A Southern Magnolia
ELLA SOPHONISBA HERGESHEIMER
American, (1873-1943)
Lithograph, circa 1939, edition 54. 14 1/16 x 17 in. Initialed on the stone, lower left. Signed and titled in pencil. This is a fine, luminous impression in fine condition. (The margins appear to be full on three sides and the bottom of the sheet is slightly trimmed to about 1" from the image.) This exquisite print is illustrated and discussed on pages 48 and 49 of, Imprinting the South, Southern Printmakers and Their Images of the Region 1920s-1940s, by Lynn Barstis Williams (2007). She was a direct descendant of Charles Wilson Peale and studied at the Pennsylvania Academy of Fine Arts. Hergesheimer lived and worked in Nashville and specialized in lithography. Her prints are rather uncommon.
SOLD

Coffee
JOSEPH HIRSCH
American, (1910-1981)
Lithograph, 1961, Cole 38, edition 250. 13 1/2 x 10 1/2 in. Signed in pencil, lower right. This is a fine impression in fine condition. The condition is excellent. Hirsch was born in Philadelphia and studied in New York with George Luks. He was involved with the WPA program in Philadelpia as a muralist. In 1941, he signed on with Associated American Artists which published most of his prints. Coffee is a nice example of his work in lithography.
$750

The Pulitzer Fountain (New York)
ELLISON HOOVER
American, (1888-1955)
Lithograph, circa 1930, edition unknown. 12 1/2 x 9 1/2 in. Signed in pencil, lower right. This is a fine impression in fine condition. The margins are full. The Pulitzer Fountain is located at the entrance to Central Park at Fifth Avenue and 59th Street. The sculptor was Karl Bitter (1867-1915) and the work dates from 1916.
SOLD

Brooklyn Bridge
ELLISON HOOVER
American, (1888-1955)
Lithograph, circa 1930, edition 40. 9 1/4 x 12 in. Signed, titled and numbered in pencil. This is a fine impression of this uncommon print. The margins are wide and there's a watermark showing, MADE IN FRANCE. The condition is fine other than for a small backed tear in the top margin away from the image and a tiny loss to the upper left corner of the sheet. This is one of Hoover's finest prints.
SOLD

Purple Asters
EDNA BOIES HOPKINS
American, (1872-1937)
Woodcut printed in colors, about 1910-13, Vasseur 57, edition at least 27. 10 3/4 x 7 1/8 in. Signed and numbered "11" in pencil. This is a fine, luminous impression printed on a light beige Japanese paper. The margins are full and the condition is generally quite fine. (There's a small stain the in the lower left corner of the margin.) This very rare work beautifully combines a variety of vibrant colors on the top of the composition and subtle understatement in the bottom half. This daring composition and inventive mix of colors shows the artist as a master of the arts and crafts color woodcut, particularly as observed in her floral prints. The Bibliothèque Jacques Doucet in Paris owns a series of seven color-block separations (progressive proofs) numbered 1-7.
SOLD

Hollyhocks
EDNA BOIES HOPKINS
American, (1872-1937)
Woodcut printed in colors, circa 1910-13, Vasseur 38, edition unknown. 11 x 7 1/4 in. Signed and numbered in pencil. This is a very good impression with full margins. The condition is fine other than for a small pinhole below the image, center. Four impressions of this lovely print are cited in the catalogue raisonne, including this one. This is a rare print.
SOLD

Evening Wind
EDWARD HOPPER
American, (1882-1967)
Etching, 1921, Levin Plate 77, edition unknown. 6 7/8 x 8 5/16 in. Signed in pencil, lower right. This is a superb impression printed on white wove paper. The margins are full and the condition is fine. This iconic American etching is in the collection of multiple museums including the Whitney, The Metropolitan Museum of Art, The Philadelphia Museum of Art, the National Gallery of Art and the British Museum, among others. A drawing study for the etching is located in the Whitney Museum of Art.
PRICE ON REQUEST

Evening Wind
EDWARD HOPPER
American, (1882-1967)
Etching, 1921, Levin 77, Zigrosser 9; edition unknown. 6 7/8 x 8 1/4 in. Signed in pencil, lower right. Signed in the lower left margin by the artist "The Evening Wind $ 30." This is a very fine impression printed with plate tone in the foreground. The paper is a fine white wove bearing a partial umbria watermark. The margins are full. The condition is fine apart from very faint toning within an earlier mat opening showing primarily on the right side. This iconic American print represents the best of Hopper as a graphic artist. The preliminary drawing for this print is in the Whitney Museum in New York.
SOLD

Man Shaving
THOMAS HOVENDEN
American, (1840-1895)
Etching, 1886, edition unknown. 20 x 13 5/8 in. Signed and dated in the plate. Signed in pencil lower right. This is a fine, luminous impression showing the etched remarque of a shaving mug below the image at left. The margins are narrow. The condition is good overall apart from slight discoloration along the blank area at top, above the image. (The size given above is the image size. The plate size is about 1-1/2 in. wider.) Hovenden taught for many years at the Pennsylvania Academy of Fine Arts. Robert Henri was one of his many students.
SOLD

Steel
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1957, Newsom pg. 93, edition 50. 11 3/4 x 15 3/4 in. Signed in pencil, lower right. This is a fine impression in fine condition. The margins are full. Huntley lived in New York and studied at the Art Students League. She produced her first lithograph in 1930 and worked closely with George Miller, the printer. In 1948 she purchased a lithographic press and started doing her own printing. This exceptional work is something of a companion piece to "Steam," another industrial print. Huntley's work is discussed at length in Paths to the Press, Printmaking and American Women Artists 1910-1960 (2005) by Elizabeth Seaton et al. (see pages 160-161). This work was done after she moved to Chicago in 1955.
SOLD

Approaching New York
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1933, Newsom pg. 31, edition unknown. 7 7/8 x 12 3/8 in. Signed and dated in pencil "Victoria Hudson." This is a fine impression printed on BFK RIVES watermarked paper. The margins are full and the condition is excellent. Hutson was her last name at this time and she married Ralph Huntley in 1934. During this period in New York she was employed by the WPA program.
SOLD

Dawn Came
VICTORIA HUTSON HUNTLEY
American, (1900-1971)
Lithograph, 1946, Newsome pg. 59, AAA 788, edition 250. 9 1/2 x 12 5/8 in. Signed and dated in pencil. Here we have a fine impression of this dramatic print. The margins are full and the condition is fine apart from a soft ripple in the upper right corner margin area. Huntley's work is discussed at length in Paths to the Press, Printmaking and American Women Artists 1910-1960 (2005) by Elizabeth Seaton et al. (see pages 160-161). "Dawn Came" won the prize for best American lithograph of 1946 in the First Annual Print Club Competition of Associated American Artists.
$600

Texas Nomads
PETER HURD
American, (1904-1984)
Lithograph, 1937, Meigs 41, edition 40. 12 x 16 1/2 in. Initialed in the stone, lower right. Signed, numbered and titled in pencil. This is a superb impression of this large and uncommon print. The margins are full. The condition is fine apart from minor wrinkling along the top margin edge and two small repaired tears at the top edge as well. Hurd studied with N.C. Wyeth and later married the painter's eldest daughter, Henriette. He was also a graduate of the Pennsylvania Academy of Fine Arts. This is a superb example of his work.
ON HOLD

A Mexican Coquette
HELEN HYDE
American, (1868-1919)
Woodcut printed in colors, 1912, Mason 95, edition unknown. 10 1/4 in. in diameter. Signed and dated in the block, left side. Signed and numbered in pencil, lower right. This is a superb impression on thin Japanese paper. The margins are probably full and the condition is fine. This print is illustrated and discussed in A Spectrum of Innovation, Color in American Printmaking 1890-1960 (1990) by David Acton, pages 62-63. It's also illustrated on page 106 of Japonism comes to America (1990) by Julia Meech and Gabriel Weisberg.
SOLD

Superstition Mountain
JOSEPH IMHOFF
American, (1871-1955)
Lithograph, 1942, edition unknown. 11 3/4 x 16 in. Signed and titled in pencil. This is a fine, atmospheric impression of this uncommon print. The margins are full and the condition is very good. There's slight rippling along the upper top margin and slight yellowing on the side margins mostly near the top. Imhoff was born and raised in New York and studied art abroad. He had a chance meeting with Buffalo Bill Cody in Antwerp and this inspired him to pursue Native American subjects and western landscapes. In 1929, he moved to Taos with his wife and there they stayed. Imhoff excelled in lithography as well as painting and drawing.
$1,750

Edgar Allan Poe
HORST JANSSEN
German, (1929-1995)
Etching and aquatint, 1983, Griffelkunst 67, edition unknown. 11 5/8 x 8 1/4 in. Signed and dated in the plate, lower left, and with "Nevermore, Griffelkunst, Langenhorn." Signed in pencil. This is a fine impression with full margins. The condition is excellent. Janssen produced many portraits of Poe, an author he admired and was fascinated by. This work is exemplary.
SOLD

Night Shade (Solanum Dulcamara)
BERTHA JAQUES
American, (1863-1941)
Etching with hand coloring, 1917, edition unknown. 10 x 7 15/16 in. Titled in the plate. Signed and dated in pencil and with the following pencil dedication, "To Helen Hyde, with appreciation." This is a fine impression printed on thin Japanese paper. The margins are full and the condition is very good. (There's a paper imperfection near the top of the image and a subtle thin spot, lower right, inherent to the paper.) Jacques was one of the founding members of the Chicago Society of Etchers and she's best known for her botanical etchings and her cyanotypes. There's a large collection of her work at the Cedar Rapids Museum of Art.
SOLD

Beyond the Gobi
YNEZ JOHNSTON
American, (b. 1920)
Etching and aquatint printed in colors, undated (probably 19, edition 200. 17 3/4 x 11 3/8 in. Signed and titled in pencil. A fine impression in very good condition. Minor trace of stain in the lower left corner, outside of the image. Full margins. The work of this California artist is discussed in A Spectrum of Innovation by David Acton (1990).
$900

Fishing Fun
LAWRENCE A. JONES
African American, (1910-1996)
Woodcut, 1971, edition 25. 11 3/4 x 15 3/4 in. Signed, titled, numbered and dated in pencil. This is a fine impression of this rare print. The paper is a thin Japanese and the margins are full. The condition is fine. (There's a small stain in the lower left corner of the margin and a few traces of wrinkles in the margins only.) Jones was born in Lynchburg, VA and was the oldest of twelve siblings. Due to Jim Crow laws, Jones was not able to attend art school in Virginia and instead went to the Art Institute of Chicago to study. He was supported financially as an upcoming artist by the community and studied in Chicago from 1934-36. There he met Charles White and Eldzier Cortor. Jones was active in creating the first black art center in Chicago called the South Side Community Art Center. in 1949, Jones moved to Georgia to start a new art department at Jackson State University. He remained there working until the 1970s.
SOLD

A Woods Road
JANE BERRY JUDSON
American, (1865-1935)
Woodcut printed in color, circa 1920, edition 100. 6 x 8 in. Signed, numbered and titled in pencil. this is a superb impression with rich colors. The margins appear to be full and the condition is fine. Judson was from New York and studied at Pratt Institute. She studied block printing with Allen Seaby in England. Many of her landscape woodcuts were done in rural New York.
SOLD