Blast Furnace #1
HARRY STERNBERG
American, (1904-2001)
Etching and aquatint, 1937, Moore 147, AAA 828; edition 250. 11 3/4 x 8 3/8 in. Signed in pencil. This is a superb impression with full margins. The condition is fine. Sternberg produced another such image in lithography which is in the opposite direction of this one (see Blast Furnace 2.) This print was not published by AAA until 1946. It was included in American Prize Prints of the 20th Century by Albert Reese (see page 194).
$1,400

The Bridge, Sunday
PRENTISS TAYLOR
American, (1907-1991)
Lithograph, 1952, Rose/Quiroz 82, edition 25. 12 x 16 3/4 in. Initialed and dated in the plate, lower left. Signed, dated, numbered and titled in pencil. This is a fine impression with full margins. The condition is very good apart from two old paper tape hinges at the top and a small stain in the lower margin well below the image. This is one of his best known prints and is located in the Boston Public Library, the Metropolitan Museum of Art, the Library of Congress, the National Gallery of Art and the Smithsonian American Art Museum, among others.
$1,600

Along the Ohio
FLOYD LESLIE THOMPSON
American, (1889-1965)
Etching and aquatint printed in colors, circa 1940, edition unknown but certainly less than 100. 11 7/8 x 14 7/8 in. Signed and titled in pencil. "Imp." follows his name which means the artist printed the work himself. Thompson was a Chicago artist who specialized is color intaglio printmaking and his subjects are generally landscapes. He is quite skilled but not that well known.
SOLD

Abraham
DOX THRASH
African American, (1893-1965)
Drypoint with etching, circa 1937, Ittmann 15, edition unknown. 5 x 3 15/16 in. Signed and titled in pencil. This is a superb, rich impression of this very rare print. The margins are full and the condition is fine. (There's a faint residue of an old adhesive along the top edge of the sheet, verso.) This early, Rembrantesque portrait includes the label of the Pennsylvania WPA program. This is the first version of Abraham and the second version, (Ittmann 72), was a carborundum mezzotint and etching. Thrash joined the WPA Federal Art Project in 1937 and he began working at the Fine Print Workshop of Philadelphia. In 2001, the artist was honored with a major retrospective at the Philadelphia Museum of Art.
SOLD

The Workers
CHARLES TURZAK
American, (1899-1986)
Woodcut, circa 1930-35, edition 50. 6 1/2 x 4 3/8 in. Signed in the block, lower right. Signed and titled in pencil. This is a fine, rich impression printed on wove paper. The condition is fine apart from just an extremely faint suggestion of light toning within an early mat opening. The margins are probably untrimmed but they are relatively modest measuring 1/2-1/4 in. Turzak did two woodcuts by this title which are similar.
SOLD

Picket Line
HERMAN VOLZ
American, (1904-1990)
Lithograph, 1938, edition 40. 10 1/2 x 13 3/4 in. Signed on the stone, lower right. Signed in pencil and inscribed "artist proof." This is a fine impression with full margins. The condition is fine apart from a tiny pinhole near the "proof" inscription. Volz was born in Zurich and came to the US in 1933. He was living in the San Francisco Bay area and became a citizen in 1938. This stellar print was done along the San Francisco docks and impressions are located at the Crystal Bridges Museum of Art and the National Gallery of Art.
$1,000

Brothel Scene
LYND WARD
American, (1905-1985)
Wood engraving, 1929, edition unknown. 5 1/2 x 3 3/4 in. Signed in pencil. This is a fine impression printed on thin Japanese paper. The margins are full and the condition is very good other than for two soft creases in the lower right corner; one touching the image. This engaging print is an illustration for Madman's Drum, one of Ward's novels without words, this one published in 1930.
SOLD

Beach Scene (Coney Island)
HYMAN WARSAGER
American, (b. 1909)
Screenprint, circa 1940, edition probably about 25-50. 14 x 20 in. Signed and titled in pencil. This is a very good impression in good condition. The margins are full. There's a suggestion of toning within an earlier mat opening, a few small stains in the upper right margin corner well away from the image and a couple of printing wrinkles which are not really that noticeable. Warsager was an active member of the New York City WPA Graphics Arts division. He worked closely with Anthony Velonis in developing the silkscreen process as a fine arts medium. This is a large print and a great subject for the period. An impression is in the Art Institute of Chicago collection with the title, Beach Scene at Seagate.
$1,400

The Big Tree
ERNEST W. WATSON
American, (1884-1969)
Linoleum cut printed in colors, undated (probably done in the 1930s), edition 25. 7 x 10 in. Signed, titled and numbered in pencil. This is a fine impression printed on fibrous Japanese paper. The margins are full. The condition is good apart from faint toning in the outer margins from an old mat and a tin spot at the top edge center from an early hinge.
SOLD

Large Primitive Head in Profile
MAX WEBER
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.
SOLD

The Bridge and the Storm, Mackinaw Straits
REYNOLD WEIDENAAR
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.)
SOLD

Locomotive Shops
REYNOLD WEIDENAAR
American, (1915-1985)
Etching and aquatint, 1947, Buckner 101, edition 75 plus nine trial proofs. 12 7/8 x 16 3/4 in. Initialed and dated in the plate, lower left. Signed, numbered and titled in pencil. This is a superb, luminous impression printed in rich black ink. The margins are full and the condition is very good apart from slight light discoloration within an earlier mat opening. This masterpiece of etching took the artist about six months to complete and he spent a week making sketches at the locomotive shop which inspired the print. The time he spent making the plate is dated in the upper left corner of the image. This uncommon print is illustrated on the cover of the catalogue raisonné.
$5,500

Picnic
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1938, Stuckey 81, edition 50. 12 1/8 x 15 5/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is fine apart from a modest handling wrinkle in the top margin away from the image and a tiny smudge on the right margin, upper right. This charming early work was done in Port Clyde, Maine.
$650

Day's End
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1937, Stuckey 69, edition 30. 7 3/8 x 13 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is very good. (There's some rippling along the top margin.) This print was done at Boothbay Harbor, Maine.
$900

Fog from the Sea
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1951, Stuckey 193, edition 50. 10 3/8 x 15 7/8 in. Signed, numbered and titled below in pencil. Here we have a superb, atmospheric impression with full margins. The condition is excellent. The location of this print is Ogunquit, ME.
SOLD

Forest Shade
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1945, Stuckey 149, edition 75. 11 1/4 x 16 1/2 in. Signed and numbered in pencil. This is a fine impression of this lovely print. The margins are wide and the condition is fine. This print was done in Port Clyde, ME. Notice the two deer lurking in the shadows near the center.
$1,500

Deserted House
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1931, Stuckey 13, edition 54. 9 1/2 x 9 3/8 in. Signed in pencil, lower right. This is a superb impression of this early work. The margins are full and the condition is fine. This Hopperesque image was done in Eastport, Maine.
SOLD

Coast of Maine
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1957, Stuckey 237, edition 55. 9 7/8 x 15 1/4 in. Signed and numbered in pencil. Here we have a fine impression with substantial margins. The condition is very good other than for a thin piece of tape across the upper back edge of the sheet. There's an exceedingly faint suggestion of toning within an earlier mat opening.
SOLD

(Untitled) Owl
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1973, Stuckey 351, edition 135. 9 x 7 3/8 in. Signed in pencil. This is a fine, rich impression with full margins. The condition is excellent. This print was published as the frontispiece of a limited edition of the Lithographs of Stow Wengenroth, 1931-1972 as published by the Boston Public Library in 1974. This impression has large margins with a deckle edge on all sides and was not part of the book edition. Rare as such.
$850

Brooklyn City
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1932, Stuckey 24, edition 25. 11 3/4 x 16 1/2 in. Signed in pencil and titled below. This is a superb impression of this rare, early print. The margins are full and the condition is excellent. Wengenroth was born in Brooklyn in 1906. He studied at the Art Students League from 1923-27 and later at the Grand Central School of Art with Wayman Adams. He was elected to the National Academy of Design in 1938 and became a full Academician in 1941. This large work was his first recorded lithograph of New York and befittingly, an impression is owned by the Brooklyn Museum.
SOLD