Swans
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1915-20, Not listed in Bakker's two catalogues; edition unknown. 7 3/8 x 10 1/4 in. Signed in pencil, lower right. Here we have a fine impression with rich colors. The sheet is trimmed to the borderline as is usually the case, certainly done by the artist. The condition is fine apart from a couple of very subtle printing creases showing at certain angles within in the image. This is a rare print.
$4,500

Bleeding Heart
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 93, intended edition of 100. 7 x 9 7/8 in. Unsigned. This is a fascinating working proof of this exceptional print. The margins are full and the condition is fine. (As usual, there paper is a thick wove paper showing the relief effects of her intense working technique. This is especially notable on the verso.) Pencil notations by the artist are on the margins. One of the annotations is "Sample." Having examined other impressions, this one appears to be the finished print but slight color variations appear in other impressions which is so typical for the artist. Proofs such as this are extremely rare.
$2,400

St. Paul's, New York
JOSEPH PENNELL
American, (1857-1926)
Etching, 1915, Wuerth 678, edition probably 100. 10 7/8 x 8 3/8 in. Signed in the plate, lower right. Signed in pencil. This is a superb, dramatically inked impression. The paper is an antique laid probably from an old ledger book. The condition is very good apart from spots of foxing in the margins and two old, small hinges at the top. St. Paul's Chapel is a chapel building located at 209 Broadway, between Fulton and Vesey Street in lower Manhattan. It was opened in 1766 and it's the oldest surviving church building in Manhattan.
$900

The Woolworth Building
JOSEPH PENNELL
American, (1857-1926)
Etchhing, 1915, Wuerth 675, edition probably 100 proofs. 11 7/8 x 7 3/4 in. Signed and dated in the plate, lower right. Signed in pencil. Here we have a fine, luminous impression with full margins. The condition is generally fine. (There's a trace of an old adhesive along the outer edges of the sheet, verso, on both sides, and a few specks of foxing on the verso.) Designed by Cass Gilbert, the Woolworth Building was the tallest building in the world from 1913 to 1929. It's a major contribution to America's "skyscraper style," gracefully expressing in its neo-Gothicism the soaring verticality of steel-frame construction.
$1,000

Entrance to Henry VII's Chapel (Westminster)
JOSEPH PENNELL
American, (1857-1926)
Etching, 1905, Wuerth 354, edition probably 75 proofs. 11 x 8 3/8 in. Signed in pencil and also titled by the artist below. This is a superb, rich impression printed on antique laid paper. The margins are full and the condition is fine. (There are Pennell's inky finger prints in the margins from the printing process and a narrow old hinge across the top of the sheet.) Construction of the Chapel began in 1503. It's noteworthy for it's pendant fan vault ceiling.
$750

From the Station to the Capitol (Washington, DC)
JOSEPH PENNELL
American, (1857-1926)
Etching with hand coloring, 1919, Wuerth 717, edition probably 50. 11 3/4 x 10 in. Signed in pencil and inscribed in pencil by the artist, "Trial proof, washed on." The margins are substantial and the condition is excellent. This is a fine impression of this uncommon print. Hand colored proofs of Pennell's etchings are very rare. In fact, he did very few etchings of our nation's capitol.
$1,600

The Plough
JOHN PLATT
British, (1886-1967)
Woodcuts(s) printed in colors , 1937, Chapman 33 (experimental proof each image measures about 14 1/2 x 8 1/2 in. Signed in pencil the lower left corner of the third image, "John Platt." This remarkable tryptich is extremely rare. The margins are modest and untrimmed and the condition is excellent throughout. This work is often considered his masterpiece. "John Platt's full name was John Edgar Platt. He was born in Leek, Staffordshire, He received his education at the Royal College of Art, between 1905-10. Before WWII he became one of the leading exponents of the colour woodcut in UK, and he exhibited at the Royal Academy from 1913. He was renowned for his timely appropriation of Japanese printmaking, which was becoming popular in Europe. In this he was stimulated by Frank Morley Fletcher (1866-1949), who had started making colour woodblock prints "in the Japanese manner" as early as 1897. Platt also designed murals and interior decoration, including work for All Saints Church in Leek, Staffordshire. He was a gifted teacher, taking up his first post at Leek College of Art and then the Royal College of Art in 1910. In the 1920s he was the Principal at Leicester School of Art, where he invited Urushibara to teach in 1929, and then at Blackheath School in London. Platt always enjoyed sketching nautical coastal scenes. As an official war artist, during the Second World War, his paintings faithfully recorded British naval activities for the Ministry of War Transport. After 1949, when his wife died, his health deteriorated and he only worked sporadically." (from Saru Gallery website.)
$5,800

Owl Sitting on a Rock
BERNARD RICHTERS
Dutch, (1888-1966)
Lithograph, undated, not in Koopmans, edition 50. 9 1/4 x 4 in. Signed and numbered in pencil. Here we have a fine impression printed on a slick, thin white wove paper. The margins appear to be full. Fine condition. Richters is one of the more intriguing artists to emerge from the Dutch art world between the two world wars. He spent time in Germany and Paris with a group of Dutch artists including Rädecker, Bieling and Bendien who together formed an art colony. After returning to Rotterdam, his home, he specialized in sculpture and was recognized by the young architects whom we now associate with the Amsterdam school. He was a solitary figure who seldom attended exhibitions and avoided publicity. His work is unique and outstanding, also rare. Ex-collection: Frans Leidelmeijer.
$900

Eagle on a Mountain Top
BERNARD RICHTERS
Dutch, (1888-1966)
Lithograph on a light tan paper, undated (not in Koopmans), edition 50. 14 x 9 3/4 in. Signed and numbered in pencil. This is a fine impression in fine condition. The margins are full. Richters is one of the more intriguing artists to emerge from the Dutch art world between the two world wars. He spent time in Germany and Paris with a group of Dutch artists including Rädecker, Bieling and Bendien who together formed an art colony. After returning to Rotterdam, his home, he specialized in sculpture and was recognized by the young architects whom we now associate with the Amsterdam school. He was a solitary figure who seldom attended exhibitions and avoided publicity. His work is unique and outstanding, also rare. Ex-collection: Frans Leidelmeijer.
$1,200

Holm Oaks (Chênes de Roche)
THEODORE ROUSSEAU
French, (1812-1867)
Etching, 1861, Melot 4 (iii/III), Delteil 4; edition unknown. 5 1/4 x 8 3/8 in. Signed and dated in the lower right with the printed letters. This is a fine impression printed on chine applique. The margins are good and the condition is fine apart from a few subtle spots of foxing not in the image. This is the only published etching by Rousseau and it was published in the Gazette des Beaux-Arts in 1861 and printed by Delâtre. This etching relates to a painting and early states of this etching are exceedingly rare.
$1,500

White Lilies
MABEL ROYDS
British, (1874-1941)
Woodcut printed in colors, undated (circa 1920-30), Barton 49, edition unknown but perhaps around fifty. 8 1/4 x 9 1/4 in. Signed and titled in pencil. This is a superb impression of this uncommon print. This impression is rich with embossing akin to the woodcuts of Margaret Patterson. The margins are full but somewhat narrow on three sides. The condition is very good apart from three small printing wrinkles in the margins not affecting the image. This is an exemplary work by the artist.
$1,850

Dandelions
MABEL ROYDS
British, (1874-1941)
Woodcut printed in colors, undated (circa 1925), Barton 31, edition perhaps 50. 7 3/8 x 6 1/4 in. Signed in pencil and with the annotation along the top margin, "S.A.P." Here we have a fine vibrant impression with fresh colors. The margins are modest and there are areas of printing ink along the two sides and the bottom, away from the image. "Dandelions" is one of her finest prints and her work, in general, is getting harder to find.
$1,850

Sunday Morning (Le dimance matin)
JAMES TISSOT
French, (1836-1902)
Etching and drypoint, 1883, Wentworth 72, edition unknown. 15 3/4 x 7 1/2 in. Signed and dated in the plate, lower right. Signed with Tissot's red ink stamp (Lugt 1545) also in the lower right corner. This is a superb impression with apparently the full margins. The condition is fine. (There's a subtle printing crease in the lower margin.) This print is supposedly done after a pastel of the same title exhibited at the Palais de l'Industrie in 1883. It's current whereabouts is unknown. Provenance: Associated American Artists, New York, with their label and the invoice for this print.
$3,800

Le Banc de Jardin (The Garden Bench)
JAMES TISSOT
French, (1836-1902)
Mezzotint, 1883, Wentworth 75 (i/III), edition at least 500 in the three states). 16 1/2 x 22 1/8 in. Signed in the plate, lower left. This is a superb, luminous impression printed on a chine applique. The margins are full and the condition is fine. Tissot mastered the difficult art of mezzotint. This medium enjoyed renewed interest in the 1880s and Seymour Haden, among others, took it up with enthusiasm. Frederick Goulding may have brought this medium to the attention of Tissot.
$3,800

Woman Arranging her Hair (Jeune Fille se Coiffant)
MAURICE DE VLAMINCK
French, (1876-1958)
Woodcut, 1906, Walterskirchen 3, edition 100. 12 3/4 x 8 7/8 in. Signed and numbered in blue pencil. This is a fine impression printed on thin Japan paper with full margins. The condition is fine. There is only one early impression known which is now in the Kunstmuseum, Berne. This edition of 100 was printed in 1957 by Erkerpresse, St-Gall and published by Bodensee-Verlag, Amriswil, with the blindstamp in the lower left corner. This important, early work is exemplary of Vlaminck's woodcuts during his Fauvist period. Sold with a beautiful gold frame.
$4,800

All Wages are Hereby Reduced
LYND WARD
American, (1905-1985)
Wood engraving, 1937, edition unknown. 5 1/8 x 3 1/2 in. Signed and dated in pencil, lower left. This is a superb impression printed on thin wove paper. The margins are wide if not full. The condition is excellent. This potent image was published in "Vertigo," Ward's best known novel without words published in 1937. Ward was a purist and he discarded blocks with even minor imperfections. The blocks for "Vertigo" are part of the special collections at Rutgers University.
$650

The Peak
LEVON WEST
American, (1900-1968)
Etching and drypoint, 1928, Torrington 102 (i/V), edition 100. 9 1/8 x 11 in. Signed, titled and numbered in pencil. This impression is inscribed by the artist in the lower margin, "choice impression, L.W." The margins are full and the condition is fine apart from soft rippling along the top edge of the sheet outside of the image. An etcher, West is best known for his depictions of the rugged outdoor life in the far west during the late 1920's. His subjects included pack horses, dog teams, Native Americans, hunting and fishing. As a photographer, West took the pen name Ivan Dmitri. He was a pioneer in color photography, established one of the first photography exhibits at New York's Metropolitan Museum of Art and founded Photography in the Fine Arts. He studied at the University Of Minnesota and at the Art Students League with Joseph Pennell.
$650

Mountain Climbers
LEVON WEST
American, (1900-1968)
Etching and drypoint, 1928, Torrington 110 (v/VI), edition 100. 12 1/8 x 9 1/8 in. Signed in the plate along the bottom edge. Signed and numbered in pencil. Here we have a fine, luminous impression with full margins. The condition is very good apart for faint light toning within an earlier mat opening. Depicted here is the British Columbia Mountaineering Club. The artist accompanied them on a climb to the peak of Mt. Schaeffer in the Canadian Rockies.
$650

The Traghetto, No. 2
JAMES A. MCNEILL WHISTLER
American, (1834-1903)
Etching and drypoint, 1880, Glasgow 233 (viii/IX), Kennedy 191 (v/VI); 60 known impressions according to Glasgow. 7 7/8 x 9 1/2 in. Signed in the plate with the butterfly. Signed in pencil on the tab with "imp.". This is a superb impression printed in dark brown ink. The margins are trimmed to just outside of the plate and the paper bears a partial Strasbourg Lily watermark. The condition is excellent. This stellar work is from the First Venice Set published by the Fine Art Society, London, in 1880. (On the verso there's a small pencil notation: "SN 1449 uu".) Provenance: Sotheby's, New York, May 3-4, 2007, Lot 45; Paul McCarron, New York and "property of a Boston gentleman."
PRICE ON REQUEST

February
GRANT WOOD
American, (1891-1942)
Lithograph, 1940, Johnson 15, Cole 17; edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a superb impression with full margins. The condition is excellent. (This print came to us in the original AAA mat and their original hinges are still at the top corners of the sheet. We also have the original AAA label.) This is certainly one of Wood's finest prints. It was printed by George C. Miller in New York.
$11,000