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Missouri Farmyard THOMAS HART BENTON American, (1889-1975) Lithograph, 1936, Fath 10, edition 250. 10 1/4 x 16 in. Signed on the stone, lower right. Signed in pencil just below. This is a fine, rich impression with full margins. The condition is excellent. This outstanding print relates to a section of the Missouri State Capitol Mural Series in Jefferson City. SOLD |
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Down the River THOMAS HART BENTON American, (1889-1975) Lithograph, 1938, Fath 33, edition 250. 12 1/2 x 9 15/16 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression with full margins. The condition is fine and the print came with the original AAA mat and label. The scene depicted is somewhere along the White River in the Ozarks. This print is also called the Young Fisherman. SOLD |
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Sunday Morning THOMAS HART BENTON American, (1889-1975) Lithograph, 1939, Fath 26, edition 250. 9 5/8 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil. Here we have a superb impression printed on RIVES watermarked paper. The margins are untrimmed apart from a minor paper loss(?)to the lower left edge of the sheet. (This is quite possibly the full sheet as printed.) This beautiful print was based on a drawing done in 1938. $3,600 |
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The Corral THOMAS HART BENTON American, (1889-1975) Lithograph, 1948, Fath 71, edition 250. 9 3/4 x 13 7/8 in. Initialed on the stone, lower right. Signed in pencil. This is a fine impression with wide margins. The condition is fine apart from the two original AAA hinges at the top corners of the sheet, recto. There's an oil (whereabouts unknown) and Benton also produced a few drawings relating to this outstanding subject in 1939. The scene is western Nebraska. $4,200 |
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Unemployed Marchers LEON BIBEL American, (1913-1995) Lithograph printed in black and gray, 1938-1988, edition 25. 11 1/4 x 13 1/4 in. Signed and titled in pencil. This fine impression has full margins. The condition is excellent. This WPA print was originally drawn on stone in 1938 and early impressions are not known. The artist published the work in 1988 in an edition of 25. Bibel was working in New York when this great image was first created. $1,500 |
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The Seed JOHN BIGGERS African American, (1924-2001) Lithograph, 1983, edition 100. 17 1/8 x 23 in. Signed, dated, titled and numbered in pencil. This is a fine impression printed on ARCHES watermarked paper. The margins are full with a deckle edge on all four sides. The condition is fine apart from a very small stain in the upper margin, center, and an old adhesive along the top edge of the sheet, verso. Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983, the year of this print. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and the influence of his many trips to Africa is clearly evident.
SOLD |
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Metamorphosis II JOHN BIGGERS African American, (1924-2001) Lithograph, 1992, edition 50. 30 x 21 1/2 in. Signed, dated, titled and numbered in pencil.
The print bears the blindstamp of the Lynton Kistler workshop, the pioneering California lithograper who printed for many of the finest artists working during the mid 20th century. (Kistler, himself, was active from the 1920s to about 1976.) Biggers studied at the Hampton Institute with Elizabeth Catlett and Charles White. He also got to know Hale Woodruff around this time. After serving in the Navy during WWII, he studied at Penn State and with a masters and PhD in hand, he moved to Houston where he served as founder and chairman of Texas State (now Texas Southern) University's art department. He was there until 1983. Biggers was one of the first African American artists to visit Africa and he did so with a UNESCO fellowship to study West African cultural traditions. His worked was heavily influenced by his visits to Africa as he returned several times. In addition to his prints and drawings, Biggers was a gifted painter and his murals are found primarily in the Houston area. In fact, the Houston Museum of Fine Arts hosted a major retrospective of the artist's work in 1995 which traveled to several cities. This large, dynamic lithograph is beautifully drawn and is a compelling and symbolic statement. $5,500 |
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Manhattan Excavation MUIRHEAD BONE Scottish, (1876-1953) Drypoint, 1923-28, Dodgson 390 (xvii/XIX), edition of 40 in this state, total of 151 impressions. 12 3/8 x 10 1/8 in. Signed in the plate, lower right. Signed in pencil. Here we have a superb, luminous impression printed on cream laid paper. The margins are full and the condition is fine. This tour de force of the drypoint medium is a great moment in Bone's illustrious career. This location is Madison and 45th Street in New York and depicts the early construction of the Hotel Roosevelt. The hotel opened for business in 1924. $5,800 |
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Cutting Out a Bull, No. 1 EDWARD BOREIN American, (1872-1945) Etching, undated, Galvin 116, edition unknown. 6 x 10 3/4 in. Signed in pencil, lower right. This is a fine impression printed with tone on cream wove paper. The margins are full and the condition is excellent. Borein rarely dated his prints and did not keep formal editions. $2,800 |
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Emigrant Train EDWARD BOREIN American, (1872-1945) Etching, undated, Galvin 148, edition unknown. 14 x 6 in. Signed in pencil, lower right. This is fine, luminous impression with full margins. The paper is a cream wove and the condition is excellent. This is an outstanding example of his work. Borein produced over three hundred etchings and his work is consistently good. $2,800 |
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The Crenellated Hill LOUISE BOYER American, (1890-1976) Drypoint, 1940, edition unknown. 9 1/8 x 10 1/2 in. Signed in pencil. This is a fine impression with full margins. The condition is also fine other than for two small old paper hinges at the top. This is from her Pittsburgh Series (# 9) and was published by the Society of Print Connoisseurs and bears their blindstamp in the lower left margin. In the early 1930s, Boyer began experimenting with anodized aluminnum plates which allowed her to bypass the grounding and acid biting procedures of copper or zinc plates. $750 |
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Cactus Flowers CONRAD BUFF American, (1886-1975) Lithograph printed in colors, circa 1938-1940, edition unknown. 10 x 7 7/8 in. Signed and titled in pencil. This is a superb impression with vibrant colors. The margins are full and the condition is fine other than for a very slight trace of an old mat line around the image. This print relates to paintings of the same subject. $450 |
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Father and Son CALVIN BURNETT African American, (1921-2007) Screenprint, 1956, edition 15. 28 1/4 x 18 3/8 in. Signed, dated, numbered and titled in pencil.
This is a fine impression of this large and impressive print. The margins are full (but modest in size) and the condition is fine other than for a small stain at the top edge of the margin and old hinges, verso. Burnett taught at the Massachusetts College of Art for thirty-three years. He received his MFA from Boston University in 1960. He specialized in the screenprint medium and was also a painter. $2,200 |
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Piñon Trees and Spanish Peaks, Colorado GEORGE ELBERT BURR American, (1859-1939) Etching printed in colors, 1906-07, Seeber 42, edition perhaps 50. 6 1/8 x 9 3/8 in. Signed in pencil, lower left. This is a superb impression of this uncommon early color etching. The margins are probably full and the condition is fine. (There's stray printer's ink on the verso which is faintly showing on the right margin.) This was Burr's "first experiment in color" after moving to Denver in 1906. He was forty-seven. He was also a gifted watercolor painter and he viewed color etching as an ideal means to transition from one medium to the other. This rare print is illustrated on the cover of the Seeber catalogue raisonné.
$2,800 |
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Old Oaks in Winter GEORGE ELBERT BURR American, (1859-1939) Drypoint, 1920, Seeber 81, edition unknown. 9 7/8 x 6 7/8 in. Initialed in the plate, lower left. Signed and titled in pencil. This is a superb impression with full margins. The condition is excellent. An outstanding winter scene by Burr, this image captures the atmosphere of cold and snow. There's a later version where the plate was cut down by an inch on the bottom. $1,100 |
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Cloud Shadows, Apache Trail, Arizona GEORGE ELBERT BURR American, (1859-1939) Drypoint and aquatint, undated (circa 1927-28), Seeber 268, edition unknown. 7 7/8 x 9 7/8 in. Initialed in the plate, lower right. Signed and titled in pencil. Here we have a fine impression with full margins. The condition is also fine. The view shows the Salt River which is found in Gila and Maricopa counties. $1,400 |
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Mexican Girl MARGARET BURROUGHS African American, (1915-2010) Linoleum cut, 1998, edition unknown. 21 1/2 x 13 3/4 in. Initialed in the block, lower left. Signed, titled and dated in ink. This is a superb impression printed on white wove paper. The margins are probably full and the condition is fine. (There's a small bent corner, lower right, and a smudge on the bottom center margin.) This large, dynamic print relates to an earlier and smaller version of the same subject. (An impression from the Melvin Holmes Collection of African American Art measures 13 3/4 x 8 3/4 in. It's dated 1953 and the edition was only five impressions.) Dr. Margaret T. Burroughs was a visual artist, writer, educator and founder of the DuSable Museum of African American History in Hyde Park (Chicago). Burroughs spent a brief time in Mexico where she studied printmaking under the direction of Leopoldo Méndez at the Taller de Gráfica Popular. As a leader of the Black Arts Movement in Chicago, her works focused on community and the social empowerment of art. $3,500 |
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Birthday Party MARGARET BURROUGHS African American, (1915-2010) Linoleum cut, 2002, edition 10 plus later proofs. 16 1/8 x 19 3/8 in. Signed, dated and titled in ink. This is a good impression printed on a sturdy wove paper. The margins are narrow along the top and bottom but this appears to be the full sheet as printed. The condition is fine. This large and charming image was created in 1960 and printed in an edition of only ten impressions. This is a later printing from 2002. Margaret Burroughs was a pioneering African American artist, writer and activist. She co-founded the Ebony Museum in Chicago which is now the DuSable Museum of African American History. An impression of this print is in the Art Institute of Chicago. Burroughs also produced a 1986 etching of the same subject. SOLD |
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Stewart's PAUL CADMUS American, (1904-1999) Etching, 1934, Davenport 35, Johnson & Miller 78; edition 50. 8 x 11 3/4 in. Signed in pencil. This is a superb impression printed on white wove paper. The margins are full and the condition is fine. (There's a tiny speck to the left of the platemark which does not show when matted.)
This great, early work relates closely to a painting which is now in the collection of the Museum of Modern Art in New York. That work has the title "Greenwich Village Cafeteria." $8,500 |
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Transubstantiation LETTERIO CALAPAI American, (1902-1993) Etching and aquatint, 1951, edition 50. 15 7/8 x 9 7/8 in. Signed, dated, titled and numbered in pencil. This is a fine, rich impression with probably the full margins. The condition is excellent. Calapai was born in Boston and studied there. He moved to New York in 1928 and later was active in the WPA program. As an outstanding student of Hayer at Atelier 17, he matured as an artist and then moved to Buffalo to teach printmaking and then again, moved to New York in 1960 and opened a printmaking workshop in Greenwich Village. His teaching continued throughout his career and he later settled in Chicago to teach at the University of Illinois. $1,500 |
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