Fertility
GRANT WOOD
American, (1891-1942)
Lithograph, 1939, Johnson 14, Cole 15; edition 250. 9 x 11 3/4 in. Signed in pencil. This is a superb impression printed on a soft white wove paper.The margins are full with a deckle edge showing on all sides. The condition is excellent. As described by Johnson, "Of all nineteen of Grant Wood's lithographs, Fertility stands out as the most optimistic, literally swelling with symbols of Midwestern abundance, hope, and reassurance that the land will respond, providing sustenance for the American people still reeling from the devastating effects of the Great Depression." See Grant Wood: The 19 Lithographs; a Catalogue Raisonné by Bruce E. Johnson (2016), pg. 110.
SOLD

March
GRANT WOOD
American, (1891-1942)
Lithograph, 1941, Johnson 17, Cole 14, edition 250. 9 x 11 7/8 in. Signed in pencil. This is a superb impression in fine condition. The margins are somewhat trimmed measuring one inch on all sides. At least two preparatory drawings exist for this print and the edition was printed by George Miller and published by AAA in New York. The great design for this print gives it a strikingly modernist look. "March" expouses Wood's compositional practice of dynamic symmetry. (See Johnson, pg. 129-130)
SOLD

July Fifteenth
GRANT WOOD
American, (1891-1942)
Lithograph, 1938, Johnson 6, Cole 5; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine impression printed on RIVES paper with full margins. The condition is very good apart from slight thinness to the paper on the outer edges, verso. The print was attached at the edges at some point and this minor issue does not show in the front at all.
SOLD

In the Spring
GRANT WOOD
American, (1891-1942)
Lithograph, 1939, Johnson 13, Cole 13; edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a very fine impression with full margins. The condition is outstanding. In his excellent 2016 catalog of Grant Wood's lithographs, Bruce Johnson writes the following about this print: "...the lithograph transcends from being a portrait of one individual to a symbol of all farmers and their relationship to their land." (pg. 105). The paper bears a RIVES watermark and was printed by George Miller in New York.
SOLD

Approaching Storm
GRANT WOOD
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.)
$9,000

December Afternoon
GRANT WOOD
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.
SOLD

Grant Wood: The 19 Lithographs (by Bruce Johnson)
GRANT WOOD
American, (1891-1942)
Catalogue raisonné, 2016, 185 pages. 8 x 10 x 1/2 in. This is the new catalogue on Grant Wood prints. The original catalogue was written by Sylvan Cole and published by Associated American Artists in 1984. This publication provides a substantial amount of information about Wood's interest in the lithography medium and each print is described at length. There are essays about George Miller, Wood's printer, and regionalism in general. Johnson includes amended dates for a few of the lithographs and explains the facts behind his conclusions. This is a must have book for Grant Wood collectors as it supersedes the Cole catalogue. The price is $30 plus $7 for postage and handling. Sales tax applies to North Carolina residents.
$37

Tree Planting Group
GRANT WOOD
American, (1891-1942)
Lithograph, 1937, Johnson 1, Cole 1; edition 250. 8 7/16 x 10 7/8 in. Signed and dated in pencil. This is a superb impression with full margins. The condition is excellent. This was Grant Wood's first lithograph. The scene depicted is an Arbor Day's celebration of a tree planting. There's an oil of this subject in the Boston Museum of Fine Arts and a large drawing in the Cedar Rapids Museum of Art.
$8,500

January
GRANT WOOD
American, (1891-1942)
Lithograph, 1938, Johnson 3, Cole 3; edition 250. 9 x 11 7/8 in. Signed in pencil. This is an excellent impression with full margins. The condition is fine apart from the faint remains of the original AAA hinges in the top two corners of the sheet. The paper bears a GCM watermark. This memorable winter image was done in Iowa and there's at least one related drawing and oil painting. (The painting is located in the Cleveland Museum of Art.) "January" is one of six Grant Wood prints reproduced in Thomas Craven's 1939 book, A Treasury of American Prints. This was a very popular print when it was published in the spring of 1938. In the fall 1938 AAA catalogue, "January" was already sold out. (See Johnson, pg. 61).
SOLD

Adoration
WILLIAM 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.
SOLD

Sailing
WILLIAM ZORACH
American, (1887-1966)
Linoleum cut, 1919, small edition. 7 1/8 x 6 1/2 in. Signed in pencil. This is a fine, rich impression of this rare print printed in thin wove paper. The margins are full and the condition is fine apart from small original hinges slightly visible at the top front corners and a couple of specks of printers ink in the right margin. This dynamic print is illustrated and discussed in Print Collector's Quarterly, Volume XIX, No.4, pages 164-165 in an article by Efram Burke. "The print conveys a dramatic interplay of of light and dark patterns, shifting movements, and the energy and force of nature translated through a direct and forceful cutting of the image in the linoleum block." (see page 165). According to Ephram, the location for this print is Stonington, ME. (Six impressions are cited in museum collections.)
$4,200