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.
$3,500

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."
$1,850

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.
$1,500

Superstition Mountain
JOSEPH IMHOFF
American, (1871-1955)
Lithograph, 1942, edition unknown. 11 3/4 x 16 in. Signed and titled in pencil. This is a fine, atmospheric impression of this uncommon print. The margins are full and the condition is very good. There's slight rippling along the upper top margin and slight yellowing on the side margins mostly near the top. Imhoff was born and raised in New York and studied art abroad. He had a chance meeting with Buffalo Bill Cody in Antwerp and this inspired him to pursue Native American subjects and western landscapes. In 1929, he moved to Taos with his wife and there they stayed. Imhoff excelled in lithography as well as painting and drawing.
$1,750

Far Across the Rio Grande
GENE KLOSS
American, (1903-1996)
Etching, 1939, Sanchez 361, edition 75. 10 x 14 in. Signed and titled in pencil. This impression is also inscribed by the artist, "artist's proof." This is a fine impression printed with tone. The margins are full and the condition is excellent. This is a view of Comanche Canyon, looking towards the Pedernal, which is in northern New Mexico.
$2,000

Ernest
JEAN-EMILE LABOUREUR
French, (1877-1943)
Woodcut and lithograph printed in colors, 1902-11, Laboureur 617 (ii/II); edition 20. 17 1/4 x 10 7/8 in. Signed in the image in the lower right corner with the monogram. Signed in ink, lower left, and numbered below from the edition of twenty. The impression is fine and the margins are probably full. There's a small repair in the right margin, well away from the image. This exceptional and large print is quite uncommon. There were two additional proofs in the first state in black and white.
$8,500

Hall of Fame
EDWARD LANDON
American, (1911-1984)
Screenprint, 1951, Ryan 94, edition 25. 9 1/2 x 11 1/4 in. Signed, dated, titled and numbered in pencil. This is a fine impression with full margins. The condition is excellent. Landon worked for the Springfield, MA Public Works of Art Project (PWAP). He also studied at the Art Students League and while in NY, he was introduced to the silkscreen medium and never looked back. He moved there in 1941 and worked with Harry Gottlieb, Elizabeth Olds, Harry Shokler and others. "Hall of Fame" was inspired by a trip to Sweden and Norway and the stylized iconography relates to early Celtic petroglyphs.
$800

Visit to Aunt Ida
EDWARD LANDON
American, (1911-1984)
Screenprint, 1946, Ryan 222, edition 30. 9 1/4 x 12 3/8 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. Landon was very active with the National Serigraph Society and later served as the Society's president. Landon was always intrigued by surrealism and this print is both humorous and intriguing. The maze traps the hapless visitor in a world dominated by gaudy Victorian wallpaper.
$700

The Boyfriends
MARTIN LEWIS
American, (1881-1962)
Drypoint and sand ground, 1927, McCarron 61, edition 30. 9 3/4 x 7 3/4 in. Signed in the plate, lower right. Signed in pencil. This is a superb impression with full margins. The condition is excellent. This endearing print is uncommon. McCarron mentions sand ground in his description of the technique used in this print. It can be described as follows: "In addition, some of the prints—including "Circus Night"—include an additional technique, called sand ground. In this technique the artist applies the wax coating for etching, then using sandpaper, emery board, or loose sand to make a series of pits in the wax. Upon biting, the plate achieves a soft, hazy effect that Lewis vastly preferred to the sharp, shiny copper of pure etching or engraving." (By Grant Hamming, Research Fellow at the Rollins College Museum of Art; as published in a Rollins College Museum of Art newsletter, 2020).
SOLD

Chance Meeting
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1940-41, McCarron 131, edition 105. 10 1/2 x 7 1/2 in. Initialed in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. This outstanding print was commissioned by the Society of American Etchers and they were originally known as the Brooklyn Society of Etchers. The plate was printed by Charles White. Thirty-seven impressions are cited in museum collections. As McCarron states, "This is one of Lewis's most complex prints, one in which he was able to harmonize many diverse elements."
SOLD

Fog Bound
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut printed in colors, circa 1920, small edition. 14 1/8 x 11 1/8 in. Signed and titled in pencil. Here we have a fine impression of this large, exemplary work. The margins are modest but sustantial enough and the condition is excellent. Lindenmuth studied in New York with Robert Henri and later in Provincetown with Ambrose Webster and George Elmer Browne. He first exhibited his prints in Provincetown in 1915 and later. Lindenmuth was included in Janet Flint's landmark exhibition, Provincetown Printers; A Woodcut Tradition (1983). He is also represented in A Spectrum of Innovation; Color in American Printmaking 1890-1960, by David Acton (1990).
$2,700

Central Park
LOUIS LOZOWICK
American, (1893-1973)
Woodcut printed in colors, 1940, Flint 174, edition 15. 9 1/16 x 5 1/2 in. Signed and dated in pencil. This is a fine impression of this veryy rare print. The paper is a thin light cream wove and the margins are most likely full. The condition is excellent. Lozowick produced very few color woodcuts and the Flint catalogue lists six in total. They were all produced in 1940. This charming scene shows a child on a sled and a couple in the distance.
$1,850

September Symphony
JAY MCVICKER
American, (1911-2004)
Etching with aquatint, 1940, Duffy 2, edition 25. 10 7/8 x 14 5/8 in. Signed and dated in the plate. Signed, titled and numbered in pencil. Thisis a fine, rich impression of this uncommon early work. The condition is excellent and the margins are full. Provenance: Bethesda Art Gallery, Maryland. McVicker was a student of Doel Reed at Oklahoma State University. He taught at Oklahoma State from 1959-1977.
$1,500

La Tour de l'Horloge (The Clock Tower)
CHARLES MERYON
French, (1821-1868)
Etching with engraving, 1852 and later, Scheiderman 23 (v/X); edition unknown. 10 1/4 x 7 1/4 in. Initialed in the plate, upper right corner. This is a fine impression printed on white laid paper. There's a partial fleur de lis watermark not identified. The margins are probably full. The condition is fine apart from a trace of an old adhesive along the extreme top edge of the sheet, verso. In this, the fifth state, the horizontal line in the blank area at bottom has been removed. The susequent sixth state was printed in an edition of 600 for L'Artiste and that is inscribed in this blank are along the bottom. The catalogue lists twenty impressions mostly of which are in museum collections.
$4,000

Fantasy (Fantasie)
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Etching, 1924, Van Es 97; three impressions known. 9 3/4 x 6 3/4 in. Signed in pencil. This is a superb impression with full margins. The condition is fine. This is a very nice example of Mesquita's "sensitivic" caricature etching style which began about 1910 and lasted until 1940. He produced these works in small editions and they were done primarily for fun but they also often have mystical and religious overtones and are ripe with social commentary. They are unique in the history of Dutch art and are an important aspect of Mesquita's graphic work.
SOLD

The Beech Woods at Kerzardern (Le Bois de Hetres à Kerzardern)
HENRI RIVIERE
French, (1864-1951)
Lithograph printed in colors, 1917, Fields pg. 80; edition 500 unsigned and 100 signed impressions. 9 1/8 x 14 1/8 in. Signed on the stone, lower left, and also with the artist's printed monogram in red. Here we have a superb impression with fresh colors. The margins are full and the condition is fine. This is plate 20 from the series "Le Beau Pays de Bretagne," printed and published by Eugène Verneau, Paris. Based on the dates given by Fields, this would be the last print made by Riviere.
$1,500

The Island of Bréhat (L'ile de Bréhat)
HENRI RIVIERE
French, (1864-1951)
Lithograph printed in colors, 1913, Fields pg. 79; edition 500 unsigned and 100 signed impressions. 9 x 13 7/8 in. Signed on the stone, lower right, along with the printed red artist's monogram. This is a superb impression with full margins. The condition is fine. This is plate 16 from the series, "Le Beau Pays de Bretagne," printed and published by Eugène Verneau, Paris.
$1,500

The Old Mill at Loguivy (Le Vieux Moulin à Loguivy)
HENRI RIVIERE
French, (1864-1951)
Lithograph printed in colors, 1910, Fields, pg. 79; edition 500 unsigned and 100 signed impressions. 9 x 14 in. Signed on the stone, lower right and also signed with the artist's printed red monogram. this is a superb impression with full margins. The condition is fine. This is plate 13 from the series, "Le Beau Pays de Bretagne," printed and published by Eugène Verneau, Paris.
$1,500

Training the Dog (L'Education du Chien), or, In the Snow (Dans la Niege)
KER XAVIER ROUSSEL
French, (1867-1944)
Lithograph printed in colors, 1893, Salomon 10, Stein & Karshan 76; edition 100. 12 7/8 x 7 1/2 in. Signed on the stone, lower right. Signed and numbered in pencil in the lower left corner of the sheet. This is a very fine impression with full margins. The condition is fine apart from minor rippling along the top edge of the sheet. This stellar Nabis print was published in Album 1 of L'Estampe Originale in 1893 and was printed by Ancourt. The blindstamp of the publication (Lugt 819) appears in the lower right corner of the sheet. "During his Nabis years, François-Xavier Roussel, known as Ker, was influenced by Japanese prints. This color lithograph--particularly the slim, columnar trees, whose branches are cropped from view--may have been inspired by Utagawa Hiroshige's vertical format landscape series One Hundred Famous Views of Edo, which also includes snow scenes. For the Nabis, pets were intimate members of the household, and thus worthy of inclusion in their domestic and garden views." See pg 210 of "Private Lives, Home and Family in the Art of the Nabis, Paris 1889-1900," by Mary Weaver Chapin and Heather Lemonedes Brown (2021) published by the Cleveland Museum of Art.
$7,500

Return from Toil
JOHN SLOAN
American, (1871- 1951)
Etching, 1915, Morse 175 (xi/XI); edition 100. 4 1/4 x 5 7/8 in. Signed and dated in the plate, lower left. Signed, titled and numbered in pencil "100 proofs." This is a fine impression with full margins. The paper is wove with a partial watermark, "British Handmade." The condition is excellent. This image depicts a bevy of boisterous women walking the street of New York after work. The printer here was Ernest Roth and he inscribed his name with "imp." on the bottom left corner margin.
$1,400