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Large Primitive Head in Profile -  WEBER

Large Primitive Head in Profile
American, (1881-1961)
Linocut printed with unique color inking, 1920-21, Rubenstein 33, edition unknown. 7 3/4 x 3 3/8 in. Signed in pencil, lower right. This is a superb, uniquely colored impression printed on thin Japanese paper. The margins appear to be full and there's a number "32" in pencil in the lower left corner. The condition is fine. There are three impressions of this image in the National Gallery; two in brown ink and another is a color variation from the Rosenwald Collection. Weber studied with Arthur W. Dow at the Pratt Institute early on and later in Paris with Matisse. He was impressed with the work of Cezanne. Weber was friendly with William Zorach from their Greenwich Village days and could have been influenced by his printmaking technique. This is an exceptional and rare example of Weber's color woodcut style.

The Bridge and the Storm, Mackinaw Straits -  WEIDENAAR

The Bridge and the Storm, Mackinaw Straits
American, (1915-1985)
Mezzotint, 1957, Buckner p.119, no. 159; edition 100. 16 7/8 x 12 7/8 in. Signed in the plate, lower right. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine apart from exceedingly faint toning within an early mat opening. This engineering marvel is the fourth longest suspension bridge in the world. It connects the upper and lower peninsulas of the state of Michigan. This the artist's finest print and a tour de force of mezzotint. Impressions are located in the National Gallery, the Crystal Bridges Museum of American Art, among many others. (A retrospective was held at the Grand Rapids Art Museum in 2015.)

Rainy Day, New York -  WEST

Rainy Day, New York
American, (1900-1968)
Etching and drypoint, circa 1933, Subsequent to Torrington, edition unknown. 14 7/8 x 8 3/4 in. Signed in pencil and also inscribed "27." The margins are full. the condition is excellent. West did a few New York scenes which are hard to come by. His work was influenced by his friend, Joseph Pennell, and Kennedy Galleries represented his work for many years. This print is included in the collection of the National Gallery in Washington, DC.

Chief Eagle Calf -  WEST

Chief Eagle Calf
American, (1900-1968)
Etching, 1927, Torrington 77 (ii/II), edition 100. 9 x 6 1/2 in. Signed, titled and numbered in pencil. Here we have a fine impression with full margins. The condition is very good other than for a few soft ripples in the image from the printing process. Chief Eagle Calf was a member of the Blackfeet Tribe from Montana. According to Torrington, the edition was really only seventy as many were destroyed.

Wyoming (On Horseback) -  WEST

Wyoming (On Horseback)
American, (1900-1968)
Etching, 1934, subsequent to Torrington, edition probably 100. 9 1/4 x 11 1/2 in. Signed in pencil and inscribed "early trial proof." Signed dated and inscribed in the plate, "Wyoming." This is a superb impression with full margins. The margins are full. This dramatic scene is one of his best images of the American West.

Approaching Storm -  WOOD

Approaching Storm
American, (1891-1942)
Lithograph, 1940, Johnson 16, Cole 19; edition 250. 11 3/4 x 8 7/8 in. Signed in pencil. This is a superb impression with full margins. The paper shows the watermark POYPE and there's a deckle edge on all sides. The condition is fine apart from a very faint trace of an old adhesive along the extreme top edge of the sheet. According to Associated American Artists records, this print was sold out within five months of being issued. (See Johnson, page 124.)

December Afternoon -  WOOD

December Afternoon
American, (1891-1942)
Lithograph, 1941, Johnson 18, Cole 16; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine, rich impression with wide margins. The condition is fine. This charming, beautifully crafted winter scene is a nice example of Wood's work. There's a related drawing for this print at the University of Iowa Museum of Art.

Adoration -  ZORACH

American, (1887-1966)
Linocut, 1921, edition unknown. 11 1/2 x 8 5/8 in. Signed in the block, lower right. Signed in pencil. This is a fine impression printed on thin wove paper. The margins are full and the condition is fine. Mother and child imagery is a favorite of the artist and it's seen predominantly in his sculpture. The best source of information about Zorach's prints can be found in Efram L. Burk's article in Print Quarterly, December 2002, pgs. 353-373. He includes an Appendix which lists the known prints with dates and museum collections. Adoration can be found in the Boston Public Library, the Art Institute of Chicago and also the Boston Museum of Fine Arts in an earlier state.

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William P. Carl Fine Prints

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