Growing Up in Greenwich Village
JOHN SLOAN
American, (1871- 1951)
Etching, 1916, Morse 180, only state. Edition 100 but only 80 were printed. 6 3/8 x 3 1/4 in. Signed and titled in pencil; annotated "100 proofs." This is a fine, luminous with full margins. The condition is excellent. Ex-collection George A. Martin (Ohio) with his penciled initials verso.
$1,600

Bandit's Cave
JOHN SLOAN
American, (1871- 1951)
Etching, 1920, Morse 195 (viii/VIII), edition 500-600 in this state. 7 x 5 in. Signed in the plate, lower left. Signed in pencil, lower right. This is a fine impression in fine condition. The margins are wide measuring about 2 1/2"-3" on all sides. This impression was included in the New Republic portfolio entitled "Six American Etchings."
SOLD

A Thirst For Art
JOHN SLOAN
American, (1871- 1951)
Etching, 1939, Morse 306 (iv/IV), edition 200. 4 x 6 in. Signed and dated in the plate. Signed, numbered and titled in pencil below. This is a fine impression with full margins. The condition is also fine. There were 100 impressions in the third state and then 100 in the fourth state. As Morse quotes John Sloan in the catalogue raisonne (page 339), "They don't see the pictures at all, knocking them crooked on the wall with their shoulders."
$2,200

Girl and Beggar
JOHN SLOAN
American, (1871- 1951)
Etching, 1910, Morse 150 (ii/II), edition 100. 4 3/8 x 6 in. Signed and dated in the plate. Signed, numbered and titled in pencil. This is a fine impression with full margins. The condition is very good apart from a slight suggestion of toning within an earlier mat opening. The alternate title is "Putting the Best Foot Forward."
SOLD

Fifth Avenue Critics
JOHN SLOAN
American, (1871- 1951)
Etching, 1905, Morse 128 (xi/XI), edition 100 plus the GBA edition. 5 x 7 in. Signed and dated in the plate. This is a fine impression as published in the Gazette des Beaux Arts, Paris, in a large edition of unknown size. The condition is fine and the margins are full. It was printed by A. Porcabeuf, Paris, and bears the printed title at the bottom, "Une Rue à New York."
SOLD

The Picture Buyer
JOHN SLOAN
American, (1871- 1951)
Etching, 1911, Morse 153 (v/V), edition 100. 5 1/4 x 7 in. Signed and dated in the plate, lower left. Signed in pencil. This is a fine, rich impression printed on ARCHES watermarked paper. The margins are full and the condition is fine. (There's just a trace of light foxing in the right margin area.) Depicted here is the Macbeth Gallery in New York. This print was exhibited at the Armory Show in 1913.
SOLD

Jewelry Store Window
JOHN SLOAN
American, (1871- 1951)
Etching, 1906, Morse 140 (ii/II), edition 100. 5 5/8 x 3 3/4 in. Signed and dated in the plate, lower left. Signed, titled, numbered "100 proofs," in pencil. Also, signed by the printer, Peter Platt. This is a fine impression on a thin cream Japanese paper. The sheet is full with tack holes showing all around the edge of the margins. Fine condition.
$1,500

Fashions of the Past
JOHN SLOAN
American, (1871- 1951)
Etching, 1926, Morse 224, (vi/VI); edition 100. 8 x 10 in. Signed and dated in the plate, lower left. Signed, numbered and titled in pencil. This impression was printed by Ernest Roth and is so inscribed. Here we have a superb impression with full margins. The condition is fine. According to an inscription on an early proof, the artist wrote the storefront is Lord and Taylor in New York.
$2,800

Hell Hole
JOHN SLOAN
American, (1871- 1951)
Etching and drypoint, 1917, Morse 186 (ii/II), edition 110. 7 7/8 x 9 3/4 in. Signed and dated in the plate. Signed, titled and numbered in pencil. This impression was printed by Ernest Roth and is so inscribed in the bottom margin. This was the back room of Wallace's at Sixth Avenue and West Fourth Street and was a gathering place for artists and writers, among others. Eugene O'Neill is identified as the man in the upper right corner. This print won a gold medal at the Sesqui-Centennial International Exposition, Philadelphia, in 1926.
SOLD

Return from Toil
JOHN SLOAN
American, (1871- 1951)
Etching, 1915, Morse 175 (xi/XI); edition 100. 4 1/4 x 5 7/8 in. Signed and dated in the plate, lower left. Signed, titled and numbered in pencil "100 proofs." This is a fine impression with full margins. The paper is wove with a partial watermark, "British Handmade." The condition is excellent. This image depicts a bevy of boisterous women walking the street of New York after work. The printer here was Ernest Roth and he inscribed his name with "imp." on the bottom left corner margin.
$1,400

Sixth Avenue, Greenwich Village
JOHN SLOAN
American, (1871- 1951)
Etching, 1923, Morse 207 (viii/VIII); edition 100 (75 printed). 5 x 6 7/8 in. Signed and dated in the plate, lower left. Signed, titled and numbered in pencil, "100 proofs." Here we have a fine impression printed on a medium weight wove paper. The margins are full. The condition is fine apart from a faint suggestion of discoloration within an earlier mat opening. This etching has a complex composition with multiple figures chatting and coming and going. It's a bold and endearing statement about life in New York during the 1920s.
$2,500

Wake of the Ferry
JOHN SLOAN
American, (1871- 1951)
Etching, 1949, Morse 313 (iv/IV); inscribed 200 proofs. 4 7/8 x 7 in. Signed in the plate, lower right. Signed, numbered and titled in pencil. This is a very fine impression printed by Ernest Roth, and so inscribed. The full edition was 350 of which 200 were for the Art Students League and 150 for the artist's own use. Quite a number of proofs are numbered "200 proofs" as here, and "250 proofs." There are two paintings of this same title; one in the Phillips Collection in D,C. and one in the Detroit Institute of Arts.
$2,300

Hibiscus Flowers
JAMES D. SMILLIE
American , (1833-1909)
Drypoint, undated (circa 1890), from a small edition perhaps 10. 7 1/4 x 4 3/4 in. Signed in the plate and signed in pencil. This impression has been printed by the artist. James D. was the son of James Smillie. This artist was a talented etcher and his father was best know for his engravings. James D. was a founder of the American Watercolor Society and the New York etching Club. He produced a group of finely done floral prints as we see here. They are unique in the history of 19th century fine art etching.
$550

2nd pl. August 2nd, 1889
JAMES D. SMILLIE
American , (1833-1909)
Engraving, roulette and mezzotint, 1889, from a small edition, perhaps 6 x 5 7/8 in. Initialed and dated in pencil. This is a superb impression in fine condition. The margins appear to be full and untrimmed. The paper is a thin wove. This dynamic floral print shows Smillie as a technical virtuoso working here in a variety of techniques.
SOLD

Sweet Peas
JAMES D. SMILLIE
American , (1833-1909)
Drypoint, 1891 (?), from a very small edition, perhaps 12. 7 x 5 in. Signed and dated in the plate. Signed in pencil and printed by the artist. this is a stellar impression with full margins. The paper is a light cream laid with in excellent condition. This is a very fine example of his floral printmaking in the late 19th century.
$550

Christmas Rose
WUANITA SMITH
American, (1866-1959)
White line woodcut printed in colors, undated (probably 19, small edition. 12 x 6 1/2 in. Signed and titled in pencil. A fine impression in fine condition. Full margins; with the tack holes on the right side of the paper where attached to the woodblock for printing. This Philadelphia area artist produced several exceptional block prints done in the tradition of the Provincetown printers.
$900

Vertical Arrangement
CHARLES W. SMITH
American , (1893-1987)
Woodcut (or linoleum cut) printed in colors, circa 1940, edition unknown. 11 7/8 x 8 3/4 in. Signed, titled and inscribed in pencil, "no number." This is a fine impression of this rare work. The margins are full and the condition is fine. Smith was born in Virgina and eventually taught printmaking at Bennington College in Vermont and then from 1947-63, at the University of Virginia. This experimental printmaker produced traditional blockprints and turned to abstraction later in his career. His modernist blockprints are exceptional.
SOLD

Young Owls
WUANITA SMITH
American, (1866-1959)
White line woodcut with additional hand coloring and embossing, circa 1925-50, edition unknown. 10 7/8 x 7 1/4 in. Signed and titled in pencil. Here we have a fine impression with full margins. The colors are fresh. The condition is fine apart from a few subtle wrinkles in the lower margin from the printing process. Born in Philadelphia, Smith studied at the Drexel Institute and the Pennsylvania Academy of Fine Arts and later at the Art Students League in New York. She was a founding member of the American Color print Society along with Mary Mullineux. She exhibited in Provincetown in the 1920s and 1930s and maintained a studio in Nantucket during this era. Smith's work is included in Provincetown Printers, A Woodcut Tradition by Janet Flint (1983), page 46.
SOLD

Leaning Chimneys
WILLIAM E. SMITH
African American, (1913-1997)
Linoleum cut, 1939, edition unknown. 9 x 10 7/8 in. Signed, dated and titled in pencil. This is a fine, rich impression of this rare early work. The margins are full and the condition is fine. In the early 1930s, Smith met the founders of the Karamu School in Cleveland and he became actively involved studying painting and printmaking. Originally known as the Playhouse Settlement, Karamu stressed excellence and Smith ultimately taught there until 1940. He showed his work at the Cleveland Artists Exhibitions at the Cleveland Museum of Art. He was one of the Karamu Artists, Incorporated which also included Hughie Lee-Smith and Charles Sallee. After World War II he studied at the Cleveland School of Art and in 1950 he moved to Los Angeles. This is a fine example of his work in linoleum cuts, for which he is best known.
SOLD

On the Crest
YNGVE E. SODERBERG
American, (1896-1971)
Drypoint, circa 1930, edition 85. 8 7/8 x 11 7/8 in. Signed and numbered in pencil. Here we have a fine impression with full margins. The condition is very good other than for old hinges at the top corners and a small repaired tear in the upper left corner margin. Soderberg was best known for his prints, watercolors and paintings pertaining to sailing. He studied at the School of the Art Institute of Chicago and the Art Students League. He did much of his work around Mystic, Ct. and painted every America's Cup race from 1930-1937. During the depression, he worked for the WPA program and did a Post Office mural as well as posters related to shipyards.
$600