Solid Reflections
LOUISE NEVELSON
American, (1899-1988)
Etching, engraving, aquatint and soft ground, 1953-55 , Baro 24, Pace 47; edition 20. 27 3/8 x 21 3/4 in. Signed, numbered and titled in pencil. This is a superb, rich impression printed on RIVES watermarked paper. The margins are full and the condition is excellent. This was one of about thirty etchings Nevelson did while working at Atelier 17 in New York between 1953-55. One a few proofs were printed at that time. The formal edition was printed at the Hollander Graphic workshop by Emiliano Sorini between 1965 and 1966 under the supervision of the artist. This impression is from this edition. The imagery here anticipates her growing interest in black sculpture.
SOLD

Woman and Child by the Water
JULIETTE S. NICHOLS
American, (1870-circa 1958)
White line color woodcut, undated (circa 1915-20), edition unknown. 11 x 12 1/2 in. Signed in pencil. This is a fine, luminous impression with the full margins. The condition is fine apart from a couple of professionally flattened creases in the margins only. The paper is a cream, light tan color. This is a great example of her work and and exceedingly rare. Studying in Paris, she learned Japanese woodcut techniques from Edna Boies Hopkins and exhibited her work at the American Women’s Art Association alongside a few other artists who would eventually form the group known as the Provincetown printers. She also studied with Blanche Lazzell when she arrived in Provincetown in 1915. Nichols exhibited her white line woodblock prints in the very first show of the Provincetown Printers at the Berlin Photographic Company in New York City in 1916. They held their first Provincetown show at Ambrose Webster’s Studios. Her work was also exhibited in numerous prominent arts clubs and associations throughout the northeast including the Provincetown Art Association. In the mid 1920’s Nichols traveled again to Paris. She also lived in Marietta, Ohio and New York in the 1920s. This is the only impression we are aware of.
$13,500

The Bridge
BJO NORDFELDT
American, (1878-1955)
Woodcut printed in colors, 1906, Donovan/Brown 8; edition unknown. 8 1/8 x 10 1/4 in. Signed, dated and numbered "No. 117" in pencil. This is a fine impression with narrow margins to just around the borderline, so typical of this print. The condition is very good. (There's a tiny speck of foxing at the borderline, upper right and a very subtle soft crease in the lower left corner of the image.) This lovely print appears in multiple color variations which is a concept Nordfeldt mastered with great effect. He was an experimenter. While spending time in Paris studying French woodcuts he became aware of Japanese Ukiyo-e prints which inspired him throughout his career. Furthermore, he studied with Frank Morley Fletcher while in England. Nordfeldt was living in Chicago in 1906 and this work was likely inspired by his time in Sweden where he was born. Impressions of this print are located in the Metropolitan Museum of Art, The Minneapolis Institute of Art and the Smithsonian American Art Museum.
$6,800

Two Men Digging
BJO NORDFELDT
American, (1878-1955)
Woodcut printed in colors, 1906, Donovan 17, edition unknown. 11 1/4 x 7 5/8 in. Signed, dated and numbered "No. 205" in pencil. This is a superb impression on japanese paper trimmed to just outside the margin by the artist. The condition is fine. Our impression is nicer than the one illustrated in the catalogue raisonné. Nordfeldt was born in Sweden and later went to England to study with Frank Morley Fletcher. The year after this print was made the artist left Chicago for the east coast and ended up in New York. He summered in Provincetown, MA. This is a rare print in spite of the 'No. 205" written on it. Provenance: The Old Print Shop, NY. (Framed in a lovely arts and crafts oak frame.)
$9,000

Landscape with Live Oak
ROI PARTRIDGE
American, (1888-1984)
Etching, 1946-51, White 264, edition 62. 7 3/8 x 9 in. Signed in the plate, lower right. Signed in pencil. Here we have a fine crisp impression with probably the full margins. The condition is excellent. According to White, "This etching was made on the La Cumbre Ranch near Santa Barbara, California."
$800

Garden Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, intended edition of 100. 10 1/4 x 7 1/4 in. Signed in pencil in the lower right corner of the image. Signed, titled and numbered in pencil just below the image. This is a fine impression with fresh colors. The print is trimmed to the image by the artist as is so often the case with this print (and others). The condition is fine apart from traces of an old adhesive on the verso edges from an early mount. The intense work involved in rubbing the colors into the back of the sheet from the blocks is perfectly demonstrated here. The end result is almost sculptural. Due to the labor intensive nature of printing just one impression, and given the scarcity of her prints, we doubt that the full editions were ever printed.
SOLD

Anemones
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1920s, Bakker 99a, intended edition of 100. 9 7/8 x 7 in. Signed, titled and numbered in pencil. This is a fine fresh impression with rich colors. The margin are full and the condition is very good. (There are old hinges at the top corners and a thin layer of light tissue attached across the top edge of the sheet.) As is typical with Patterson's woodcuts, the paper is roughed up from the printing process primarily on the verso and also on the margins, recto, in a few spot. She favored a heavy, fibrous paper which helped her create an almost three dimensional effect with her images.
SOLD

In the High Hills
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 80a, intended edition of 100. 11 x 8 7/8 in. Signed, titled and numbered in pencil. This is a very fine impression of this compelling image. The margins are full and the condition is fine apart from a couple of minor printing creases, so typical of her work. This lovely impression is one of so many color variants seen in not only this print but in most of Patterson's oeuvre. She was an avid experimenter with color from one block to the next.
$6,000

The White Rose
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated (1920s), edition possibly 100. 7 5/8 x 7 in. Signed and titled in pencil. This is a fine, working proof with color annotations on the top and bottom margin. The margins are full. The condition is good apart from slight soiling and two stains in the margins, one on the top and the other along the bottom. This nice impression provides insight into the thinking of the artist as she developed her color pallette. She was pleased with this impression given the fact that she signed and titled it in pencil. From the collection of Reba White Williams, New York.
$3,800

Flower Market and Butter Tower, Rouen
JOSEPH PENNELL
American, (1857-1926)
Etching, 1907, Wuerth 463, edition probably 75. 11 x 8 1/2 in. Signed in pencil. This is a fine impression printed on antique laid paper. The margins are full and the condition is fine. (There's a small strip of white paper tape across the top margin edge.) The Butter Tower (Tour de Beurre) is one of the lofty towers that comprise Rouen Cathedral. Constructed in a flamboyant late gothic style, the foundation stone for this tower was laid in 1485.
$600

New York, from Weehawken
JOSEPH PENNELL
American, (1857-1926)
Etching, 1908, Wuerth 495, edition probably 50. 10 15/16 x 8 3/8 in. Signed, titled "Weehawken" and dated in the plate, lower left. Signed in pencil. Here we have a fine impression with full margins. The condition is very good apart from slight time toning along the bottom edge of the sheet and also on the verso. Inscribed "trial proof" in pencil by the artist. Weehawken is opposite New York in the Lincoln Tunnel area.
$800

On the Way to Bessemer
JOSEPH PENNELL
American, (1857-1926)
Etching, 1909, Wuerth 520, edition probably 90. 11 x 7 in. Signed in the plate, lower left. Signed in pencil. This is a fine, atmospheric impression with full margins. The condition is excellent. (There's a subtle printing crease in the lower left corner of the image.) This Pennsylvania subject epitomizes Pennell's interest in the growth of industrialized America during the early years of the 20th century.
$800

Le Puy (third plate)
JOSEPH PENNELL
American, (1857-1926)
Etching, 1894, Wuerth 208, edition probably 30. 16 x 11 7/8 in. Signed in the plate, lower right. Signed in pencil. This is a fine impression printed with plate tone. The margins are full. The condition is very good other than for old adhesive showing on the outer edges of the sheet, verso, from a previous mount and three small old hinges at the top edges, recto. This large and majestic view is described by the artist as "the most picturesque place in the world."
$800

The Elevated (New York)
JOSEPH PENNELL
American, (1857-1926)
Etching, 1921, Wuerth 789, edition perhaps 50. 10 x 6 7/8 in. Signed in pencil. This is a superb impression printed on a light cream wove paper. The margins are full and the condition is fine. (There are Pennell's inky fingerprints showing here and there in the margins.) This print depicts the Sixth Avenue El at the very heart of the shopping district. Gimbels, Sacks and Co. and Macy's are nearby. This print was done when Pennell and his wife moved to Brooklyn Heights in 1921.
$750

The Grand Canyon
JOSEPH PENNELL
American, (1857-1926)
Lithograph, 1912, Wuerth 257, edition 25. 22 x 16 7/8 in. Signed in pencil. This is a fine impression of this rare, monumental print. The margins are full and the paper bears an ARCHES watermark. The condition is fine apart from a small wrinkle in the upper right corner. He created several lithographs of the Grand Canyon as he was impressed with the beauty of the American west and northwest. (Note: an informed source has told me that the title listed in the Wuerth catalogue is not accurate. It's listed as "The City under the Black Mountain." Black Mountain is not too far away in the Southern Sierra.
$2,800

Times Square
JAMES PENNEY
American, (1910-1982)
Lithograph, 1933, edition 15. 14 x 19 3/4 in. Signed, titled, numbered and dated in pencil. This is a fine impression with full margins. The condition is fine other than for a couple of repaired splits in the margins, well away from the image. Penney was from Missouri and studied at the University of Kansas. He moved to New York where he spent three years at the Art Students League and studied with John Sloan and Charles Locke among others. He was a WPA mural painter in addition to his fine work as a lithographer. This is one of his finest works and other examples of his printmaking are found in the National Gallery. Times Square is a rare print.
SOLD

Goosey, Goosey Gander
IDA MARIE PERRAULT
American, (1872-1929)
White line color woodcut, circa 1920, edition 100. 14 1/2 x 12 3/8 in. Signed, titled and numbered in pencil. Below the signature it reads, "Print by R.P." (This stands for Raoul Perrault, the artist's brother.) This is a fine impression with about one inch margins all around. Fine condition. Perrault studied at the Detroit School of Art and in Paris and Brussels. She probably learned the white line color woodcut process in Provincetown. She possibly knew Ada Gilmore and Hope Voorhees who were both from Michigan like Parrault and also worked in Provincetown. Her brother, Raoul, printed her blocks.
$2,500

Tap Dancer
CARL E. PICKHARDT, JR.
American, (1908-2004)
Lithograph, circa 1935, edition 30. 11 7/8 x 11 5/8 in. Signed, titled and numbered in pencil. This is a fine impression with substantial margins. The condition is also fine other than for traces of two small hinges on the top margin corners, well away from the image. Pickhardt was a Massachusetts artist who graduated from Harvard and attended Harvard Business School. He left before graduation to become a full time artist and became a prominent social realist during the 1930s and 1940s. His work is found in multiple museum collections.
SOLD

The Harvest, South Carolina
CHARLES POLLACK
American, (1902-1988)
Lithograph, undated (1930s), edition 35. 9 3/4 x 14 in. Signed, titled and numbered in pencil "E35." This is a fine impression of this very rare print. The margins are full with a deckle edge on all sides. The condition is fine apart from old hinges at the top of the sheet, recto. Charles was the oldest brother of Jackson Pollack. He worked with the Michigan WPA program and joined the art faculty at Michigan State University. He also studied with Thomas Hart Benton at the Art Students League in New York. From the 1940s on, his work started changing to more abstraction. Ironically, Jackson Pollack also studied at the Art Students League with Benton and his earliest work is regionalist in nature. An impression of this print is found at the Smithsonian American Art Museum.
$1,500

Interior of Ferry
LEONARD PYTLAK
American, (1910-1998)
Lithograph, 1936, edition 14. 10 x 13 1/2 in. Signed, numbered and titled in pencil. This is a fine impression of this rare print. The margins appear to be full and the condition is fine apart from slight discoloration in the upper right corner margin, not affecting the image. Pytlak studied at the Art Students League and was active in the NY WPA program. This print is also referred to as Staten Island Ferry. We are offering the print along with a small framed (4 1/4 x 5 1/2 in.; sight measurement) pencil study of the interior of the ferry showing the figures in reverse.
SOLD