Modernist Figure
WILLIAM S. SCHWARTZ
American, (1896-1977)
Lithograph, 1928, edition unknown. 21 x 11 in. Signed and dated on the stone. Signed in pencil. This is a fine impression of this large work. The condition is fine and the margins appear to be full and untrimmed. There's a pencil inscription in the lower left corner, "lithograph # 13. Impression # 9." He came to America from Russia and studied at the School of the Art Institute of Chicago and was also was part of the Federal Art Project. Schwartz was popular in his day and exhibited widely, including a major show at Hirschl & Adler in New York in 1984.
$950

Roses
CHARLES SHEELER
American, (1883-1965)
Lithograph, 1924, Bryce 2, intended edition of 35. 11 x 9 1/8 in. Signed and numbered in pencil. This is a superb impression of this very rare lithograph. The partial watermark reads as FRANCE which refers to BFK RIVES, FRANCE. The margins are probably full and untrimmed. The condition is very good apart from faint discoloration showing in the outer margins most likely from an early mat. The intended edition was thirty-five but at the most maybe only twenty impressions were printed. As it states in the catalogue, "According to John Driscoll, the edition of Roses was begun in the morning, work was halted during lunchtime, and upon return from lunch, it was found that someone in the print shop had cleaned the stone, having mistakenly thought that the edition had been completed." The highest known numbered impression is 11/35 but unnumbered impressions do exist. At least eight impressions are in museum collections. This lovely work was printed by George C. Miller in New York. Provenance: Harcus Krakow Gallery, Boston, and Hirschl & Adler Galleries, New York (with their labels).
PRICE ON REQUEST

Woman in a Window, New York
HARRY SHOKLER
American, (1896-1978)
Screenprint, circa 1940, edition probably about 25-50. 9 x 12 in. Signed in pencil, lower right. This is a fine impression printed on tan paper. The condition is very good and the margins appear to be full and untrimmed. Shokler was born in Cincinnati and he eventually moved to New York to study and then teach. He was an early advocate of the screenprint as an artistic medium and he was president of the National Serigraph Society. He was also a WPA artist and taught at the Brooklyn Museum of Art School.
$750

Zinnias
HARRY SHOKLER
American, (1896-1978)
Screenprint, circa 1940, edition unknown. 14 1/2 x 11 1/2 in. Signed in ink in the lower right corner. This is a fine impression in very good condition. There's a faint suggestion of toning within an earlier mat opening and stray printer's ink has been touched in with white gouache on the right margin in one small area. (This was most likely done by the artist). Shokler was president of the National Serigraph Society and was one of the better early screenprint artists.
$700

Brooklyn Heights Esplanade
HARRY SHOKLER
American, (1896-1978)
Screenprint, 1951, edition unknown. 10 x 15 1/2 in. Signed and dated in ink in the image. Signed and titled in pencil. This is a fine impression of this memorable, panoramic view of New York. This is a fine impression with full margins. Fine condition. Shokler was born in Cincinnati and he eventually moved to New York to study and then teach. He was an early advocate of the screenprint as an artistic medium and he was president of the National Serigraph Society. He was also a WPA artist and taught at the Brooklyn Museum of Art School.
SOLD

Coney Island
HARRY SHOKLER
American, (1896-1978)
Screenprint printed in colors, 1942, edition unknown (possibly 100) 12 1/2 x 16 in. Signed in ink in the image, lower left. Tthis is a superb impression in fine condition. (There's a small paper loss in the lower right corner margin.) The margins appear to be full and untrimmed. Shokler became part of Anthony Velonis's silkscreen unit of the Graphic Arts Division of the New York WPA program. He became on the the leading screenprint artists during the 1940s. This memorable work is illustrated and discussed in The American Scene; Prints from Hopper to Pollack (2008) by Stephen Coppel, see pages 174-75.
$3,500

The Street Hawkers
RAYMOND SKOLFIELD
American, (1909-1996)
Lithograph, 1935-36, edition about 25. 9 7/8 x 14 in. Signed on the stone, lower right. Signed, dated and titled in pencil. Here we have a fine impression with what appears to be the full, untrimmed sheet. The condition is very good other than for a slight trace of a mat line from an early mount and some old adhesive on the verso edges on four sides. Skolfield was a Maine artist who studied at the Art Students League with Guy Pene DuBois, among others. He was active in the NY WPA program and this print is included as part of that effort. (This impression does not have the stamp.) Street Hawkers is found at the Smithsonian, The Metropolitan Museum of Art, and the Philadelphia Museum of Art, among others.
SOLD

Nude and Etching Press
JOHN SLOAN
American, (1871- 1951)
Etching, 1931, Morse 254 (ii/II), edition 100. 5 x 3 3/4 in. Signed in pencil. A fine impression with full margins. Faint discoloration, verso.
SOLD

Growing Up in Greenwich Village
JOHN SLOAN
American, (1871- 1951)
Etching, 1916, Morse 180, only state. Edition 100 but only 80 were printed. 6 3/8 x 3 1/4 in. Signed and titled in pencil; annotated "100 proofs." This is a fine, luminous with full margins. The condition is excellent. Ex-collection George A. Martin (Ohio) with his penciled initials verso.
$1,600

A Thirst For Art
JOHN SLOAN
American, (1871- 1951)
Etching, 1939, Morse 306 (iv/IV), edition 200. 4 x 6 in. Signed and dated in the plate. Signed, numbered and titled in pencil below. This is a fine impression with full margins. The condition is also fine. There were 100 impressions in the third state and then 100 in the fourth state. As Morse quotes John Sloan in the catalogue raisonne (page 339), "They don't see the pictures at all, knocking them crooked on the wall with their shoulders."
$2,200

Jewelry Store Window
JOHN SLOAN
American, (1871- 1951)
Etching, 1906, Morse 140 (ii/II), edition 100. 5 5/8 x 3 3/4 in. Signed and dated in the plate, lower left. Signed, titled, numbered "100 proofs," in pencil. Also, signed by the printer, Peter Platt. This is a fine impression on a thin cream Japanese paper. The sheet is full with tack holes showing all around the edge of the margins. Fine condition.
$1,500

Fashions of the Past
JOHN SLOAN
American, (1871- 1951)
Etching, 1926, Morse 224, (vi/VI); edition 100. 8 x 10 in. Signed and dated in the plate, lower left. Signed, numbered and titled in pencil. This impression was printed by Ernest Roth and is so inscribed. Here we have a superb impression with full margins. The condition is fine. According to an inscription on an early proof, the artist wrote the storefront is Lord and Taylor in New York.
$2,800

Hell Hole
JOHN SLOAN
American, (1871- 1951)
Etching and drypoint, 1917, Morse 186 (ii/II), edition 110. 7 7/8 x 9 3/4 in. Signed and dated in the plate. Signed, titled and numbered in pencil. This impression was printed by Ernest Roth and is so inscribed in the bottom margin. This was the back room of Wallace's at Sixth Avenue and West Fourth Street and was a gathering place for artists and writers, among others. Eugene O'Neill is identified as the man in the upper right corner. This print won a gold medal at the Sesqui-Centennial International Exposition, Philadelphia, in 1926.
$2,600

Return from Toil
JOHN SLOAN
American, (1871- 1951)
Etching, 1915, Morse 175 (xi/XI); edition 100. 4 1/4 x 5 7/8 in. Signed and dated in the plate, lower left. Signed, titled and numbered in pencil "100 proofs." This is a fine impression with full margins. The paper is wove with a partial watermark, "British Handmade." The condition is excellent. This image depicts a bevy of boisterous women walking the street of New York after work. The printer here was Ernest Roth and he inscribed his name with "imp." on the bottom left corner margin.
$1,400

Sixth Avenue, Greenwich Village
JOHN SLOAN
American, (1871- 1951)
Etching, 1923, Morse 207 (viii/VIII); edition 100 (75 printed). 5 x 6 7/8 in. Signed and dated in the plate, lower left. Signed, titled and numbered in pencil, "100 proofs." Here we have a fine impression printed on a medium weight wove paper. The margins are full. The condition is fine apart from a faint suggestion of discoloration within an earlier mat opening. This etching has a complex composition with multiple figures chatting and coming and going. It's a bold and endearing statement about life in New York during the 1920s.
$2,500

Young Owls
WUANITA SMITH
American, (1866-1959)
White line woodcut with additional hand coloring and embossing, circa 1925-50, edition unknown. 10 7/8 x 7 1/4 in. Signed and titled in pencil. Here we have a fine impression with full margins. The colors are fresh. The condition is fine apart from a few subtle wrinkles in the lower margin from the printing process. Born in Philadelphia, Smith studied at the Drexel Institute and the Pennsylvania Academy of Fine Arts and later at the Art Students League in New York. She was a founding member of the American Color print Society along with Mary Mullineux. She exhibited in Provincetown in the 1920s and 1930s and maintained a studio in Nantucket during this era. Smith's work is included in Provincetown Printers, A Woodcut Tradition by Janet Flint (1983), page 46.
SOLD

Leaning Chimneys
WILLIAM E. SMITH
African American, (1913-1997)
Linoleum cut, 1939, edition unknown. 9 x 10 7/8 in. Signed, dated and titled in pencil. This is a fine, rich impression of this rare early work. The margins are full and the condition is fine. In the early 1930s, Smith met the founders of the Karamu School in Cleveland and he became actively involved studying painting and printmaking. Originally known as the Playhouse Settlement, Karamu stressed excellence and Smith ultimately taught there until 1940. He showed his work at the Cleveland Artists Exhibitions at the Cleveland Museum of Art. He was one of the Karamu Artists, Incorporated which also included Hughie Lee-Smith and Charles Sallee. After World War II he studied at the Cleveland School of Art and in 1950 he moved to Los Angeles. This is a fine example of his work in linoleum cuts, for which he is best known.
$5,000

On the Crest
YNGVE E. SODERBERG
American, (1896-1971)
Drypoint, circa 1930, edition 85. 8 7/8 x 11 7/8 in. Signed and numbered in pencil. Here we have a fine impression with full margins. The condition is very good other than for old hinges at the top corners and a small repaired tear in the upper left corner margin. Soderberg was best known for his prints, watercolors and paintings pertaining to sailing. He studied at the School of the Art Institute of Chicago and the Art Students League. He did much of his work around Mystic, Ct. and painted every America's Cup race from 1930-1937. During the depression, he worked for the WPA program and did a Post Office mural as well as posters related to shipyards.
$600

Young Model (The Model)
RAPHAEL SOYER
American, (1899-1987)
Lithograph, 1940, Cole 57, edition 250. 12 x 9 5/8 in. Signed on the stone, lower left. Signed and titled in pencil. This is a fine impression with full margins. The condition is excellent other than for the old, original hinges at the top corners. This is a fine example of Soyer as a traditional draughtsman "par excellence" and the model is one of his favorite subjects.
SOLD

Waitresses
RAPHAEL SOYER
American, (1899-1987)
Lithograph, 1954, Cole 71, edition 250. 11 1/2 x 9 3/8 in. Signed on the stone, lower left. Signed in pencil. Here we have a fine impression with wide margins. The condition is also fine. This is a nice example of Soyer's great skills as a draughtsman. Impressions are located at the Boston Museum of Fine Arts and the Crystal Bridges Museum of American Art.
$1,400