Four Ash Trees, Rhijnauwen (Vier Essen)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1976, RKD CD 75-8, edition 50. 8 x 11 1/2 in. Titled in the plate, lower left. Signed and inscribed in pencil, "nr.4 proefdruk 1e staat." This is a superb impression of this exceptional winter scene. The margins are full and the condition is excellent. The states for this print are complicated. This impression does not exactly match up with the first state illustrated in the RKD online catalogue. Their first state is a touched proof with brush work. Our impression is pure etching and looks more like the fourth state.
$900

White Chrysanthemum in a Blue Green Vase (Witte Chrysanten in Blauwgroene Vaasje...)
FRANS EVERBAG
Dutch, (1877-1947)
Etching and aquatint Printed in colors, done before 1923, Vervoorn 97, edition unknown but perhaps 50. 18 x 16 1/4 in. Signed in pencil, lower right. Inscribed, épreuve d'artiste," lower left. This is a fine, rich impression with one inch margins. The condition is fine apart from the slightest trace of an old mat line. This large work exemplifies Everbag's great skills as a color intaglio printmaker. He was producing these plates at a time when color prints were the exception in the netherlands and his color etchings were certainly among the best work done at the time. His earliest works were mezzotints after old masters. His mature work consists primarily of views of Amsterdam, flower studies, birds and other animals. His last important exhibition was at the Museum Kempenland in Eindhoven in 1988. Everbag's prints are consistently good and they are especially sought after by collectors in his native country.
$2,500

Self Portrait with Nude
EMIL GANSO
American, (1895-1941)
Wood engraving, 1930, Smith R-58; edition 50. 10 1/8 x 8 in. Signed in pencil, lower right. Here we have a fine impression printed on a cream-colored Japanese paper. The margins are full and the condition is fine apart from a slight rubbed spot below the image at left. This print was done at the time Ganso shared his studio-apartment with Jules Pascin. it was located at 900 Sixth Avenue in New York. This is a stellar self portrait with the artist depicting one of his favorite subjects - the female nude.
$1,400

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.)
$9,000

Bowsprit
ROCKWELL KENT
American, (1881-1940)
Wood engraving, 1930, Burne Jones/Rightmire 56; edition 120. 5 3/8 x 7 in. Signed in pencil. Here we have a superb impression with full margins. The condition is excellent. This was one of twelve prints by Kent used in a national advertising campaign for the American Car and Foundry Company. The catalogue cites nine impressions in museum collections.
$4,800

Home Port
ROCKWELL KENT
American, (1881-1940)
Wood engraving, 1931, Burne Jones/Rightmire 62; edition 150. 6 1/2 x 7 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The paper bears a partial acorn or floral watermark. There a slight bit of light toning and a paper imperfection in the right edge of the sheet, far away from the image. As it states in the catalogue, "An imperfection in the paper near the left hand of the sailor was found on all copies examined. The area was inked in by hand after printing." This important print was commissioned by the advertising agency Calkins and Holden for their client, the American Car and Foundry Company. The cancelled block is in the collection of the Boston Museum of Fine Arts.
$7,500

Hop Pickers
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1930, Boston Public Library 177, edition 75. 8 1/2 x 10 1/2 in. Signed and titled in pencil. There's a pencil dedication which reads, "For Jane Garrett, 1977." Here we have a fine, rich impression with full margins. The condition is fine apart from a band of discoloration vertically along the outer left hand margin, well away from the image.) This is one of several images which Leighton created for The Sea and the Jungle by H.M. Tomlinson.
$2,200

The Baptism
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1952, BPL 618, edition 150. 7 1/8 x 4 7/8 in. Signed, titled and numbered in pencil. This is a fine impression with full margins. The condition is fine apaprt from a faint suggestion of a piece of tape adhesive at the top edge, not near the image. This print was part of the seven volume set, The Frank C. Brown Collection of North Carolina Folklore, published by Duke University Press, 1952.
$2,200

The Model (Le Modele)
GEORGES LEMMEN
Belgian, (1865-1916)
Lithograph, 1900, Cardon 30; from a small edition ( 13 x 13 1/2 in. Signed with the artist's monogram and date on the stone. Also, in the lower right is the artist's estate stamp (not in Lugt). (Lemmen's prints were rarely signed in pencil.) He was an active member of Les XX and he was an exceptional neo-impressionist painter. His lithographs are not common and they were printed in generally small editions.
$2,200

East Side Night, Williamsburg Bridge
MARTIN LEWIS
American, (1881-1962)
Etching, 1928, McCarron 71, edition 69. 9 5/8 x 11 7/8 in. Signed in the plate, lower left. Signed in pencil. This is a fine, luminous impression with full margins. The condition is also fine. This successful print won the Art Institute of Chicago's prestigious Frank G. Logan Purchase Prize in 1929. Another impression was purchased by the Metropolitan Museum of art early on. Fifteen impressions are cited in museum collections in the catalogue. (The Williamsburg Bridge crosses the East River connecting the Lower East Side with the Williamsburg neighborhood of Brooklyn. It was opened in 1903.)
$10,000

Under the Street Lamp
MARTIN LEWIS
American, (1881-1962)
Etching, 1928, McCarron 70; edition 83. 14 7/8 x 9 1/4 in. Signed in the plate, lower right. Signed in pencil. This is a fine impression with full margins. The condition is also fine. This carefully crafted print, done exclusively in etching, captures the spirit of the moment with three women talking against a dark wooded background.
$12,000

Diploma for the International Exhibition of Book and Related Trades
CAREL ADOLPH LION CACHET
Dutch, (1864-1945)
Woodcut, 1892 (this impression from the 1919 edition), edition unknown. 14 1/4 25 1/2 in. Signed in printed block letters in the lower right, just below the image. This is a fine impression on thin Japan paper. Full margins. (All of these impressions have three vertical crease marks from having been folded.) This impression was issued as a loose supplement in the wood engraving issue of Wendingen. Early impressions from 1892 are exceedingly rare and few were printed. The text is printed in Dutch, Greek, Italian and Hindi. This remarkable print is illustrated and discussed at length in Van Gogh to Mondrian, Dutch Works on paper (2000), page 48.
$1,750

Through Brooklyn Bridge Cables
LOUIS LOZOWICK
American, (1893-1973)
Lithograph, 1938, Flint 158, edition 250. 9 5/8 x 12 7/8 in. Initialed on the stone, lower right corner. Signed and dated in pencil. Here we have a fine impression in fine condition. The margins are full. This well-known print is on the cover the the Lozowick catalogue raisonné by Janet Flint. (There was a also an edition of 15 printed in the same year of the AAA edition, 1938. George Miller was the printer.)
$7,500

The Counter (Le Comptoir)
LOUIS MARCOUSSIS
Polish/French, (1878-1941)
Etching, aquatint and drypoint, 1920, Milet 35 (iv/IV), edition 125. 7 3/8 x 5 5/8 in. Signed and dated in the plate. Signed in pencil. He we have a fine, rich impression printed on a cream wove paper. The margins are wide and the condition is fine apart from two old hinges on the left side, verso. In this, the final state, the print was published by Gustave Kiepenheuer, Weimar, 1922, for the review "Die Schaffenden." This impression lacks the blindstamp of "Die Schaffenden." Marcoussis was a gifted artist and his best work was done during the 1920s and 1930s. He became part of the French cubist movement and became friends with Apollinaire, Braque, Degas and Picasso from his time in the cafes of Montmartre and Montparnasse. Le Comptoir is one of his finest prints.
$4,500

Woman under an Umbrella
KENNETH HAYES MILLER
American, (1876-1952)
Etching, undated; circa 1925, edition unknown. 5 x 4 in. Signed in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is also fine. Miller studied at the Art Students League and he taught there from 1911 to 1951. There's a long list of artists that studied with him including: Peggy Bacon, Isabel Bishop, Rockwell Kent, Reginald Marsh and many others.
$650

Summer Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated, probably 1920s, Bakker 100a, intended edition of 100. 10 x 7 1/8 in. Signed and titled in pencil. There's a pencil notation to the right, "2" which may reference the impression number. (But, she generally number her prints such as 50/100.) This is a fine, vibrant impression with small but adequate margins. The condition is fine apart from a few spots of stray printers ink ink here and there near the image. This is a stellar example of her floral work and impressions vary from one to the next.
$5,000

The Market a Pontoise (Marché à Pontoise)
CAMILLE PISSARRO
French, (1830-1903)
Lithograph, circa 1895, Delteil/Cailac 147 (iii/III); edition 20. 12 1/8 x 8 15/16 in. Signed, titled and numbered "No 19 ep.def." in colored pencil. This is a superb impression printed on chine appliqué with probably the full margins. The condition is fine apart from a few spots of subtle foxing in the lower right margin away from the image. This is an exceptional print by the Pissarro and one of a few views of market scenes done in etching as well as lithography. Pontoise is located just north of Paris.
$10,000

Cineraria
MABEL ROYDS
British, (1874-1941)
Block print printed in colors, possibly 1936, Barton 48; from a small edition, possibly 50. 8 x 10 7/8 in. Signed in pencil. This is a superb, luminous impression with full margins. The condition is excellent apart from a small wrinkle in the printing found in the lower right corner. This is an exemplary work by the artist. We acquired it from the artist's estate back in the 1980s, sold it to a New York collector, and now we are pleased to re-offer it. Her floral prints have not been turning up over the last few years. (There's an inscription in the lower left margin by the artist "Ink (?) May '36.) And in the lower right corner, "48", which is possibly related to the edition number.
$1,650

The Little Bride
JOHN SLOAN
American, (1871- 1951)
Etching, 1906, Morse 138 (i/I), edition 100. 5 1/8 x 6 7/8 in. Signed and dated in the plate, upper left. Signed and titled in pencil and inscribed, "100 proofs." Here we have a fine impression with wide margins. The condition is fine apart from mild toning in the four outer corners of the margins. This print is from Sloan's "New York Life" series. The scene is St. Vincent de Paul Church on 23rd Street.
$1,800

Chrysantheums
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors with embossing (gauffrage), 1934, Merx 423F, edition unknown. 18 1/2 x 13 1/2 in. Signed and titled in pencil. Inscribed "original Farbholzschnitt, Handdruck". This is an exceptionally vibrant impression of this important print and the embossing is crisp and well preserved. (We also see the artist used white gouache to highlight the tips of some of the blossoms to emphasize the three dimensionality of the overall design.) The paper is a sturdy Japan and the margins are full. The sheet is in fine condition. The Merx catalogue lists two variations on this image, both done in reverse. (see pages 87-88; illustrations 63 & 64.) The influence of Japanese printmaking cannot be understated here.
$5,000