Jersey City Landscape
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1939, Sasowsky 187 (iii/III), edition 20 plus five trial proofs. 7 7/8 x 11 7/8 in. Signed and dated in the plate and signed in pencil lower right. A fine impression of this rare print. In very good condition apart from traces of an old tape adhesive along the top edge of the sheet. The margins appear to be full. An outstanding example of Marsh's skills as a printmaker.
$4,500

Girl Walking (Elevated)
REGINALD MARSH
American, (1898-1954)
Lithograph, 1945, Sasowsky 28, AAA 709; edition 250. 10 5/8 x 8 in. Initialed and dated on the stone, lower right. Signed in pencil. This is a fine impression printed on white wove paper. The margins are full and the condition is excellent. This very well drawn lithograph was published by Associated American Artists in New York. Marsh enjoyed depicting this subject and he did many other such images in drawings and oil sketches. The edition was printed by George Miller.
$1,600

Irving Place Burlesque
REGINALD MARSH
American, (1898-1954)
Etching with engraving, 1930, Sasowsky 101 (viii/VIII), edition 33. 9 7/8 x 11 7/8 in. Signed and numbered in pencil. This is a superb impression of this large, exemplary work. The paper is a white wove and the margins are full. (They are unevenly trimmed which is often the case with Marsh.) The condition is generally fine other than for a few specks of foxing in the lower left corner below the platemark. This plate was reprinted in 1969 by the Whitney Museum. The Irving Place Theatre was located at the southwest corner of Irving Place and East 15th Street. The building was demolished in 1984.
$6,500

Café Brasserie
REGINALD MARSH
American, (1898-1954)
Lithograph, 1932, Sasowsky 24, edition 22. 7 3/4 x 8 1/4 in. Signed and dated on the stone, lower right. Signed and numbered in pencil. This is a fine impression printed on a cream chine appliqué. The wide margins are probably full and untrimmed. The condition is fine. This lithograph was probably printed in Paris and is an uncommon print.
$2,200

Gaiety Burlesque
REGINALD MARSH
American, (1898-1954)
Etching, 1930, Sasowsky 102, edition 39. 11 7/8 x 9 3/4 in. Signed and dated in the plate, lower left. Signed in pencil. This is a superb impression in fine condition. The margins are irregular and somewhat modest in the lower left corner but this is almost certainly the sheet Marsh printed on. The paper bears a WHATMAN watermark which is the paper used for most of the lifetime edition. This is one of Marsh's most famous prints and is found in many museum collections including: The Cleveland Museum of Art, the Metropolitan Museum of Art, the Fogg Art Museum and the Indianapolis Museum of Art. Provenance: The Old Print Shop, NY (with their label on the back of the frame.)
$8,000

Maine (Sunrise)
JAN MATULKA
American, (1890-1972)
Lithograph, circa 1925, Flint 25, edition unknown. 11 1/2 x 14 1/8 in. Signed and dedicated "to Fitch" in pencil. This is a superb, luminous impression with full margins. The condition is fine apart from areas of stray printer's ink in the margins. "Maine" was selected as one of two Matulka prints for the Modern Section of the first "Fifty Prints of the Year" exhibition held in New York in 1926. This print is dedicated to Eugene Fitch who introduced Matulka to lithography at the Art Students League. Fitch was a gifted teacher and lithographer and had worked with Joseph Pennell. "Sunrise" is an alternate title for this dynamic print. Ex-collection: Lois Torf, Boston.
$4,500

California, San Luis Obispo
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1944, Hardie/Carter 283, edition 48. 6 1/2 x 14 1/8 in. Signed, titled and dated in the plate, lower left. Signed and numbered in ink. This is a fine, luminous impression printed on cream wove paper. The margins are wide and the condition is fine. (There's a little bit of brown paper tape along the left and right margin and a fraction along the top edge at right.) This appealing, later work by McBey shows his fascination with the diversity of the American landscape. In this same year he produced an etching of Ranchos de Taos in New Mexico and, of course, he was quite familiar with New York.
SOLD

Spring Umbrellas
KATHARINE HOOD MCCORMICK
American, (1882-1960)
White line woodcut printed in colors, probably 1946-1947, edition unknown. 14 x 11 3/8 in. Initialed in the block, lower right. Signed and titled in pencil. This is a fine impression of this very rare print. The paper is a cream fibrous Japanese and the margins are full. The condition is fine apart from a wrinkle in the upper right corner of the sheet and remains of old tape on the verso along the top edge in three places. McCormick was one of the original Provincetown printers and her work was included in Janet Flint's seminal catalogue, "Provincetown Printers: A Woodcut Tradition." (1983). McCormick was a Philadelphia artist, studied at the Pennsylvania Academy of Fine Arts and was treasurer of the American Color Print Society. She was a regular visitor to Provincetown and became a frequent correspondent of Blanche Lazzell. Lazzell advised her to use colors freely and rely on inspiration at the time of printing. McCormick wrote, "It is not a paying business as far as price is concerned. I do them (blockprints) because I like to." There are six woodcuts by McCormick in the collection of the Philadelphia Museum of Art including this one.
SOLD

Aerial Conjunction
DOROTHY MCCRAY
American, (1915-2008)
Color lithograph, 1958, edition 10. 14 1/2 x18 1/2 in. Signed and titled in pencil. Printed by the artist.A fine example of abstract expressionist printmaking in New Mexico during the 1950s.Her work is included in The Stamp of Impulse; Abstract Expressionist Printsby David Acton.(see pages 128-129).
SOLD

Points of Departure
DOROTHY MCCRAY
American, (1915-2008)
Lithograph, 1956, edition 8. 16 x 20 1/4 in. Signed, dated and titled in pencil. This is a fine impression printed on off-white wove paper. The condition is very good other than traces of an old adhesive at top corners, verso, from earlier hinges. The margins are wide except at the top where they measure about 1/2". McCray's work is discussed at length in The Stamp of Impulse, Abstract Expressionist Prints (2001), page 128-129. Her editions are traditionally very small.
SOLD

Fruit
DOROTHY MCENTEE
American, (1902-1990)
Woodcut printed in colors, circa 1940, edition 15. 8 1/16 x 10 in. Signed, titled and inscribed, 15 proofs/trial proof. Here we have a fine impression printed on a thin cream Japanese paper. The margins are full and the condition is very good. (There's a trace of an old mat line from an earlier mount.) McEntree lived and worked in New York.
$450

In the Fifties (Whirlpool)
WILLIAM MCNULTY
American, (1889-1963)
Etching and drypoint, circa 1930-40, edition probably 100. 13 5/8 x 7 1/8 in. Signed in pencil. This is a fine, rich impression printed on white wove paper. The margins are full. The condition is excellent other than for a modest smudge of printer's ink in the lower left margin, well away from the image. McNulty studied at the Art Student's League and also taught there until 1958. He was encouraged to take up printmaking by Joseph Pennell.
$1,500

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

Bird of Prey
RODERICK MEAD
American, (1900-1971)
Wood engraving, 1950, Mead 53, Woodcut Society 38; edition 150. 8 x 9 7/8 in. Initialed in the block, lower right. Signed in pencil. This is a stellar impression printed on smooth wove paper. The margins are full and the condition is fine. This is the 38th Presentation print of the Woodcut Society and comes with the original folder. Mead studied at Yale and the Art Students League. He also was a student of S.W. Hayter.
$500

Buy War Bonds
JOSEPH MEERT
American, (1905-1989)
Screenprint, circa 1943, edition 15. 14 5/8 x 11 in. Signed, titled and numbered in pencil. A very good impression in fine condition. Full margins. Meert lived in New York from 1941-1967 and studied at the Art Students League. He was especially friendly with Jackson Pollock and Thomas Hart Benton. This wartime image depicts Rosie the Riveter or someone to that effect.
$900

Bleeker Street Follies
LEO MEISSNER
American, (1895-1977)
Woodcut (linoleum cut?), 1927, edition 30. 10 1/8 x 12 1/2 in. Initialed in the block, lower right. Signed, dated, numbered and titled in pencil. This is a superb impression with probably the full margins. The condition is fine. This festive night scene depicts this well known street in Greenwich Village. This block print is not common.
$2,000

Jeter Spivey's Place
LEO MEISSNER
American, (1895-1977)
Wood engraving, 1940s, edition 50. 8 x 11 in. Signed, numbered and titled in pencil. Here we have a fine impression with full margins. The condition is excellent. Impressions of this pastoral work are found in the Blanton Museum of Art and the Memphis Brooks Museum of Art.
SOLD

Sahuaro, Arizona
LEO MEISSNER
American, (1895-1977)
Wood engraving, undated , edition 60. 7 7/8 x 9 5/8 in. Signed, titled and numbered in pencil. This is a fine, luminous impression with full margins. The condition is also fine. (There are two small paper hinges on the top margin.) Meissner created other works based on trips to Arizona.
$400

New York # 1
WILLIAM MEYEROWITZ
American, (1887-1981)
Etching, circa 1920, edition 40. 12x 9 7/8 in. Signed in pencil. Titled in pencil below possibly in another hand and with an annotation of "5/40." Here we have a fine impression printed on cream wove paper. The margins are substantial and possibly trimmed. The condition is fine apart from a subtle smudge or two outside of the platemark, upper right corner. Born in Russia, the artist came to this country in 1908. He studied at the National Academy of Design from 1912-1916. He was fully involved in the New York art scene and produced a small group of modernist skyscraper views which are among his best work. He also worked as an innovator in the color etching technique.
$1,400

Armistice Day, Fifth Avenue
WILLIAM MEYEROWITZ
American, (1887-1981)
Etching, 1918, edition unknown. 10 x 8 in. Signed and dated in the plate. Signed in pencil. This is a fine impression printed on a light cream wove paper. The margins are substantial and probably full. The condition is fine. This dynamic print captures the excitement of this historic event. The print is illustrated as entry # 8 in Graphic Excursions, American Prints in Black and White, 1900-1950, Selections from the Collection of Reba and Dave Williams (1991).
SOLD