Americana
RALPH FABRI
American, (1894-1975)
Etching, 1948, edition probably about 100. 7 7/8 x 9 5/8 in. Signed and titled in pencil. This is a fine impression printed on cream laid paper. The margins are full. The condition is fine apart from old paper hinges near the top corners, verso. This compendium of American imagery includes: the US Capitol Building, cowboys and indians, farmers, an industrial scene, boxing, Miss America, big city skyscrapers, a ferris wheel and the artist's palette. This entertaining print was published by the Society of American Etchers.
SOLD

Third Avenue El
HELEN FARR (SLOAN)
American, (1911-2005)
Lithograph, 1932, edition unknown. 10 x 12 1/2 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is very good other than for a couple of subtle, soft ripples in the upper left corner of the image. At the age of sixteen Farr enrolled at the Art Students League where she met and studied with her future husband, John Sloan. She was a talented artist in her own right and focused on NY street scenes and also New Mexico subjects. An impression of this work, printed by Grant Arnold, is in the National Gallery of Art. She was also a devoted philanthropist and the Delaware Art Museum holds the definitive collection of her husbands work.
$1,000

Under the Bridge
HAROLD FAYE
American, (1910-1980)
Lithograph, 1938, edition probably about 25 impressions. 15 7/8 x 11 3/8 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is very good apart from very minor staining and handling creases in the margins. Faye was born in Illinois and later moved to New York. He studied at the Art Students League and was active in the NYC WPA program as a lithographer. This large print is listed in the Newark Museum collection as a WPA print from 1938. (Our impression is not stamped.) Another impression is listed in The Metropolitan Museum of Art. The bridge shown in this scene is the Queensboro Bridge. A retrospective of his lithographs was held at the Hudson River Museum in 1987.
$1,500

Off the Coast (Stone 3)
LYONEL FEININGER
American, (1871-1956)
Lithograph, 1951, Prasse L14 (ii/II), edition 250. 9 x 14 1/2 in. Signed in pencil, lower right. Here we have a fine impression with full margins. The condition is excellent. This is the most successful of the three versions of this image. The print was published by the Print Club of Cleveland and printed by George Miler in New York. The red Print Club stamp is on the verso (Lugt 2049b).
SOLD

Marine (with warships)
LYONEL FEININGER
American, (1871-1956)
Woodcut, 1918, Prasse W106, only three impressions known. 10 1/8 x 11 7/8 in. Signed in pencil. Inscribed "1895." This is a superb impression printed on a light gray handmade laid paper. The margins are full but slightly irregular. The condition is fine apart from two small paper tape hinges on the upper corners. This large, exceptional woodcut is extremely rare and epitomizes Feininger's best work in the medium.
SOLD

Girl Reading
LORSER FEITELSON
American, (1898-1978)
Lithograph, 1938, edition 50. 8 x 11 1/2 in. Signed on the stone, lower right. Signed and numbered in pencil. The print is initialed by the printer, Lynton Kistler, lower left next to the numbering. Here we have a fine impression in fine condition. The margins are full. In 1934, Feitelson and his artist wife, Helen Lundberg, developed a style they called "subjective classicism" which is really a brand of surrealism; Post-Surrealism as it was often referred to. In addition to making his own work, He became the Supervisor of murals, paintings and sculpture for the California WPA Federal Art Project. This print was included in the exhibition, Los Angeles Prints 1883-1980 by Ebria Feinblatt and Bruce Davis (1980), entry # 52. An impression of this stellar lithograph in the National Gallery among other institutions.
SOLD

Post-Surreal Configuration: Biological Symphony
LORSER FEITELSON
American, (1898-1978)
Lithograph, 1939, edition 20. 12 1/8 x 17 1/4 in. Signed and dated on the stone, lower left. Signed, numbered and titled in pencil. This is a superb impression with full margins. The condition is fine apart from a small previous hinge on the top left edge, verso. This highly regarded and uncommon print was originally printed in an edition of twelve and in 1972 the second edition of twenty was printed. "Through the WPA project and it's lithographic printer, Carl Winter, Feitelson and (Helen) Lundeberg undertook to make prints which reflected these noted artists' achievements in Post-Surreal Abstraction, which they pioneered in Southern California." This text is on page 18 of Los Angeles Prints, 1883-1980, by Ebria Feinblatt and Bruce Davis (1980). This print is illustrated on page 53 of this catalogue and there's a painting which relates to the lithograph. (Impressions of this print are found in the National Gallery of Art (DC), the Smithsonian American Art Museum and the Whitney American Art Museum.)
SOLD

Waterfront, Manhattan
ERNEST FIENE
American, (1894-1965)
Lithograph, 1931, edition 100. 11 x 17 3/4 in. Signed, dated and numbered in pencil. Titled in pencil in the lower margin. The print is also dedicated in pencil, "to Mr. & Mrs. Arnold Ronnebeck." Here we have a fine, rich impression with full margins. The condition is very good other than for minor soiling here and there in the outer margins and a tiny tear at the left edge. This is one of Fiene's best prints.
$1,400

Salinas River - California
FRANK MORLEY FLETCHER
British/American, (1866-1949)
Woodcut printed in colors, 1927-28, edition 100. 12 3/4 x 16 7/8 in. Signed and titled in pencil. This is a good impression printed on Japanese paper. The margins are full and the condition is good. (There are three small areas touched in with gouache(?) certainly by the artist, and faint traces of soiling in the water.) The importance of Fletcher both in England and later in America cannot be overstated. His seminal publication, Wood-Block Printing, published in 1916, had a lasting impact on many printmakers who explored the color woodcut medium. He came to America in 1923 and settled in Santa Barbara where he taught at the Santa Barbara School of Art. He became a naturalized citizen in 1926. This large print is an iconic arts and crafts California woodcut.
SOLD

Self Portrait
ANTONIO FRASCONI
American, (b.1919)
Woodcut, 1947, edition unknown. 9 1/2 x 8 1/16 in. Signed in the block. Signed and dated in pencil. This is a fine impression of this rare early work. The paper is a cream-colored Japan with full margins. The condition is excellent. The Cleveland Museum checklist of the early prints of Frasconio list this as from 1946. The print is dated 1947 and the letters "NY" appear cut into the block in the bottom. We know he moved from California to New York in 1947 and his first exhibition at Weyhe Gallery was in 1948. (Note: We are always interested in acquiring fine prints by Frasconi.)
SOLD

Market Wagon
ALLAN R. FREELON
African American, (1895-1960)
Aquatint, 1933, edition probably 50. 8 7/8 x 11 3/4 in. Signed, titled and numbered "50". This impression bears the following dedication,"to Martha Kreidel with best wishes, 6/30/33". This is a superb impression of one of Freelon's best prints. The margins are full and the condition is fine. (The margin is narrow along the top but this is the full sheet as printed. The condition is fine apart from a small stain in the lower right corner of the margin.) Freelon was an African American artist from Philadelphia. He studied at the University of the Arts (now closed) as well as the University of Pennsylvania. Further studies ensued at the Barnes Foundation and in private with Earl Horter and Dox Thrash. He exhibited widely throughout his career with both prints and paintings on display. Freelon taught etching and lithography at the Philadelphia Museum of Art from 1940 to 1946. His finest prints were done in aquatint as we have here.
$4,000

Three to Make Ready
DON FREEMAN
American, (1908-1978)
Lithograph, 1933, McCulloch 73, edition 35 or fewer. 11 5/8 x 13 3/4 in. Signed on the stone, lower left. Signed, dated and titled in pencil. Also inscribed, "with best regards to Grant Reynard." This is a fine, rich impression with wide margins. The condition is quite good apart from traces of old tape adhesive on the verso in a few isolated spots, formerly used as hinges.
$1,650

Self Portrait
ISAC FRIEDLANDER
American, (1890-1978)
Wood engraving, 1935, edition unknown. 10 5/8 x 9 in. Signed, dated and titled in pencil. Here we have a fine impression with probably the full margins. The condition is also fine apart from a very faint suggestion of light toning within an earlier mat opening. Friedlander was born in Latvia and taught art there in the 1920s. He was encouraged to come to America by his cousin, Joseph Hirshhorn. He settled in New York where this potent self portrait was made.
$850

Uncle Frank's Workshop
WANDA GAG
American, (1893-1946)
Lithograph, 1935, Winnan 106, edition 50. 13 x 9 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is also fine. The edition was printed on a zinc plate by George Miller in New York. A preliminary drawing is in the collection of the Philadelphia Museum of Art.
SOLD

Barns (Barns at Glen Gardner)
WANDA GAG
American, (1893-1946)
Lithograph, 1941-43, Winnan 118, edition 50. 10 1/8 x 15 1/8 in. Signed and dated ('43) in pencil. Inscribed, "For George Miller." (The print is also inscribed by George Miller himself, "Geo C Miller, Litho." This is a fine impression of this uncommon print. The margins are full with a deckle edge on all sides. The sheet is watermarked RIVES. The condition is excellent. This print was based on drawings that Gag did in the vicinity of Tumble Timbers, Glen Gardner, NJ. One of the drawings is in the Graphische Sammlung Albertina and others are in the Philadelphia Museum of Art. This lovely print was selected as one of the Fifty Prints of the Year by the American Institute of Graphic Arts.
SOLD

Spinning Wheel
WANDA GAG
American, (1893-1946)
Wood engraving, 1928, Winnan 57 (iii/III), edition 100. 4 3/4 x 3 3/4 in. Signed in pencil. This is a fine impression on light cream wove paper with substantial margins (possibly full). The condition is fine. This impression is from the signed edition of 100 printed by the Spiral Press. There was an additional unsigned edition of 2,000 on card stock for a Weyhe Gallery invitation to a show of Gag's work.
SOLD

Airtight Stove
WANDA GAG
American, (1893-1946)
Wood engraving, 1927-1933, Winnans 49 (ix/IX), edition 250. 4 7/8 x 3 5/8 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. The edition was printed in 1934 by the International Print Guild for distribution to their membership. In the lower right corner, there's a vague outline of a cat's face.
$900

The Forge
WANDA GAG
American, (1893-1946)
Lithograph, 1932, Winnan 96 (ii/II), edition 100. 11 1/2 x 13 3/4 in. Signed and dated in pencil. this is a fine impression with full margins. The condition is also fine. The edition was printed on a zinc plate by George Miller in New York. Sixteen impressions are cited in museum collections. The scene for this print is a Blacksmith's shop in Carversville, PA.
SOLD

Winter Twilight
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 39, edition 100. 10 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil. This is a fine impression of this outstanding print. The margins are full and the condition is fine. The edition was printed by George Miller on a zinc plate. Nine impressions are cited in museum collections.
SOLD

Moonlight
WANDA GAG
American, (1893-1946)
Lithograph, 1926, Winnan 26, edition 60. 14 x 16 7/8 in. Signed and dated in pencil. This is a superb, rich impression with full margins. The condition is fine apart from some wrinkles in the upper left corner margin outside of the image. The edition was printed by George Miller from a zinc plate and ten impressions are listed in museum collections. This large, poetic work is a dramatic study in darks and lights and shows the artist as a master of lithography.
SOLD