The Noon Hour
PEGGY BACON
American, (1895-1987)
Etching, 1931, Flint 101, edition unknown. 5 x 7 in. Signed and titled in pencil. This is a fine impression with full margins. The condition is excellent. The location of this charming print is East 15th Street near Irving Place and Third Avenue in New York.
SOLD

Teasing the Cat
PEGGY BACON
American, (1895-1987)
Drypoint, 1919, Flint 43, edition unknown. 6 x 5 in. Signed and titled in pencil. This is a rich impression printed on a sturdy cream Japanese paper. The margins are full and the condition is fine. This is also called "The Teasing Attentions of Eleven Young Poles." This image served as an illustration for "Catnip and Catnap" from the True Philosopher and other Cat Tales published in Boston by Four Seas Company, 1919.
SOLD

Heavy Traffic
PEGGY BACON
American, (1895-1987)
Drypoint, circa 1941, Flint 141 7 x 5 in. Signed and titled in pencil. This is a superb impression printed on white wove paper with full margins. The condition is excellent. The location depicted here is Fourth Avenue at 14th Street in New York.
SOLD

The Promenade Deck
PEGGY BACON
American, (1895-1987)
Drypoint, 1920, Flint 47, edition about 500. 6 x 8 3/8 in. Signed and titled in pencil. This is a superb impression rich with burr. The margins are full. The condition is fine apart from a small fold mark in the lower right corner of the sheet and a minor wrinkle in the the extreme bottom edge of the sheet, center. This print was published as part of the New Republic Portfolio, Six American Etchings in 1924. Depicted on board the S.S. New Amsterdam are Peggy Bacon and Alexander Brook; second and third from the lower right corner.
SOLD

The Hypochondriacs
PEGGY BACON
American, (1895-1987)
Drypoint, 1952, Flint 176, edition unknown. 6 x 8 in. Signed, titled and dated in pencil. Also, inscribed," Doctor's Office, Wellfleet." This is a fine impression of this uncommon print. The margins are full and the condition is fine. Bacon did about thirty prints with Wellfleet, MA as subject.
$950

Dance at the League
PEGGY BACON
American, (1895-1987)
Drypoint, 1919, Flint 25, edition unknown. 7 x 10 in. Signed and titled in pencil. This is a superb, rich impression of this stellar print. The margins are full and the paper is a sturdy off white wove. The condition is very good apart from smudges in the right margin (from printing, most likely) and ink smudges on the verso. The verso also bears the ink stamp of the Downtown Gallery, NY (1935).
SOLD

The Untilled Field
PEGGY BACON
American, (1895-1987)
Drypoint, 1936, Flint 132, edition 250. 5 7/8 x 7 1/2 in. Signed and titled in pencil. This is a fine impression with full margins. There's some very subtle toning within an earlier mat opening. This charming print was published by Associated American Artists.
SOLD

Country Dressmaking
PEGGY BACON
American, (1895-1987)
Drypoint, 1925, Flint 55, edition unknown. 7 1/4 x 5 in. Signed in the plate, lower left. Signed, dated and titled in pencil. This is a superb impression with full margins. The condition is excellent. Note the cat in the lower right corner.
SOLD

All Together
PEGGY BACON
American, (1895-1987)
Drypoint, 1951, Flint 159, edition unknown. 8 7/8 x 12 in. Signed and titled in pencil. This is a superb early impression with working proof annotations by the artist in pencil on all four margins. The impression is inscribed "1st state. 1 print." The margins are slightly trimmed affecting the left and top edges of the writing. The condition is otherwise fine. This is a rare print to begin with and her working proofs rarely come on to the market.
SOLD

Post Haste
PEGGY BACON
American, (1895-1987)
Drypoint, circa 1935, Flint 125, edition unknown. 55/8 x 12 in. Signed and titled in pencil. This is a superb impression printed on white wove paper. The margins are full and the condition is excellent. The scene is a post office with James Farley, Postmaster General, at the far right. Several other notable politicians of the time are present. Farley became a target of criticism as the result of cancellation of airmail contracts with commercial airlines. He also had the habit of presenting specimen sheets of new stamps to high-ranking democrats.
$2,500

Aesthetic Pleasure
PEGGY BACON
American, (1895-1987)
Drypoint, 1936, Flint 126, edition 174. 6 x 8 1/2 in. Signed, dated and titled in pencil. This is a superb impression with full margins. The condition is excellent. This outstanding print is found in the Whitney Museum, the Brooklyn Museum, the Achenbach Foundation for the Graphic Arts, the McNay Art Museum and others.
SOLD

The Invasion of Art
PEGGY BACON
American, (1895-1987)
Drypoint, 1943, Flint 147, edition unknown. 9 3/8 x 13 7/8 in. Signed and titled in pencil. Inscribed, "For Josephine with morbid affection from Peg." This is a superb impression of this large, uncommon print. The margins are full. The condition is fine apart from a paper tape hinge on the verso at the top, and two tiny white tape hinges at the corners also on the back. The paper bears a WHATMAN watermark. This entertaining work with an equally satirical dedication reflects the personality of the artist. There's a drawing of this same location (Kennebunkport, ME) in the Princeton University Art Museum. It's listed as the same year as the print.
$2,200

A Few Ideas
PEGGY BACON
American, (1895-1987)
Drypoint, 1927, Flint 71, edition unknown. 7 7/8 x 9 7/8 in. Signed and dated in the plate, lower right. Signed, dated and titled in pencil. This is a fine, rich impression of this uncommon and entertaining print. The margins are full and the condition is excellent. Left to right, around the table: Yasuo Kuniyoshi, Mrs. George Biddle, John Carroll, Louise Hellstrom, George Biddle and and Mrs. Kuniyoshi. Left to right, across the back: Henry Billings, Alexander Brook, Pat Riley, Peggy Bacon, Inez Carroll and Mrs. Riley. The scene is George Biddle's livingroom at their home in Croton-on-Hudson. This outstanding print is in the collection of: The Philadelphia Museum of Art, The Amon Carter Museum of American Art, the Brooklyn Museum and the National Gallery among others. Provenance: Hirschl & Adler, New York.
SOLD

The Stronghold
ALBERT BARKER
American, (1874-1947)
Lithograph printed on gray paper, 1933, Barker 127, edition 55. 10 1/4 x 13 1/4 in. Signed and numbered in pencil. This is a superb impression in perfect condition. The margins are full. This exceptional print is illustrated on page 65 of Clinton Adams' book, "American Lithographers 1900-1960, the Artists and their Printers," (1983), University of New Mexico Press. Barker was friends with Bolton Brown and they often worked together at the press. The Stronghold is generally considered his finest print.
$1,400

Child Reaching
WILL BARNET
American, (1911-2012)
Woodcut, 1940, Cole 82, Szoke 83; edition 25 (60) 7 1/8 x 11 1/4 in. Signed, titled and numbered in pencil. This is a fine dark impression printed on thin japanese paper. The margins are full. The condition is fine other than for slight handling marks on the left and right edges of the paper. This charming work was printed and published by the artist. This impression is numbered 59/60. There's no indication in either catalogue raisonné that a second edition was printed. Most likely the artist printed 35 more impressions and continued the numbering as we see here.
$850

Strange Bird
WILL BARNET
American, (1911-2012)
Lithograph printed on red paper, 1947, Cole 93, Szoke 94; edition 300. 10 x 13 1/8 in. Signed and titled in pencil. This is a fine impression with full margins. The red paper is not the least bit faded as is often the case with this print. It was printed by the artist for the Laurel Gallery portfolio # 1 which also contained prints by Joan Miro, Anne Ryan, S.W. Hayter, Walter Pach, Reginald Marsh and George Constant.
SOLD

From Hillside Gardens
GUSTAVE BAUMANN
American, (1881-1971)
Woodcut printed in colors, 1941-46, Chamberlain 162, edition 83. 12 3/4 x 12 5/8 in. Signed, numbered and titled in pencil. This is a fine, vibrant impression of the second of two printings. The margins are wide. The condition is fine apart from a very faint suggestion of toning in the outer margins. The first printing (1941) was generally with a silver leaf background and here in the second printing (1946), the background color is silver ink. The inspiration for this lovely print was a garden at Hillside, Lydia Coonley Ward's home in Wyoming, New York. (Note: This is a Baumann replica frame of exceptional quality. We had it made up for this print.)
$12,500

Dancer
FRED G. BECKER
American, (1913-2004)
Engraving, 1941, edition 20. 7 1/8 x 5 in. Signed, titled and dated in pencil. Here we have a fine, delicate impression with full margins. The condition is excellent. This engaging, surrealist work was done just subsequent to Becker's WPA period which was 1935-1939. He joined the Hayter studio in New York in 1940.
SOLD

Guitar Player
FRED G. BECKER
American, (1913-2004)
Etching, circa 1935-39, from a small edition, about 25. 9 7/8 x 7 7/8 in. Initialed in the plate. Signed and titled in pencil. This is a fine impression printed on sturdy wove paper. The margins appear to be full and untrimmed. This print bears the stamp, "FEDERAL ART PROJECT, NYC, WPA." The condition is generally fine apart from a soft wrinkle in the right margin and very small traces of adhesive at the four corners of the sheet.
$1,400

In the Park, Light
GEORGE BELLOWS
American, (1882-1925)
Lithograph, 1916, Mason 31, edition 59 (?) 16 x 21 1/8 in. Signed in the stone, lower left. Numbered in pencil "60" but not signed in pencil. This is a superb, rich impression printed on a sturdy cream wove paper. The margins are full. The condition is fine apart from minor soiling on the verso. This stellar impression was deaccessioned from the Yale University Art Gallery and bears their stamp verso. (Lugt 2667c). The scene is Central Park in New York City.
SOLD