Outposts
LEON GILMOUR
American, (1907-1996)
Wood engraving, 1936, edition 50 plus artist's proofs. 7 x 11 3/4 in. Signed, dated and titled in pencil. This is a very good impression printed on a fibrous, Japanese paper. The margins are full and the condition is fine. (There's a modest printing crease just to the edge of the image at top right.) Gilmour, like Rockwell Kent, was a visionary thinker and his images often suggest an Orwellian, futuristic look. "Outposts", with the reference E=mc2 showing in the image at left, projects an expansive world view where technology and the masses can interact for better or worse. His stylized imagery, like Kent's, is very well-crafted and shows a timeless, ongoing respect for the human figure.
SOLD

Manhattan Backyards
HENDRIK GLINTENKAMP
American, (1887-1946)
Wood engraving, 1932, edition 50. 7 x 5 in. Initialed and dated in the block, lower right. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine other than for a faint, soft vertical crease in the right margin edge. Glintenkamp studied at the National Academy of Design from 1903-06 and he was employed by the NYC WPA program.
$900

Floral Study
JOSEPH GOLDYNE
American, (b. 1942)
Monotype, circa 1985, 5 x 3 7/8 in. Signed in pencil, lower right. Inscribed "M.T."(monotype) in pencil, lower left. The margins are full and the condition is very good. There's the slightest trace of toning within a previous mat opening. Provenance: Annex Galleries, CA.
SOLD

National Horse Show (Madison Square Garden)
JOSEPH W. GOLINKIN
American, (1896-1977)
Lithograph, 1938, edition 200. 15 1/4 x 19 5/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine. This New York artist was also in the Navy and achieved the rank of Read Admiral. (He resigned from the Navy in 1922 to pursue his art career and was reactivated in 1938.) He produced many large scale lithographs of New York sporting events which are quite well done. George Miller printed his work.
$950

Express Stop
DOUGLAS GORSLINE
American, (1913-1985)
Etching, 1948, edition 100 (or 125). 6 1/2 x 5 7/8 in. Signed in pencil. This is a fine impression with full margins. The condition is excellent. This fine work was published by the Society of American Etchers. This print was not published by Associated American Artists as is occasionally stated. AAA did published four other prints by the artist.
SOLD

Bootleg Coal
HARRY GOTTLIEB
American, (1894-1993)
Lithograph printed in colors, 1937-38, edition possibly 25. 13 3/4 x 17 7/8 in. Signed and titled in pencil. This is a superb, luminous impression with full margins. The condition is fine and the paper bears a RIVES watermark. Gottlieb joined the Federal Art Project in New York in 1935 and he was one of the first members of the Silk Screen Unit. His work in this medium as well as in color lithography is outstanding. Coal mining was a subject he was very interested in and there's at least one variation of this image with the same title. This image was printed in a black and white version and Gottlieb also produced a screenprint version, including touched proofs, a couple of which are located in the Crystal Bridges Museum collection. This subject shows coal miners from Pennsylvania who had lost there jobs over trying to organize labor unions. They are shown here digging illegally from surface seams to try to earn a living.
SOLD

Food Market, Old Style
HARRY GOTTLIEB
American, (1894-1993)
Lithograph, 1935-43, edition probably about 25. 10 5/8 x 13 1/2 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is very good other than for subtle spots of foxing here and there in the margins. This is a NYC WPA print but it does not have the stamp. An impression of this print is in the Metropolitan Museum of Art.
$1,250

The Aquarium
GORDON GRANT
American, (1875-1962)
Lithograph, 1948, AAA 969, edition 250. 9 1/2 x 12 5/8 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This appealing print was published by Associated American Artists in New York.
$500

Under the High Level Bridge (Cleveland)
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Lithograph, probably done in 1936, edition unknown but probably fewer than 25 impressions. 10 1/2 x 8 in. Signed in the image, lower left. Signed and titled in pencil below the image. This is a fine impression of this rare early WPA print. The condition is very good other than the faint trace of a crease in the upper right corner and a fold mark showing in the lower margin below the writing. The margins are full. This impression bears the stamp "Federal Art Project No.1" We also have the original labels which accompany this work.
SOLD

Smelting (Smelter)
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Lithograph, circa 1949, edition about 25. 17 1/2 x 14 in. Signed in pencil. This is a superb impression of this large, rare print. The margins are full and the condition is fine. There's just a faint suggestion of toning along the extreme outer edges of the sheet. The artist was born in Hungary and lived and worked in the United States from the 1930s-1950s. She was active with the WPA. We've located an impression in Grinnell College art collection (Falconer Gallery) with the title Smeltery.
SOLD

Manhattan Roofs
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Drypoint, circa 1940., small edition. 11 7/8 x 9 7/8 in. Signed in pencil. This is a very fine, rich impression with full margins. The condition is very good. The artist created about forty prints in her lifetime, largely architectual and industrial in nature. Between her time in Cleveland and New York, her best work was created. The is no proper catalogue raisonné of her work.
SOLD

Imperialism
JOLAN GROSS-BETTELHEIM
American, (1900-1972)
Lithograph, circa 1945, edition unknown. 11 3/8 x 9 7/8 in. Signed in pencil. This is a superb, rich impression of this extremely rare and important print. The margins are most likely full and the condition is excellent. Gross-Bettelheim was living in New York from 1938 until about 1956. This potent image was done during this period along with a few other works such as Assembly Line and the Fascism series. Previously, she had been living in Cleveland and produced several prints for their WPA program from 1935-1943. "Imperialism" represents a culmination of Bettelheim's modernist explorations and stands as one of American printmaking's most powerful anti-war statements. The formal perspective of the composition–an assembly line of war weapons and regimented figures–pulls the viewer into the image . The skull-like gas masks look out to the viewer, hollow-eyed in warning. The repetition of the shapes and abstraction of the figures emphasize the inhumanity of the war machine and makes poignant the paradox of man's vunerability in the face of his own creation. Although this lithograph was created during WWII, the image feels absolutely contemporary, as relevant today as it was when first produced. (Source for the last five sentences: Keith Sheridan). Impressions of this work are found in the Smithsonian in Washington, DC and the Crystal Bridges Museum of American Art.
SOLD

Rugged Terrain
LENA GURR
American, (1897-1992)
Silkscreen printed in colors on black paper, circa 1950, edition unknown. 7 7/8 x 9 7/8 in. Signed and titled in ink. This is a fine impression with full margins. The condition is also fine. Gurr studied at the Art Students League with John Sloan and Maurice Sterne. She was active with the New York Society of Women Artists among other organizations. Her early work was realistic and as time went buy her style became more abstract. She exhibited regularly at the ACA Gallery in New York and had her first solo exhibition at the Brooklyn Museum in 1932. She was well known as a painter and she also produced lithographs and screenprints.
$650

October in Santa Fe
NORMA BASSETT HALL
American, (1890-1957)
Woodcut printed in colors, 1948, Patterson 86, edition probably 100. 9 7/8 x 8 in. Initialed in the block with the artist's monogram. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine. This outstanding southwestern image was published by the American Color Print Society in 1948. The artist used seven blocks to complete the image.
SOLD

Marigolds
NORMA BASSETT HALL
American, (1890-1957)
Woodcut printed in colors, 1929, Patterson 41, edition 60. 8 x 6 15/16 in. Initialed in the block with the artist's monogram. Signed, numbered and titled in pencil. This is a fine impression with fresh colors. The paper is a thin Japanese. The condition is very good apart from a small tear and associated wrinkle in the lower right corner margin and the print is attached to a support sheet at the two top corners. This was certainly done early on. (There's an extremely faint suggestion of toning within an early mat opening.) According to the catalogue, this edition was probably never completed.
SOLD

Navajo Land
NORMA BASSETT HALL
American, (1890-1957)
Woodcut printed in colors, 1947, Patterson 82a, edition 100. 9 3/8 x 14 in. Initialed in the block, lower right, with the artist's monogram. Signed, titled and numbered in pencil. This is a fine, luminous impression with probably the full margins. The condition is very good apart from a few minor traces of an old adhesive here and there in the outer margins not near the image. There's a small paper imperfection just touching the image on the top right side. In the background is Shiprock, a sacred Navajo mountain located in San Juan county, New Mexico. This exceptional woodcut by Hall was originally intended to be printed in an edition of 50, but due to its success, the edition was extended to 100 impressions.
$3,500

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.
SOLD

City Signs
HANANIAH HARARI
American, (1912-2000)
Screenprint, 1938, from a small edition printed in 1938. 18 1/8 x 11 7/8 in. Signed, titled and dated in pencil. This is a fine impression printed on cream colored paper with full margins. The condition is excellent. (There's a small repaired tear in the top margin, well away from the image.) Harari was employed by the mural project of the New York City WPA. He was a founding member of the American Abstract Artists Group and studied the screenprint medium with Anthony Velonis. As for City Signs, "Harari exploited the screenprint's suitability for achieving flat planes of colour. He allowed the non-printed areas of the paper support to form an integral part of the composition." (see page 171 of The American Scene; Prints from Hopper to Pollock by Stephen Coppel (2008). City Signs is illustrated and further discussed in this British Museum catalogue. This memorable work is also illustrated in American Screenprints by Reba and Dave Williams, Pg. 35 (1987). This work was included in the seminal exhibition, Artists for Victory, held at the Metropolitan Museum of Art in 1942. There was a second edition of 30 printed in 1990. (This was the year the artist died.) These late impressions are somewhat garish and not as desirable as the rare, early ones. Other early impressions are in the Smithsonian American Art Museum and the National Gallery of Art. Our impression is a slight color variant and according to Susan Teller, who worked with the estate, the artist was known to be an experimenter.
SOLD

Matinee
GEORGE OVERBURY "POP" HART
American, (1868-1933)
Soft ground etching and aquatint, 1926, edition 50. 5 1/4 x 8 in. Signed in the plate and signed in pencil lower right. This impression is also numbered. The condition is fine and the margins appear to be full and untrimmed. Hart exhibited with the Downtown Gallery in NY for many years. Impressions of this outstanding print are in the Brooklyn Museum, The Art Institute of Chicago and the Smithsonian. Hart had a fascination with exotic places and spent time in North Africa, Tahiti and the West Indies. Mexico was a favorite place as well.
SOLD

Mirror of the Goddess
ERNEST HASKELL
American, (1876-1925)
Etching, 1920, Pousette-Dart pg. 31, (ii/II) edition 100 plus 5 impressions in the first state. 9 x 11 7/8 in. Signed in pencil. Signed and dated in the plate on the bottom. This is a fine impression on cream Japanese paper. The margins are wide. The condition is very good apart from old hinges at the top corners, verso, and a soft crease in the bottom margin.
SOLD