offered this print before and we have we seen only one appear at auction. Technically, Giles was amazing. He did a few pure woodcuts but he also eventually introduced zinc plate relief printing and they are difficult to tell apart. Both techniques are evident in many prints. He was inspired by Frank Morley Fletcher and William Blake. He became president of the Society of Graver Printers in Colour in the mid 1920's.
$3,000

Palimpsest
STANLEY W. HAYTER
British, (1901-1988)
Zinc intaglio: sugar lift, soft ground etching and scorper with three silkscreens printed in color, 1946, Black/Moorehead 170, edition 30. 9 x 6 7/8 in. Signed and numbered in pencil. This is a fine impression printed on a sturdy wove paper. The margins are full and the condition is fine apart from small traces of printing ink above the image at right. "Palimpsest" was done in three states on a zinc plate: the first was with applied sugar-lift and soft ground, then soft ground texture in 1945; the second state had the textures rebitten in March of 1946; the third added 3 silkscreens and used the scorper to achieve the three dimensional elements. There were color trial proofs numbered 1 - 5. "A 'palimpsest' is a manuscript or piece of writing material on which the original writing has been effaced to make room for later writing but of which traces remain. Hayter builds layers of lines, colors, textures, and shapes overlapping each other; a dimensional white line, gouged out with a scorper, creates an abstracted figure on the surface of the colors." This quote comes from the Annex Galleries website.)
$2,500

Circus Dressing Room
LAURA KNIGHT
British, (1877-1970)
Etching and aquatint, 1925, Bolling/Withington 41, edition 20 plus 5 trial proofs. 13 7/8 x 9 3/4 in. Signed in pencil. This is a superb, rich impression with full margins. The condition is a fine apart from small, soft wrinkles at the edges of the sheet, notably along the left edge. These do not appear near the image. Knight had a passion for the circus and did several works relating to circus life. In the first half of the century she was one of the most highly regarded of British artists and in 1936 she became the first woman to be created a Royal Academician since the original women members Angelica Kauffmann and Mary Moser.
$2,200

Manhattan Nocturne
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1938, Kraeft 70 (i/II); edition 100. 7 1/8 x 12 in. Signed and dated in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The condition is fine apart from three thin, original hinges at the top. This plate was reworked in 1974 and listed as Kraeft 127, edition 100. This first state impression is far superior to the second state.
ON HOLD

York Avenue, Sunday Morning
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1939, Kraeft 78, edition 100. 7 7/8 x 13 in. Initialed in the plate, lower right. Signed and numbered in pencil. This is a fine, rich impression with full margins. The condition is also fine. The paper used here is a sturdy white wove. According to the artist: "I worked up in that area. They were just building the medical center at that time." The view is from 62nd Street and York Avenue, looking north. The large structure at the right is the Queensboro Bridge.
$2,200

Suburban Evening
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1925, McCarron 43, intended edition 40. 9 7/8 x 7 7/8 in. Signed in the plate, lower right corner. Signed in pencil. This is a superb impression of this rare print. The paper is a light cream wove with full margins. The condition is fine. Only 18 impressions were recorded. Impressions are found in the Detroit Institute of Arts and the New York Public Library.
$8,500

Steel Valley
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1936, Flint 141, edition of 250 printed for AAA. 9 1/2 x 13 3/8 in. Initialed on the stone, lower left. Signed in pencil. Here we have a fine impression with full margins. The condition is fine apart from two original AAA hinges at the top corners. There was first an edition of 15 and then in 1942, AAA had George Miller print their edition of 250. The exact location of this print is unknown. However, Flint suggests it may relate to entry # 16, Blast Furnaces, located near Dover, NJ. It was known at the time as the Pittsburgh of New Jersey. Impressions of this work are found in the National Gallery of Art, the Fine Arts Museums of San Francisco and the Princeton University Art Museum.
$3,000

Elevated Railway
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1931, Flint 82, edition only 20. 12 1/2 x 8 1/2 in. Initialed on the stone, lower right. Signed in pencil. This is a fine, rich impression of this rare print. The margins are full and the paper bears the watermark FRANCE. The condition is fine apart from two professionally repaired splits in the right margin, well away from the image. This is the full sheet as printed.
$4,200

Builders of Bablyon
SAMUEL MARGOLIES
American , (1897-1974)
Etching and aquatint, 1937(?), AAA 1950.1113, edition 250. 14 1/4 x 11 in. Signed in pencil, lower right. Here we have a superb, luminous impression with wide margins. The condition is outstanding. This is a memorable and beautifully crafted image from the mid 20th century. This work, along with "Men of Steel," and "Man's Canyons", are his three finest prints. A native of Brooklyn, Margolies studied in New York at the Cooper Union Art School and the National Academy of Design. During the Great Depression of the 1930s, when many artists made prints in an effort to reach a wider audience through low-priced multiple artworks, Margolies turned seriously to etching. Working in a range of intaglio (or incised printmaking) techniques, he became a master of the tonal medium of aquatint. In 1935 Margolies joined the Federal Art Project of the Works Progress Administration (WPA), a Depression-era government relief program, and he served as an instructor in its Art Teaching Division.
$9,000

Two Arum Flowers
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Lithograph, undated (possibly circa 1920), No in van Es, edition 25. 11 3/8 x 9 3/8 in. Signed and numbered in pencil. This is a fine impression of this very rare and unrecorded print. The margins are full and the condition is fine. Mesquita produced a few floral lithographs around 1920. This lovely image is simple in design yet it makes a powerful statement. (The vertical line in the background at left appears to be simply a scratch in the lithographic stone.)
SOLD

Bladbegonia
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Lithograph printed on light tan paper, 1920, Van Es L038, only two impressions known by van Es. 9 3/4 x 11 1/8 in. Signed and dated in pencil. This is a fine impression of this very rare print. The margins are trimmed to just outside the image, certainly by the artist. The condition is excellent. This beautifully designed work has a modernist quality to it.
SOLD

Fantasy Group
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Etching printed as a counterproof, circa 1925, Van Es D 116, Van Es cites 6 known impressions, two of which are counterproofs. 6 3/4 x 12 7/8 in. Signed in pencil, lower right. This is a fine, richly inked impression with the margins trimmed to just outside of the image (by the artist.) The condition is fine. This is one of many "sensitivic" etchings created by the artist. They are unique in so many ways and were done largely to entertain the artist. This is a fine example.
$1,400

Fantasy; Five Figures
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Drypoint, 1923, Van Es D 095; edition 12. Van Es has traced only 2 impressions. 8 x 9 1/8 in. Signed and numbered in pencil. This is a fine, rich impression with full margins. The condition is excellent. This is a stellar example of the artist's "sensitivic" style where he created fantaasy images with caricatures of people for his own enjoyment. These prints are unique in the history of Dutch art and represent a major aspect of Mesquita's graphic work.
$1,500

Self Portrait (Provincetown)
MARY MULLINEUX
American, (1875-1965)
White line color woodcut, circa 1925-30, edition unknown; extremely rare. 14 x 11 1/2 in. Initialed in the block, lower left. Signed and titled in pencil. This is a superb impression with full margins. The condition is very good overall apart from slight light toning within an earlier mat opening and occasional foxing in the margins, primarily well away from the image. Mullineux studied at the Pennsylvania Academy of Fine Arts from 1894 to 1900 and later between 1908 to 1908. She studied with William Merritt Chase and Cecila Beaux. When she spent her summers on the Cape including at Cape Ann and of course, Provincetown, she ultimately studied with Blanche Lazzell. The only other impression of "Self Portrait" which we've located is in the Smithsonian American Art Museum and their impression appears to be unsigned. Their impression was loaned to Janet Flint's show and catalogue, "A Woodcut Tradition; Provincetown Printers" (1983), page 40. The provenance of our impression is Hirschl & Adler Galleries, New York then to a Boston area collector.
PRICE ON REQUEST

A Bouquest of Gladiolus
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors (linoleum cut?), circa 1930, edition 50. 11 3/4 x 10 1/8 in. Signed, titled and numbered ("1/50") in pencil. This is a superb, richly inked impression with full margins. The condition is fine overall apart from slight discoloration here and there in the margins only. Murphy studied with Eliza Gardiner and taught printmaking at the Rhode Island School of Design from 1928 until 1946. Before she was married, she signed here prints without "Murphy." This impression is signed, "Gladys W. Murphy." Ex-collection: Reba Williams, New York.
$1,800

New York, An Abstraction
CHRISTOPHER R.W. NEVINSON
British, (1889-1946))
Drypoint, 1921, Black 77, Leicester Galleries 42; from a very small edition. 5 x 3 1/2 in. Signed in pencil and titled in pencil on the verso at the bottom. This is a fine impression printed on off-white laid paper bearing the watermark ENGLAND. The margins are full and the condition is fine apart from a faint suggestion of light toning within an earlier mat opening. One impression is located in the Metropolitan Museum of Art. Here we quote their comments from the Met's website entry: "In New York: An Abstraction", Nevinson effects a forward-facing view from a train rapidly moving through a valley of skyscrapers and tenement buildings as if it were cutting through the city itself. Shafts of light and shadows create multiple planes, which Nevinson compresses into a narrow, claustrophobic space. Nevinson omits the train itself, but creates the impression that the viewer is on a rollercoaster as it navigates what is likely part of the Third Avenue El, the elevated train." Nevinson also produced a 1920 oil painting of this same subject which is now in the Tate Gallery, London. Ex-collection: Osborne Samuel, London.
PRICE ON REQUEST

Peonies
LOUIS NOVAK
American, (1903-1983)
Woodcut printed in colors, undated (probably 1930s-1940s), edition unknown. 9 x 10 1/2 in. Signed and titled in pencil. This is a fine, rich impression printed on thin Japanese paper. The margins are full and the condition is very good. (There's a bit of darkening within an earlier mat opening and two old paper hinges at the top corners.) Louis Novak was a printmaker, painter, and teacher who was born in Czechoslovakia in 1903. He studied at the Massachusetts School of Art in Boston, where he earned a degree in education, and the Museum of Fine Art School. Novak later became an instructor of architectural drawing at the Wentworth Institute in Boston. He's best known for his views of Boston and vicinity so this floral print is a delightful departure. Ex-collection: Reba Williams, New York.
$1,300

Harlem River Bridges
ELIZABETH OLDS
American, (1896-1991)
Screenprint, 1940, edition unknown. 9 7/8 x 18 3/8 in. Signed, dated, titled and described "silkscreen" in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is fine. (There are a couple of small spots of printer's ink in the bottom margin.) Olds worked in the Graphics division for the Public Works Art Project in Omaha, Nebraska, and the Federal Art Project in New York. She was a member of the Artists League of America and the American Artists Congress. She was born in Minneapolis, Minnesota and she was the first woman to receive the Guggenheim Fellowship to study painting abroad (1926-27). This image was also done as a lithograph (in reverse) and is located in the collection of the Smithsonian American Art Museum. The lithograph was a New York WPA print.
SOLD

Roses
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1920-25, Not listed in the two Bakker catalogues. From an intended edition of 100. 10 1/8 x 7 1/4 in. Signed, titled and numbered "39/100" on the verso. This is a stellar impression of this exceedingly rare print. The sheet is trimmed to the image by the artist. The condition is fine. We have never seen this print for sale before this impression came along and there are no auction prices listed for it in Art Price. We have found an impression in the Victoria and Albert Museum with a completely different palette. It was a gift from the artist in 1929. Ex-collection: Reba Williams, New York.
$5,000