New York, Old and New
ERNEST ROTH
American, (1879-1964)
Etching, 1944, edition probably about 100. 12 x 15 1/8 in. Signed, titled and dated in the plate. Signed and dated in pencil. This is a fine impression of this large and exceptional work. The margin are full and the paper is watermarked VAN GELDER. The condition is fine apart from a tiny speck of foxing near the pencil signature. Roth's Venetian prints were recently the focus of a book and exhibition by Eric Denker, Reflections & Undercurrents; Ernest Roth and Printmaking in Venice, 1900-1940. His best New York prints are exceptional in design and execution.
SOLD

Riverside Church, New York
ERNEST ROTH
American, (1879-1964)
Etching, 1930, edition 90. 14 3/4 x 9 1/2 in. Signed and dated in the plate, lower left. Signed and dated in pencil. This is a superb impression printed on a fine antique laid paper. The margins are full. The condition is fine other than for three French custom stamps on the top margin away from the image. Dedicated in 1930, this majestic church was conceived by John D. Rockefeller, Jr.
$750

Pouring Molten Steel
LEWIS RUBENSTEIN
American, (1908-2003)
Lithograph printed in color, circa 1938, edition 25 plus proofs. 16 x 10 1/4 in. Signed in pencil. This is a fine impression of this rare and remarkable work. The margins are full and the condition is fine. (Two small dark registration marks are found just above and just below the image) Rubenstein studied with Rico Lebrun and he was employed by the New York WPA program. He produced a mural for Harvard, his alma mater, at the Busch-Reisinger Museum, and a mural at the Jewish Center at his hometown, Buffalo, and at the Wareham, MA Post Office. He taught at Vassar from 1939 until 1974. A back and white version of this print is in the National Gallery of Art.
SOLD

Copper Miners
LEWIS RUBENSTEIN
American, (1908-2003)
Lithograph, circa 1938, edition unknown. 14 x 11 3/4 in. Initialed in the plate, lower left. Signed in pencil and inscribed, "artist's proof." This is a fine impression of this rare print. The margins are full and the condition is fine. Rubenstein studied with Rico Lebrun and he was employed by the New York WPA program. He produced a mural for Harvard, his alma mater, at the Busch-Reisinger Museum, and a mural at the Jewish Center at his hometown, Buffalo, and at the Wareham, MA Post Office. He taught at Vassar from 1939 until 1974. An impression of this print is in the National Gallery Of Art.
$2,500

Strike Talk
DOROTHY RUTKA
American, (1907-1985)
Soft-ground etching, circa 1940, edition probably about 25. 6 3/8 x 7 7/8 in. Signed and titled in pencil. This is a fine impression in fine condition. The margins are full. This impression bears the stamp of the Federal Art Project for Cleveland. Rutka was from Michigan and studied at the Cleveland School of art. She graduated in 1929 and joined the WPA in 1936. She was married to Philip Porter, executive editor of the Plain Dealer.
SOLD

Poverty
DOROTHY RUTKA
American, (1907-1985)
Soft-ground etching, circa 1940, edition probably about 25. 8 1/2 x 10 7/8 in. Signed and titled in pencil. This is a fine impression in fine condition. (There a just a couple of small fox marks in the left margin, away from the image.) The margins are full. This print bears the Federal Art Project Stamp for the Cleveland WPA. Rutka's prints generally address the social ills of society during the 1930s and 1940s. An impression of this print is in the Metropolitan Museum of Art in New York and the Smithsonian American Art Museum.
SOLD

Conference
DOROTHY RUTKA
American, (1907-1985)
Softground etching and aquatint, about 1936-40, edition probably about 25. 9 x 7 1/4 in. Signed, titled and numbered "23" in pencil. Here we have a fine, dark impression printed on wove paper. The margins are full and the condition is excellent. This impression bears the stamp "Federal Art Project." Rutka was from Michigan and studied at the Cleveland School of Art. She graduated in 1929 and joined the Cleveland WPA in 1936. An impression of this print is at the Metropolitan Museum of Art.
SOLD

Conference
DOROTHY RUTKA
American, (1907-1985)
Etching and aquatint, about 1936, edition probably about 25. 9 x 7 1/4 in. Signed and titled in pencil. Here we have a fine, dark impression printed on wove paper. The margins are full and the condition is fine. This impression bears the stamp "Federal Art Project No.1" Rutka was from Michigan and studied at the Cleveland School of Art. She graduated in 1929 and joined the Cleveland WPA in 1936. An impression of this print is located in the Metropolitan Museum of Art and the Baltimore Museum of Art.
SOLD

Three Figures
ANNE RYAN
American, (1889-1954)
Woodcut printed in colors on black paper, circa 1945, edition 20. 11 1/2 x 15 in. Signed, titled and numbered in pencil. Here we have a fine impression with full margins. The condition is fine apart from a couple of arcivally backed splits at the top margin, well away from the image. An impression of this work is in the collection of the Art Institute of Chicago.
$4,000

The Post Setters
CHARLES SALLEE
American, (1913-2006)
Soft ground etching, circa 1937, edition unknown, perhaps about 25. 5 3/8 x 6 3/4 in. Signed and titled in pencil. This is a fine, dark impression of this rare Cleveland WPA print. The margins are wide and the condition is very good. (There's a skillfully repaired split in the top margin, well away from the image and faint traces of adhesive in the outer margins.) Sallee graduated from the Cleveland Institute of Art in 1936 and from Case Western in 1938 with a B.S.E. degree. His work is discussed in the Reba and Dave Williams catalog, Alone in a Crowd, Prints of the 1930s-40s by African-American Artists (1993). This impression does not have the WPA stamp which occurs with many artists working in the various programs. Case Western has an impression of this print in their WPA collection.
SOLD

Speakeasy I
LOUIS SCHANKER
American, (1903-1982)
Etching, 1924, Brooklyn Museum catalogue 1, edition unknown. 5 3/4 x 4 5/8 in. Signed in the plate, lower left. Signed in pencil. This is a fine impression of this exceptionally rare, early print. The margins are full and the condition is fine. This is the first of two versions of this etching. "Speakeasy I" is also the first print listed in the Una Johnson/Jo Miller catalogue published by the Brooklyn Museum in 1974.
SOLD

Studio Still Life
FLORA SCHOFIELD
American, (1873-1960)
Woodcut, 1933, edition unknown. 12 3/4 x 9 in. Signed in pencil. A fine impression with wide margins. Very good condition. Schofield studied in Provincetown with William Zorach and later studied in Paris with Leger, Lhote and Severini. Much of her time was spent between Chicago and Provincetown. Her prints are rare and she was included in Janet Flint's Provincetown Printers; A Woodcut Tradition (1983). We have an original exhibition label as well which provides the date.
SOLD

Sun Flowers
FLORA SCHOFIELD
American, (1873-1960)
White line color woodcut, probably done in the 1930s, edition unknown. 12 7/8 x 10 1/2 in. Signed and titled in pencil. This is a superb impression of this extremely rare print. The margins are probably full as printed. The condition is very good apart from the outline of a stain on the verso which is barely discernible on the front. There are remnants of old hinges on the verso here and there at the edges. Born in Illinois, Schofield eventually studied in Provincetown with BJO Nordfeldt and William Zorach. Diring the 1930s she studied in Europe with André Lhote, Fernand Léger and Gino Severini. She exhibited at the Second Annual Exhibition of the Provincetown Art Association and continued to spend her summers in Provincetown and her winters in Chicago. Her married name is Schoenfeld and sometime in the 1930s, she want with the name Schofield, as we see here with this print. We have not yet located another impression of this powerful color woodcut. Provenance: Reba White Williams, New York.
$2,800

Heart of Finance (New York Stock Exchange)
ANTON SCHUTZ
American, (1894-1977)
Etching, 1925, edition unknown. 13 5/8 x 10 1/8 in. Signed in pencil, lower right. Here we have a fine, rich impression printed on cream wove paper. The margins are full. The condition is fine apart from old paper hinges, verso, at the top corners. He was the founder of the New York Graphic Society in addition to being a gifted etcher of city scenes both here and in Europe. His work follows in the tradition of Joseph Pennell.
SOLD

The Four Bridges
ANTON SCHUTZ
American, (1894-1977)
Etching, 1929, Harbor Gallery 19, edition unknown. 10 x 13 3/4 in. Signed in pencil. This is a fine impression printed on cream wove paper. The margins are apparently full and the condition is fine. This exemplary view of New York from Brooklyn shows the Brooklyn Bridge, followed by the Manhattan, Williamsburg and Queensboro Bridges.
SOLD

Modernist Figure
WILLIAM S. SCHWARTZ
American, (1896-1977)
Lithograph, 1928, edition unknown. 21 x 11 in. Signed and dated on the stone. Signed in pencil. This is a fine impression of this large work. The condition is fine and the margins appear to be full and untrimmed. There's a pencil inscription in the lower left corner, "lithograph # 13. Impression # 9." He came to America from Russia and studied at the School of the Art Institute of Chicago and was also was part of the Federal Art Project. Schwartz was popular in his day and exhibited widely, including a major show at Hirschl & Adler in New York in 1984.
$950

Industrial Series #1
CHARLES SHEELER
American, (1883-1965)
Lithograph, 1928, Bryce/Troyen 5, edition about 25. 8 1/8 x 11 in. Signed, dated and titled in pencil. This is a superb impression of this extremely scarce print. The margins are full. The condition is fine. This iconic American print is cited in eleven museum collections.
SOLD

Roses
CHARLES SHEELER
American, (1883-1965)
Lithograph, 1924, Bryce 2, intended edition of 35. 11 x 9 1/8 in. Signed and numbered in pencil. This is a superb impression of this very rare lithograph. The partial watermark reads as FRANCE which refers to BFK RIVES, FRANCE. The margins are probably full and untrimmed. The condition is very good apart from faint discoloration showing in the outer margins most likely from an early mat. The intended edition was thirty-five but at the most maybe only twenty impressions were printed. As it states in the catalogue, "According to John Driscoll, the edition of Roses was begun in the morning, work was halted during lunchtime, and upon return from lunch, it was found that someone in the print shop had cleaned the stone, having mistakenly thought that the edition had been completed." The highest known numbered impression is 11/35 but unnumbered impressions do exist. At least eight impressions are in museum collections. This lovely work was printed by George C. Miller in New York. Provenance: Harcus Krakow Gallery, Boston, and Hirschl & Adler Galleries, New York (with their labels).
PRICE ON REQUEST

Woman in a Window, New York
HARRY SHOKLER
American, (1896-1978)
Screenprint, circa 1940, edition probably about 25-50. 9 x 12 in. Signed in pencil, lower right. This is a fine impression printed on tan paper. The condition is very good and the margins appear to be full and untrimmed. Shokler was born in Cincinnati and he eventually moved to New York to study and then teach. He was an early advocate of the screenprint as an artistic medium and he was president of the National Serigraph Society. He was also a WPA artist and taught at the Brooklyn Museum of Art School.
$750

Zinnias
HARRY SHOKLER
American, (1896-1978)
Screenprint, circa 1940, edition unknown. 14 1/2 x 11 1/2 in. Signed in ink in the lower right corner. This is a fine impression in very good condition. There's a faint suggestion of toning within an earlier mat opening and stray printer's ink has been touched in with white gouache on the right margin in one small area. (This was most likely done by the artist). Shokler was president of the National Serigraph Society and was one of the better early screenprint artists.
SOLD