Leaving the Shop
KENNETH HAYES MILLER
American, (1876-1952)
Etching, 1929, edition unknown. 8 x 9 7/8 in. Signed in pencil "Hayes Miller." This is a fine impression of the artist's best print. The margins are wide and probably full. The condition is fine apart from a trace of an old hinge in the upper right corner. This print is illustrated on page 26 of Graphic Excursions, American Prints in Black and White, 1900-1950, Selections from the Collection of Reba and Dave Williams (1991).
$1,000

Arata's Scheme
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1992, edition 75. 211/4 x 17 1/4 in. Signed, numbered and titled in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine. The artist began studying with Lasansky at the University of Iowa in 1965. In 1969, he moved to Paris and joined S.W. Hayter at his Atelier 17. He was working there from 1970 to 1973. He has taught at the University of Wisconsin in Madison, Carleton College, the College of the Holy Cross and others. Since 1985, he's been living and working in France where he continues to explore the reduction woodcut technique with great success.
$650

Uccello's Ring
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1994, edition 80. 16 7/8 x 20 3/4 in. Signed, numbered and titled in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine.
$650

Venezia
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1998, edition 80. 16 7/8 x 20 7/8 in. Signed, titled and dated in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine. The artist describes his work in the reduction woodcut medium as follows, "Color reduction printing is a gradual process of removing already printed areas of color; these zones will remain in their desired color and keep their intensity. The transition from warm colors to cool colors is made by printing multiple layers of opaque white ink (considered as a blockout). The entire edition is printed after each change of color nuance and when the process comes to an end, the printing surface has virtually disappeared to the point of becoming totally unusable."
$650

Candide
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1999, edition 75. 16 7/8 x 20 7/8 in. Signed, titled and dated in pencil. Here we have a fine impression with full margins. The condition is also fine.
$650

Bridge in thePass at Glencoe-Scotland
THOMAS MORAN
American, (1837-1926)
Etching with roulette, 1882-1888, Morand/Friese 39; edition unknown. 9 1/4 x 11 5/8 in. Signed in the plate, lower right. Signed in pencil. This is a fine, luminous impression printed on a very smooth, light cream wove paper. The margins are wide and probably full. The condition is fine. This dynamic image was etched in 1882 and the artist added the thistle remarque in the lower right corner in 1888. He did at least one drawing, one watercolor and an oil painting of the subject. The plate was published by Estes and Lauriat.
$1,650

A Bouquet of Gladiolus
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors (linoleum cut?), circa 1930, edition 50. 11 3/4 x 10 1/8 in. Signed, numbered and titled in pencil. this is a stellar impression of this uncommon print. The margins are full. The condition is very good apart from minor foxing here and there in the margins. Murphy studied with Eliza Gardiner and taught printmaking at the Rhode Island School of Design from 1928 until 1946. This print is signed "Gladys Wilkins" and when she got married, her prints were signed "Gladys Wilkins Murphy."
SOLD

Rain
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, 1930s, edition 50. 8 x 6 in. Signed, numbered and titled in pencil. This is a fine, atmospheric impression printed on Japanese paper. The margins are full and the condition is fine. (There's a subtle wrinkle in the lower right corner margin well away from the image.) Murphy was a student and teacher at the Rhode Island School of Design. She exhibited with the Boston Art Club, the Society of American Etchers, the Philadelphia Print Club and the National Academy of Design.
$750

Fish Pier
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, 1930s, edition unknown. 7 7/8 x 6 in. Signed, titled and numbered "2" in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is fine apart from a small spot of stray printers ink just to the right of the image. Her maiden name was Wilkins and some of her prints are signed with the addition of her husbands last name, Murphy. She studied with Eliza Gardiner at the Rhode Island School of Design and later taught there.
$1,250

Sprinters
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, circa 1924-31, Cole 155, edition less than 75. 11 1/8 x 13 in. Signed in pencil. This is a superb impression with full margins. The condition is fine apart from reside of two small hinges at the top of the sheet, far away from the image. Murphy's woodcuts are quite distinctive and this is considered by many to be his finest work. Sylvan Cole Gallery held an important retrospective of Murphy's work in 1990. The artist exhibited with the Leicester Gallery, London, while he was alive as well as with Frederick Keppel in New York. This print is illustrated on page 102 of Master Prints of Five Centuries; The Alan and Marianne Schwartz Collection (1991). Murphy was born in Boston and studied at the Museum school. He also studied in London with Noel Rooke and exhibited his work there at the Leicester Gallery. He was married to fellow artist, Cecil Buller.
SOLD

New York City
JEROME MYERS
American, (1867-1940)
Monotype, 1917, edition of one. 10 x 7 7/8 in. Signed in pencil. This is a fine impression printed on thin Japanese paper. The margins are full. The condition is fine apart from some wrinkles at the lower left margin edge and old hinges at the top. Monotypes by Myers are rare. This is inscribed by him along the bottom, "on Henry Street near Jackson Street" which places this in the lower east side of New York.
$2,000

Spring
ANGELE E. MYRER
American, (1896-1970)
White line woodcut printed in colors, 1958, small edition. 11 1/4 x 12 1/4 in. Signed, titled and dated in pencil. This is a fine impression of this rare and exceptional American modernist woodcut. The margins are full showing tack holes on the right edge of the sheet. This was done to keep the sheet in proper registration throughout the printing process. The condition is fine apart from old paper tape along the top edge and a faint suggestion of a mat line in the outer margins. Myrer studied with Karl Knaths in Washington, DC from 1940-44. There she met Ferol Warthen and Angèle spent her summers in Provincetown. After her husband died in 1949, she moved to Provincetown and the two artists studied with Blanche Lazzell. They had adjoining studios at 77 Commercial Street in Provincetown's West End. Myrer was a regular exhibitor at the Provincetown Art Association from 1938 to 1958.
$8,800

Louisburg Square, Beacon Hill, Boston
THOMAS NASON
American, (1889-1971)
Wood engraving, 1930, Boston Public Library 119, edition 70. 7 x 8 in. Signed in pencil. A fine impression of this uncommon print. Very good condition.
$900

Haystacks
THOMAS NASON
American, (1889-1971)
Wood engraving, 1949, Boston Public Library 462, AAA 1117; edition 250. 6 3/8 x 8 7/8 in. Signed and dated in pencil. This is a very fine impression printed on thin wove paper. The margins are full and the condition is excellent. Here we have a fine example of Nason's work in the wood engraving medium.
SOLD

The Gambrel-Roofed Barn
THOMAS NASON
American, (1889-1971)
Chiaroscuro wood engraving, 1947, Boston Public Library 393; edition 90. 5 5/8 x 10 1/8 in. Signed, dated and numbered in pencil. This is a superb impression printed on thin cream Japan paper. The margins are full and the condition is fine. For this outstanding and somewhat experimental print, Nason found it difficult to obtain boxwood blocks so he printed a tint with a copper plate. The black was printed from a woodblock and the olive was printed from the copper plate.
SOLD

Amston Pond
THOMAS NASON
American, (1889-1971)
Engraving, 1947, Boston Public Library 424, edition 250. 6 7/8 x 10 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This copperplate engraving was published by the Society of Print Connoisseurs.
$475

Ozark Bridge
JACKSON LEE NESBITT
American, (1913-2008)
Etching, 1941, Retif / Salzer 20; edition 250. 11 3/4 x 9 1/2 in. Signed and titled in pencil. This is a fine impression with wide margins. The condition is excellent. This exemplary work was designed on a sketching trip in Arkansas with Thomas Hart Benton and two other artists. This work was published by Associated American Artists but a few impressions were also printed by the artist. This is one of those as it shows his signature and date on the plate in the extreme lower left corner.
$1,250

October Afternoon
JACKSON LEE NESBITT
American, (1913-2008)
Etching, 1946, Retif / Salzer 26, AAA 930; edition 250. 9 3/4 x 13 5/8 in. Signed and titled in pencil This is a superb, luminous impression with the full margins. Excellent condition. The setting is a sorghum mill near Liberty, Missouri. The artist considered this to be his best, early print. It was published by AAA in 1947.
$2,000

Auction Barn
JACKSON LEE NESBITT
American, (1913-2008)
Lithograph, 1989, Retif/Salzar 37, edition 250. 17 x 12 1/2 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine. This exceptional work was inspired by Benton and his strong sense of design. Apparently, Nesbitt and Benton visited the barn on one of their sketching trips. Nesbitt also produced an egg tempera painting which is now in the collection of the University of Missouri. The barn is/was located outside of Independence, Missouri. The printer was Wayne Kline.
$3,000

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 also fine. (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.
$7,000