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

N.Y. Skyline
REGINALD MARSH
American, (1898-1954)
Etching and engraving, 1936, Sasowsky 167 (possibly state viii/ XI; impression 5 7/8 x 14 7/8 in. Initialed and dated in the plate, lower right. Signed Reginald Marsh (F.M.) in pencil. This is a superb, rich impression with full margins. The condition is fine. (The left margin is narrow but this is the full sheet as printed showing a deckle edge on the sides and top.) There was a subsequent unsigned edition in 1937 published by the American Artist's Group.
$3,500

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

Aerial Conjunction
DOROTHY MCCRAY
American, (1915-2008)
Color lithograph, 1958, edition 10. 14 1/2 x18 1/2 in. Signed and titled in pencil. Printed by the artist.A fine example of abstract expressionist printmaking in New Mexico during the 1950s.Her work is included in The Stamp of Impulse; Abstract Expressionist Printsby David Acton.(see pages 128-129).
SOLD

Points of Departure
DOROTHY MCCRAY
American, (1915-2008)
Lithograph, 1956, edition 8. 16 x 20 1/4 in. Signed, dated and titled in pencil. This is a fine impression printed on off-white wove paper. The condition is very good other than traces of an old adhesive at top corners, verso, from earlier hinges. The margins are wide except at the top where they measure about 1/2". McCray's work is discussed at length in The Stamp of Impulse, Abstract Expressionist Prints (2001), page 128-129. Her editions are traditionally very small.
SOLD

Fruit
DOROTHY MCENTEE
American, (1902-1990)
Woodcut printed in colors, circa 1940, edition 15. 8 1/16 x 10 in. Signed, titled and inscribed, 15 proofs/trial proof. Here we have a fine impression printed on a thin cream Japanese paper. The margins are full and the condition is very good. (There's a trace of an old mat line from an earlier mount.) McEntree lived and worked in New York.
$450

Merry-go-Round
MILDRED MCMILLEN
American, (1884-circa 1940)
Woodcut, 1914, small edition. .9 1/4 x 10 3/4 in. Signed and dated on the original support sheet, lower right. A brilliant impression on wove paper mounted to a support sheet (as is always the case). The print is trimmed along the borderline. The condition is fine. This stunning, early print was done the year that the artist moved from France to Provincetown, MA with her dear friend, Ada Gilmore. This print is a French subject which was certainly conceived of before she moved back to the United States. Her work was entirely printed in black and white. This is a very rare print.
ON HOLD

Orchard Street, New York
WILLIAM MCNULTY
American, (1889-1963)
Etching, 1933, edition 75. 9 x 12 1/8 in. Signed and dated in the plate. Signed in pencil, lower right. Titled and with the edition number, lower left, probably by another hand. This is a very good impression with full margins. Old hinges at top corners, marginal handling creases.
SOLD

In the Fifties (Whirlpool)
WILLIAM MCNULTY
American, (1889-1963)
Etching and drypoint, circa 1930-40, edition probably 100. 13 5/8 x 7 1/8 in. Signed in pencil. This is a fine, rich impression printed on white wove paper. The margins are full. The condition is excellent other than for a modest smudge of printer's ink in the lower left margin, well away from the image. McNulty studied at the Art Student's League and also taught there until 1958. He was encouraged to take up printmaking by Joseph Pennell.
$1,500

September Symphony
JAY MCVICKER
American, (1911-2004)
Etching with aquatint, 1940, Duffy 2, edition 25. 10 7/8 x 14 5/8 in. Signed and dated in the plate. Signed, titled and numbered in pencil. Thisis a fine, rich impression of this uncommon early work. The condition is excellent and the margins are full. Provenance: Bethesda Art Gallery, Maryland. McVicker was a student of Doel Reed at Oklahoma State University. He taught at Oklahoma State from 1959-1977.
SOLD

Bird of Prey
RODERICK MEAD
American, (1900-1971)
Wood engraving, 1950, Mead 53, Woodcut Society 38; edition 150. 8 x 9 7/8 in. Initialed in the block, lower right. Signed in pencil. This is a stellar impression printed on smooth wove paper. The margins are full and the condition is fine. This is the 38th Presentation print of the Woodcut Society and comes with the original folder. Mead studied at Yale and the Art Students League. He also was a student of S.W. Hayter.
$500

Buy War Bonds
JOSEPH MEERT
American, (1905-1989)
Screenprint, circa 1943, edition 15. 14 5/8 x 11 in. Signed, titled and numbered in pencil. A very good impression in fine condition. Full margins. Meert lived in New York from 1941-1967 and studied at the Art Students League. He was especially friendly with Jackson Pollock and Thomas Hart Benton. This wartime image depicts Rosie the Riveter or someone to that effect.
$900

Bleeker Street Follies
LEO MEISSNER
American, (1895-1977)
Woodcut (linoleum cut?), 1927, edition 30. 10 1/8 x 12 1/2 in. Initialed in the block, lower right. Signed, dated, numbered and titled in pencil. This is a superb impression with probably the full margins. The condition is fine. This festive night scene depicts this well known street in Greenwich Village. This block print is not common.
SOLD