Woman and Child
MAUD HUNT SQUIRE
American, (1873-1954)
Etching and aquatint printed in colors, 1907, from a very small edition. 4 3/4 x 3 1/2 in. Signed in pencil. Dated in pencil and inscribed "Paris." This is a fine impression printed on a wove paper. The margins are wide and appear to be untrimmed. Fine condition. Squire met Ethel Mars in Cincinnati and the couple went to Paris in 1903. They remained there together until the start of WW1. From there they went to Provincetown, MA and became active in the art scene there. The couple eventually returned to Paris and became great friends of Gertrude Stein and Alice B. Toklas. They remained in France for the rest of their lives.
SOLD

Dulcimer and Discord
BERNARD STEFFEN
American, (1907-1980)
Lithograph, 1939, edition unknown. 11 5/8 x 9 3/8 in. Signed, dated and titled in pencil. Here we have a fine impression of this extremely rare print. The margins are wide and the condition is fine. the paper is watermarked RIVES. Steffen was a WPA artist and studied with Thomas Hart Benton at the Kansas City Art Institute. He was a founding member of the of the American Artists Congress, an association established in 1935 to encourage government support for artist's unions and to promote social realism in American art. Sadly, in 1977, Steffen's studio was destroyed by a fire and he lost "thousands" of paintings and prints. (See David Acton, "A Spectrum of Innovation, Color in American Printmaking," (1990), page 286.)
SOLD

Forest of Flame
HARRY STERNBERG
American, (1904-2001)
Lithograph, 1939, Moore 158, Warner 56; edition unknown. 12 1/2 x 16 1/2 in. Signed on the stone, lower right. Signed and titled in pencil. This is a fine impression with wide margins. The condition is excellent apart from a small, very faint spot of toning in the margin above the second smokestack on the left. This exemplary print from the period is illustrated and discussed in Graphic Excursions, American Prints in Black and White, 1900-1930, Selections from the Collection of Reba and Dave Williams (1991), entry 81. Impressions are located in the Art Institute of Chicago and the National Gallery of Art, among other institutions.
SOLD

Blast Furnace #1
HARRY STERNBERG
American, (1904-2001)
Etching and aquatint, 1937, Moore 147, AAA 828; edition 250. 11 3/4 x 8 3/8 in. Signed in pencil. This is a superb impression with full margins. The condition is fine. Sternberg produced another such image in lithography which is in the opposite direction of this one (see Blast Furnace 2.) This print was not published by AAA until 1946. It was included in American Prize Prints of the 20th Century by Albert Reese (see page 194).
$1,400

God Comes Down to Inspect His Creations
CHARLES F. SURENDORF
American, (1906-1979)
Linoleum cut, 1940s, edition 15. 9 x 12 in. Signed, titled and numbered in pencil. A fine impression printed in rich, black in on thin Japanese paper. The margins are full and the condition is also fine. This unusual and engaging print is a kind of comic book expressionist image; very serious stuff but with an element of zaniness. Surendorf was a California artist and was active in the Bay area as a block print artist and painter.
SOLD

The Bridge, Sunday
PRENTISS TAYLOR
American, (1907-1991)
Lithograph, 1952, Rose/Quiroz 82, edition 25. 12 x 16 3/4 in. Initialed and dated in the plate, lower left. Signed, dated, numbered and titled in pencil. This is a fine impression with full margins. The condition is very good apart from two old paper tape hinges at the top and a small stain in the lower margin well below the image. This is one of his best known prints and is located in the Boston Public Library, the Metropolitan Museum of Art, the Library of Congress, the National Gallery of Art and the Smithsonian American Art Museum, among others.
$1,600

Along the Ohio
FLOYD LESLIE THOMPSON
American, (1889-1965)
Etching and aquatint printed in colors, circa 1940, edition unknown but certainly less than 100. 11 7/8 x 14 7/8 in. Signed and titled in pencil. "Imp." follows his name which means the artist printed the work himself. Thompson was a Chicago artist who specialized is color intaglio printmaking and his subjects are generally landscapes. He is quite skilled but not that well known.
SOLD

Abraham
DOX THRASH
African American, (1893-1965)
Drypoint with etching, circa 1937, Ittmann 15, edition unknown. 5 x 3 15/16 in. Signed and titled in pencil. This is a superb, rich impression of this very rare print. The margins are full and the condition is fine. (There's a faint residue of an old adhesive along the top edge of the sheet, verso.) This early, Rembrantesque portrait includes the label of the Pennsylvania WPA program. This is the first version of Abraham and the second version, (Ittmann 72), was a carborundum mezzotint and etching. Thrash joined the WPA Federal Art Project in 1937 and he began working at the Fine Print Workshop of Philadelphia. In 2001, the artist was honored with a major retrospective at the Philadelphia Museum of Art.
SOLD

Ghetto
CHARLES TURZAK
American, (1899-1986)
Woodcut, 1931, edition 50. 12 x 9 3/16 in. Signed, numbered and titled in pencil. This is a fine impression printed on a light cream laid paper. The margins are full. The condition is fine apart from a little spot of adhesive in the upper right corner of the margin.
SOLD

Randolph Street (Chicago)
CHARLES TURZAK
American, (1899-1986)
Woodcut printed in colors, circa 1934-35, edition probably about 25. 12 1/16 x 9 1/4 in. Signed and titled in pencil. This is a very fine impression printed on Japanese paper. The colors are fresh. The margins are full but modest, measuring about one-half inch to one inch. The condition is fine. This is one of Turzak's best prints and it's also quite rare. From a series of four prints called "Chicago Moods," this stellar color woodcut shows the city's entertainment district at night. "Palooka" was a 1934 comedy film.
SOLD

The Workers
CHARLES TURZAK
American, (1899-1986)
Woodcut, circa 1930-35, edition 50. 6 1/2 x 4 3/8 in. Signed in the block, lower right. Signed and titled in pencil. This is a fine, rich impression printed on wove paper. The condition is fine apart from just an extremely faint suggestion of light toning within an early mat opening. The margins are probably untrimmed but they are relatively modest measuring 1/2-1/4 in. Turzak did two woodcuts by this title which are similar.
SOLD

End o'the Line
DONALD VOGEL
American , (1902-2004)
Drypoint, 1940s, edition unknown, perhaps 20. 8 7/8 x 11 in. Signed and titled in pencil. This is a superb impression with full margins. The condition is excellent. Vogel was a fine painter and he also did several modernist drypoints, many of which relate to New York. Vogel was born in Poland and came to this country at the age of eight. He later studied at the Parsons school of design and Columbia University. His work is listed in the Artists for Victory catalogue (1983) by Ellen Landau, page 119. There is apparently a second printing of this plate which shows significant signs of wear. This is an early printing rich with burr.
SOLD

Picket Line
HERMAN VOLZ
American, (1904-1990)
Lithograph, 1938, edition 40. 10 1/2 x 13 3/4 in. Signed on the stone, lower right. Signed in pencil and inscribed "artist proof." This is a fine impression with full margins. The condition is fine apart from a tiny pinhole near the "proof" inscription. Volz was born in Zurich and came to the US in 1933. He was living in the San Francisco Bay area and became a citizen in 1938. This stellar print was done along the San Francisco docks and impressions are located at the Crystal Bridges Museum of Art and the National Gallery of Art.
SOLD

East Side Women
ABRAHAM WALKOWITZ
American, (1878-1965)
Etching, circa 1904, edition unknown. 8 x 6 in. Signed in ink within the image, lower left. Signed in pencil, lower right. This is a very fine impression printed on cream laid paper. The margins are wide and the condition is very good. (There's a bit of toning on the extreme left and right edges of the sheet.) This very rare, early work was done while Walkowitz was living in the Jewish ghetto in New York's lower east side. He had immigrated with his family from Russia in 1889 and in 1906 he was off to Paris to study. This endearing work is illustrated in, Ghetto Motifs, published by Machmadim Art Editions, Inc. (New York, 1946) including text by Isaac Lichtenstein and illustrations by Abraham Walkowitz.
SOLD

Brothel Scene
LYND WARD
American, (1905-1985)
Wood engraving, 1929, edition unknown. 5 1/2 x 3 3/4 in. Signed in pencil. This is a fine impression printed on thin Japanese paper. The margins are full and the condition is very good other than for two soft creases in the lower right corner; one touching the image. This engaging print is an illustration for Madman's Drum, one of Ward's novels without words, this one published in 1930.
SOLD

Beach Scene (Coney Island)
HYMAN WARSAGER
American, (b. 1909)
Screenprint, circa 1940, edition probably about 25-50. 14 x 20 in. Signed and titled in pencil. This is a very good impression in good condition. The margins are full. There's a suggestion of toning within an earlier mat opening, a few small stains in the upper right margin corner well away from the image and a couple of printing wrinkles which are not really that noticeable. Warsager was an active member of the New York City WPA Graphics Arts division. He worked closely with Anthony Velonis in developing the silkscreen process as a fine arts medium. This is a large print and a great subject for the period. An impression is in the Art Institute of Chicago collection with the title, Beach Scene at Seagate.
$1,400

Lighthouse (Provincetown)
FEROL SIBLEY WARTHEN
American, (1890-1987)
White line color woodcut, 1952, edition 7 plus some later impressions. 11 x 13 in. Signed, titled and numbered in pencil. Here we have a fine impression of this exceptional work by the artist. The condition is fine apart from a very faint suggestion of light toning within an earlier mat opening. The margins are full and the tack holes from the printing process are clearly evident along the right edge. On the verso in pencil she wrote: "Block 6, Print 7, Ferol S. Warthen, Watercolor Woodblock spoon printed." Warthen studied at the Art Student's League in New York from 1911-1912. She later studied with Karl Knaths in Washington, DC and at the suggestion of Angele Myrer, a close friend, Warthen started spending her summers in Provincetown and opened a studio on Commercial Street. She met and studied with Blanche Lazzell. It was during the 1950s that her woodblock prints garnered wide attention from museums and collectors and this enthusiasm continued for decades. This print is in the collection of the Smithsonian American Art Museum.
$6,000

The Big Tree
ERNEST W. WATSON
American, (1884-1969)
Linoleum cut printed in colors, undated (probably done in the 1930s), edition 25. 7 x 10 in. Signed, titled and numbered in pencil. This is a fine impression printed on fibrous Japanese paper. The margins are full. The condition is good apart from faint toning in the outer margins from an old mat and a tin spot at the top edge center from an early hinge.
SOLD

A Midnight Dreary
ERNEST W. WATSON
American, (1884-1969)
Woodcut printed in colors, 1943, edition 200. 6 3/8 x 8 3/8 in. Signed and titled in pencil. Here we have a fine impression printed on thin Japan paper. The margins are full and the condition is fine. This work was published by the Woodcut Society of Kansas City and we are including the original folder in which it was presented. The artist maintained a summer home in Monterey, MA.
SOLD

Large Primitive Head in Profile
MAX WEBER
American, (1881-1961)
Linocut printed with unique color inking, 1920-21, Rubenstein 33, edition unknown. 7 3/4 x 3 3/8 in. Signed in pencil, lower right. This is a superb, uniquely colored impression printed on thin Japanese paper. The margins appear to be full and there's a number "32" in pencil in the lower left corner. The condition is fine. There are three impressions of this image in the National Gallery; two in brown ink and another is a color variation from the Rosenwald Collection. Weber studied with Arthur W. Dow at the Pratt Institute early on and later in Paris with Matisse. He was impressed with the work of Cezanne. Weber was friendly with William Zorach from their Greenwich Village days and could have been influenced by his printmaking technique. This is an exceptional and rare example of Weber's color woodcut style.
SOLD