Pouring Molten Steel
LEWIS RUBENSTEIN
American, (1908-2003)
Lithograph printed in color, circa 1938, edition 25 plus proofs. 16 x 10 1/4 in. Signed in pencil. This is a fine impression of this rare and remarkable work. The margins are full and the condition is fine. (Two small dark registration marks are found just above and just below the image) Rubenstein studied with Rico Lebrun and he was employed by the New York WPA program. He produced a mural for Harvard, his alma mater, at the Busch-Reisinger Museum, and a mural at the Jewish Center at his hometown, Buffalo, and at the Wareham, MA Post Office. He taught at Vassar from 1939 until 1974. A back and white version of this print is in the National Gallery of Art.
$2,800

Copper Miners
LEWIS RUBENSTEIN
American, (1908-2003)
Lithograph, circa 1938, edition unknown. 14 x 11 3/4 in. Initialed in the plate, lower left. Signed in pencil and inscribed, "artist's proof." This is a fine impression of this rare print. The margins are full and the condition is fine. Rubenstein studied with Rico Lebrun and he was employed by the New York WPA program. He produced a mural for Harvard, his alma mater, at the Busch-Reisinger Museum, and a mural at the Jewish Center at his hometown, Buffalo, and at the Wareham, MA Post Office. He taught at Vassar from 1939 until 1974. An impression of this print is in the National Gallery Of Art.
$2,500

Conference
DOROTHY RUTKA
American, (1907-1985)
Etching and aquatint, about 1936, edition probably about 25. 9 x 7 1/4 in. Signed and titled in pencil. Here we have a fine, dark impression printed on wove paper. The margins are full and the condition is fine. This impression bears the stamp "Federal Art Project No.1" Rutka was from Michigan and studied at the Cleveland School of Art. She graduated in 1929 and joined the Cleveland WPA in 1936. An impression of this print is located in the Metropolitan Museum of Art and the Baltimore Museum of Art.
$800

The Post Setters
CHARLES SALLEE
American, (1913-2006)
Soft ground etching, circa 1937, edition unknown, perhaps about 25. 5 3/8 x 6 3/4 in. Signed and titled in pencil. This is a fine, dark impression of this rare Cleveland WPA print. The margins are wide and the condition is very good. (There's a skillfully repaired split in the top margin, well away from the image and faint traces of adhesive in the outer margins.) Sallee graduated from the Cleveland Institute of Art in 1936 and from Case Western in 1938 with a B.S.E. degree. His work is discussed in the Reba and Dave Williams catalog, Alone in a Crowd, Prints of the 1930s-40s by African-American Artists (1993). This impression does not have the WPA stamp which occurs with many artists working in the various programs. Case Western has an impression of this print in their WPA collection.
SOLD

Speakeasy I
LOUIS SCHANKER
American, (1903-1982)
Etching, 1924, Brooklyn Museum catalogue 1, edition unknown. 5 3/4 x 4 5/8 in. Signed in the plate, lower left. Signed in pencil. This is a fine impression of this exceptionally rare, early print. The margins are full and the condition is fine. This is the first of two versions of this etching. "Speakeasy I" is also the first print listed in the Una Johnson/Jo Miller catalogue published by the Brooklyn Museum in 1974.
SOLD

Studio Still Life
FLORA SCHOFIELD
American, (1873-1960)
Woodcut, 1933, edition unknown. 12 3/4 x 9 in. Signed in pencil. A fine impression with wide margins. Very good condition. Schofield studied in Provincetown with William Zorach and later studied in Paris with Leger, Lhote and Severini. Much of her time was spent between Chicago and Provincetown. Her prints are rare and she was included in Janet Flint's Provincetown Printers; A Woodcut Tradition (1983). We have an original exhibition label as well which provides the date.
$1,600

Heart of Finance (New York Stock Exchange)
ANTON SCHUTZ
American, (1894-1977)
Etching, 1925, edition unknown. 13 5/8 x 10 1/8 in. Signed in pencil, lower right. Here we have a fine, rich impression printed on cream wove paper. The margins are full. The condition is fine apart from old paper hinges, verso, at the top corners. He was the founder of the New York Graphic Society in addition to being a gifted etcher of city scenes both here and in Europe. His work follows in the tradition of Joseph Pennell.
SOLD

The Four Bridges
ANTON SCHUTZ
American, (1894-1977)
Etching, 1929, Harbor Gallery 19, edition unknown. 10 x 13 3/4 in. Signed in pencil. This is a fine impression printed on cream wove paper. The margins are apparently full and the condition is fine. This exemplary view of New York from Brooklyn shows the Brooklyn Bridge, followed by the Manhattan, Williamsburg and Queensboro Bridges.
SOLD

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

Industrial Series #1
CHARLES SHEELER
American, (1883-1965)
Lithograph, 1928, Bryce/Troyen 5, edition about 25. 8 1/8 x 11 in. Signed, dated and titled in pencil. This is a superb impression of this extremely scarce print. The margins are full. The condition is fine. This iconic American print is cited in eleven museum collections.
SOLD

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.
$950

Theater # 1
CLARA SKINNER
American, (1902-1976)
Wood engraving, 1933-34, edition about 25. 10 x 14 in. Signed and titled in pencil. Here we have a fine impression printed on a thin, cream Japanese paper. The margins are full. The condition is fine apart from four spots of an old adhesive showing in the four corners of the margins. Born in Chicago, Skinner studied at the Art Students League and was active with the WPA program. This work is included in The Federal Art Project: American Prints from the 1930s, published by the University of Michigan Museum of Art (1985),pg 177. This print is also located at the National Gallery and the Metropolitan Museum of Art, among others. The original WPA label accompanies the print.
SOLD

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