Sugar Snow
GUY MACCOY
American, (1904-1981)
Screenprint, 1946, edition unknown. 10 1/4 x 13 3/8 in. Signed, titled and dated in pencil. This is a fine impression printed on light gray paper. The margins are full and the condition is excellent. Maccoy made his first artistic screenprints in 1932 and taught the medium in Colorado and Los Angeles during the 1940s and 1950s. He was married to the artist, Geno Petit.
$750

Chaos
JOHN MACGILCHRIST
American, (1893-1977)
Etching, 1932, edition 100. 12 1/2 x 9 3/8 in. Signed and dated in the plate, lower right. Signed, numbered and titled in pencil. This is a fine impression printed on cream wove paper. The margins are full and the condition is very good. (There's just a very faint suggestion of toning within an earlier mat opening.) MacGilchrist was born in Scotland and came to the US for a degree in architecture. He returned to his home country during WWI and ended up on the Western Front in France where he became a balloon pilot-observer. He returned to the US after the war and flourished in the 1920s as an etcher of aviation subjects. He remained here until his death in 1977. This compelling, highly detailed print makes a bold statement about the horrors of war and the battle of good versus evil.
SOLD

Arrangement
DORIE MARDER
American, (b. 1916)
Screenprint, 1945, edition 35. 9 3/4 x 11 1/2 in. Signed, numbered and titled in pencil. This is a fine impression with fresh colors. The condition is excellent other than for a couple of small smudges in the right margin, well away from the image. The sheet is untrimmed. Marder was born in Poland. She lived in New York and was active with the National Serigraph Society and the American Color Print Society in the 1940s and 1950s. An impression of this print is in the Williams Collection at the National Gallery of Art. In addition, her papers are in the Archives of American Art in Washington, DC.
SOLD

Bridge Over Canal, Amsterdam
JOHN MARIN
American, (1872-1953)
Etching, 1906, Zigrosser 13 (ii/II), edition 30. 5 15/16 x 7 1/2 in. Signed and dated in the plate. Signed in pencil, lower right. This is a superb impression of this lovely, rare work. The paper is a cream Japanese and the margins are full. The condition is excellent. Like Whistler and his Amsterdam etchings, Marin appreciated the uniqueness of every impression and applied the ink in such a dramatic way that no two impressions are exactly the same. We sold a rare first state of this print a couple of years ago and the inking was substantially different than this one. Other impressions are found at Colby College, The Philadelphia Museum of Art and the Art Institute of Chicago.
SOLD

Notre Dame, Paris
JOHN MARIN
American, (1872-1953)
Etching, 1908, Zigrosser 79 (iv/V), edition about 30. 12 3/4 x 10 1/2 in. Signed, dated and titled in the plate. Signed in pencil. This is a very fine impression of the large, early work. The margins are full and the condition is excellent. The copper plate is in the Philadelphia Museum of Art.
SOLD

Downtown, The El
JOHN MARIN
American, (1872-1953)
Etching printed with plate tone, 1921-24, Zigrosser 134, edition about 500. 6 7/8 x 8 7/8 in. Signed and dated in the plate, lower right. Signed in pencil. This is a fine impression printed on a cream paper. The margins are wide and the condition is very good. (There's a small break in the paper where the upper right hinge is found.) This was published in 1924 as one of Six American Etchings offered as a portfolio for the New Republic. It was meant to entice new subscriptions to the weekly magazine. Peter Platt printed the edition and each of the prints were signed in pencil by the artists. Exhibited and reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel, The British Museum, 2008, page 70. Provenance: Kennedy Galleries, NY (with their label).
$4,000

Ohmpeer
KYRA MARKHAM
American, (1891-1967)
Lithograph, 1944, edition 25. 13 3/8 x 10 1/8 in. Signed, dated and titled in pencil. The edition size is also written in pencil below the image. This is a fine impression in fine condition. The margins are wide and probably full. A very good, short biography about Markham is found in Paths to the Press, Printmaking and American Women Artists, 1910-1960 (2006), pages 194-195. This is a nice example of her later work.
SOLD

July 4, 1936
KYRA MARKHAM
American, (1891-1967)
Lithograph, 1936, edition 25 16 x 12 3/4 in. Signed, dated, titled and numbered in pencil. This is a fine impression of this exceptional American print from the 1930s. The condition is very good apart from two old hinges at the top corners, verso, and a few subtle spots of foxing on the back of the sheet. Markham excelled in lithography and painting. She studied at the Art Institute of Chicago and was active in the WPA program. She produced 40 dioramas for the 1939 New York World's Fair in the Hall of Inventions.
SOLD

Jersey City Landscape
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1939, Sasowsky 187 (iii/III), edition 20 plus five trial proofs. 7 7/8 x 11 7/8 in. Signed and dated in the plate and signed in pencil lower right. A fine impression of this rare print. In very good condition apart from traces of an old tape adhesive along the top edge of the sheet. The margins appear to be full. An outstanding example of Marsh's skills as a printmaker.
SOLD

Girl Walking (Elevated)
REGINALD MARSH
American, (1898-1954)
Lithograph, 1945, Sasowsky 28, AAA 709; edition 250. 10 5/8 x 8 in. Initialed and dated on the stone, lower right. Signed in pencil. This is a fine impression printed on white wove paper. The margins are full and the condition is excellent. This very well drawn lithograph was published by Associated American Artists in New York. Marsh enjoyed depicting this subject and he did many other such images in drawings and oil sketches. The edition was printed by George Miller.
$1,600

George Washington Bridge (Palisades)
REGINALD MARSH
American, (1898-1954)
Etching, 1936, Sasowsky 166 (i/III); one of only three proofs in this state. 8 x 10 in. Signed in pencil, lower right. This is a superb impression printed on a white wove paper. The condition is fine and the margins are wide. This appealing print is quite rare with only five impressions listed in the final state. There are only six artist's proofs listed in the catalogue in addition to the above five impressions. (We sold a third state impression several years ago.) We feel Marsh prints are underrated and undervalued in the current market. His editions tend to be small, in general, which makes them much harder to find in signed, lifetime impressions.
SOLD

Pavonia Avenue
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1928, Sasowsky 55 (vi/VI), highest known impression is 19. 7 x 10 7/8 in. Signed and dated in the plate. Signed and numbered "10/50" in pencil. This is a superb impression of this uncommon print. The margins are probably full and the condition is fine. As stated in the Sasowsky catalogue, page 52 under the section called Printing, "Therefore, when impressions numbered 18/50, 19/50, 20/50, 21/50 remained in Marsh's estate, it was concluded that Marsh actually printed twenty-one impressions of the proposed edition of 50." (This information applies to many of his prints.)
SOLD

Two Models on a Bed
REGINALD MARSH
American, (1898-1954)
Lithograph, 1928, Sasowsky 9, edition 15. 9 x 10 1/2 in. Initialed and dated on the stone. Signed in pencil and inscribed, "15 proofs." Here we have a fine impression printed on chine appliqué. The margins are full and the condition is fine. This early figurative study was done in Paris.
SOLD

Irving Place Burlesque
REGINALD MARSH
American, (1898-1954)
Etching with engraving, 1930, Sasowsky 101 (viii/VIII), edition 33. 9 7/8 x 11 7/8 in. Signed and numbered in pencil. This is a superb impression of this large, exemplary work. The paper is a white wove and the margins are full. (They are unevenly trimmed which is often the case with Marsh.) The condition is generally fine other than for a few specks of foxing in the lower left corner below the platemark. This plate was reprinted in 1969 by the Whitney Museum. The Irving Place Theatre was located at the southwest corner of Irving Place and East 15th Street. The building was demolished in 1984.
$5,500

Café Brasserie
REGINALD MARSH
American, (1898-1954)
Lithograph, 1932, Sasowsky 24, edition 22. 7 3/4 x 8 1/4 in. Signed and dated on the stone, lower right. Signed and numbered in pencil. This is a fine impression printed on a cream chine appliqué. The wide margins are probably full and untrimmed. The condition is fine. This lithograph was probably printed in Paris and is an uncommon print.
$2,200

Gaiety Burlesque
REGINALD MARSH
American, (1898-1954)
Etching, 1930, Sasowsky 102, edition 39. 11 7/8 x 9 3/4 in. Signed and dated in the plate, lower left. Signed in pencil. This is a superb impression in fine condition. The margins are irregular and somewhat modest in the lower left corner but this is almost certainly the sheet Marsh printed on. The paper bears a WHATMAN watermark which is the paper used for most of the lifetime edition. This is one of Marsh's most famous prints and is found in many museum collections including: The Cleveland Museum of Art, the Metropolitan Museum of Art, the Fogg Art Museum and the Indianapolis Museum of Art. Provenance: The Old Print Shop, NY (with their label on the back of the frame.)
$7,000

Maine (Sunrise)
JAN MATULKA
American, (1890-1972)
Lithograph, circa 1925, Flint 25, edition unknown. 11 1/2 x 14 1/8 in. Signed and dedicated "to Fitch" in pencil. This is a superb, luminous impression with full margins. The condition is fine apart from areas of stray printer's ink in the margins. "Maine" was selected as one of two Matulka prints for the Modern Section of the first "Fifty Prints of the Year" exhibition held in New York in 1926. This print is dedicated to Eugene Fitch who introduced Matulka to lithography at the Art Students League. Fitch was a gifted teacher and lithographer and had worked with Joseph Pennell. "Sunrise" is an alternate title for this dynamic print. Ex-collection: Lois Torf, Boston.
$3,000

New York Harbour
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1941, Hardie/Carter 279, edition 65 plus 19 trial proofs. 10 1/4 x 15 in. Signed, titled and dated in the plate. Signed and numbered in ink. Here we have a fine impression with probably the full margins. The condition is also fine. This is one of McBey's best views of New York as pictured from Brooklyn across the East River.
SOLD

California, San Luis Obispo
JAMES MCBEY
Scottish, (1883-1959)
Etching, 1944, Hardie/Carter 283, edition 48. 6 1/2 x 14 1/8 in. Signed, titled and dated in the plate, lower left. Signed and numbered in ink. This is a fine, luminous impression printed on cream wove paper. The margins are wide and the condition is fine. (There's a little bit of brown paper tape along the left and right margin and a fraction along the top edge at right.) This appealing, later work by McBey shows his fascination with the diversity of the American landscape. In this same year he produced an etching of Ranchos de Taos in New Mexico and, of course, he was quite familiar with New York.
SOLD

Spring Umbrellas
KATHARINE HOOD MCCORMICK
American, (1882-1960)
White line woodcut printed in colors, probably 1946-1947, edition unknown. 14 x 11 3/8 in. Initialed in the block, lower right. Signed and titled in pencil. This is a fine impression of this very rare print. The paper is a cream fibrous Japanese and the margins are full. The condition is fine apart from a wrinkle in the upper right corner of the sheet and remains of old tape on the verso along the top edge in three places. McCormick was one of the original Provincetown printers and her work was included in Janet Flint's seminal catalogue, "Provincetown Printers: A Woodcut Tradition." (1983). McCormick was a Philadelphia artist, studied at the Pennsylvania Academy of Fine Arts and was treasurer of the American Color Print Society. She was a regular visitor to Provincetown and became a frequent correspondent of Blanche Lazzell. Lazzell advised her to use colors freely and rely on inspiration at the time of printing. McCormick wrote, "It is not a paying business as far as price is concerned. I do them (blockprints) because I like to." There are six woodcuts by McCormick in the collection of the Philadelphia Museum of Art including this one.
SOLD