Santa Rosita (Hollister Peak)
ROI PARTRIDGE
American, (1888-1984)
Etching, 1923, White 141 (i/II), edition 92. 9 3/4 x 11 7/8 in. Signed and dated in the plate, upper right. Signed in pencil. Here we have a fine impression printed on a light cream laid paper. The margins are full. The condition is fine apart from traces of small old hinges at the top corners of the margins. Partridge began teaching at Mills College in 1920 and later served as director of their Art Gallery. Forty-two of his etchings were exhibited at the Panama-Pacific International Exhibition in 1915. This stellar print was included in Fine Prints of the Year, 1924. The artist was married to the photographer Imogen Cunningham from 1915 until 1934.
SOLD

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

Windblown Trees
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1920, Bakker 56a, edition unknown. 7 x 9 3/4 in. Signed in pencil, lower right, within the image. This is a superb, vibrant impression of this well known image. The print is trimmed along the edge of the image (by the artist) and attached at the top to a black paper support sheet which extends slightly beyond the print (also done by the artist). In addition, the print and black paper are mounted at the top edge to a sturdy, tan matboard-like support. This is the original presentation as prepared by Patterson and we've seen this approach before. The condition is excellent. As viewed on page 20 of the Bakker retrospective catalogue from 1989, there's an oil study for this image as well as a charcoal and white pastel drawing.
SOLD

Coast Cedars (2)
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated but probably about 1920., Bakker 58, edition 100. 7 1/8 x 10 1/8 in. Signed, titled and numbered (1/100) in pencil. This exceptional, vibrant impression is printed on the typical study, fibrous wove paper. There's a small spot of blue ink on the right edge of the image, most likely from the printing process. The margins are full apart from three small, similar rectangular cutaway areas on three sides. What sets this print apart is the depiction of snow on the tree limbs and foreground reflecting Patterson's interest in depicting changing seasons. We are not sure why the number (2) is next to the title but it most likely refers to this being the second version of the print, i.e. winter. This exceptional arts and crafts image was probably done on Cape Cod, about the same time she produced such notable works as Summer Clouds, Windblown Trees and The Sands, Chatham.
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 Mill at Rugen
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1910, Bakker 11a, small edition. 8 1/4 x 5 3/4 in. Unsigned. This rare, early work was done in Germany. This is a fine impression trimmed to just outside the borderline (by the artist). The condition is very good. This work is from the estate of the artist, via James Bakker when he was in Cambridge, MA (circa 1990.
SOLD

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

Mist on the Thames
JOSEPH PENNELL
American, (1857-1926)
Aquatint, 1903, Wuerth 247, edition probably 35 proofs. 8 1/2 x 10 3/8 in. Signed and numbered in pencil "32." The margins are probably full and untrimmed and the condition is fine. The paper is a soft, fairly thin laid. This uncommon, beautiful print was done the year Whistler died. It's a subject which reminds us of Whistler, certainly, and the painterly, tonal effects are also reminiscent of Whistler's watercolors and oils of the Thames.
SOLD

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 Avenue, Valenciennes
JOSEPH PENNELL
American, (1857-1926)
Etching, 1910, Wuerth 603, edition probably 50. 9 1/4 x 12 3/8in. Signed in pencil. This is a fine impression printed on antique laid paper. The margins are full and the condition is fine. (There are a few ink smudges in the margins, primarily on the back, which are Pennell's finger prints from the printing process.) This lovely tree lined view is a refreshing glimpse of the variety of subjects etched by the artist. There's an unidentified collector's mark in the lower left corner of the sheet.
SOLD

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.
ON HOLD

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.
$600

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.
$1,850

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.
$1,500

Figures
CHARLES QUEST
American, (1904-1993)
Wood engraving, 1948, edition 25. 12 x 9 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is very good apart from two old hinges at the top of the sheet. Quest grew up in St. Louis and studied at the Washington University School of Fine Arts. he later taught there from from 1944 to 1971. His work is represented in numerous museums including the British Museum, Philadelphia Museum, MOMA and the Metropolitan Museum. This is a fine example of his work.
$750

California Landscape
AUGUSTA RATHBONE
American, (1897-1990)
Etching and aquatint printed in colors, circa 1940, edition probably 15. 8 x 9 1/8 in. Signed in pencil and also inscribed by the artist, artist's proof. This is a fine impression with full margins. The condition is also fine apart from modest old tape hinges on the verso. Rathbone was a California artist who studied in France. Her work is included in A Spectrum of Innovation: Color in American Printmaking 1890-1960, by David Acton (1990). Provenance: Annex Galleries, CA.
SOLD