Giant's Thumb (Monument Rock)
HOWARD COOK
American, (1901-1980)
Woodcut, 1926, Duffy 23, edition 50 (30 printed). 14 x 8 1/16 in. Signed in the block. Signed in pencil. This is a superb, luminous impression with full margins. The condition is excellent. This dramatic woodcut depicts this historic rock formation located in Monument Valley which covers Utah and Arizona.
$1,400

District Schoolhouse
HOWARD COOK
American, (1901-1980)
Woodcut, 1926, Duffy 18; edition 50 (25 printed). 17 1/4 x 12 3/4 in. Signed in the block, lower left. Signed, dated and titled in pencil. This is a superb impression printed on fibrous japan paper. The margins are full and the condition is fine apart from minor wrinkles here and there along the extreme margin edges. This large, early work is a powerful example of Cook's skills in the woodcut medium. Consider it a precursor to many fine works to come.
$1,850

New England Church
HOWARD COOK
American, (1901-1980)
Wood engraving, 1931, Duffy 161, edition 50. 11 3/8 x 8 3/8 in. Signed and dated in pencil. This is a very fine impression on a cream Japanese paper. The margins are full and the condition is fine apart from old hinges on the verso at top, well away from the image. The church depicted here is the First Congregational Church in Springfield, MA. This historic church was built in 1819. There were actually three church buildings at this site before the 1819 structure, the first built in 1637.
SOLD

Wheat Shocks
JOHN ROGERS COX
American, (1915-1990)
Lithograph, 1951, AAA 1141, edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a fine impression with wide margins. The condition is very good apart from faint light toning within an earlier mat opening and very slight toning of the back of the sheet. This is the only print by Cox and it was published by Associated American Artists in New York. Cox was born in Indiana and studied at the Pennsylvania Academy of Fine Arts. He was appointed the first Director of the Swope Art Museum at the age of twenty-six. He organized important shows of American painters and was buying American painters' works from the 1930s and 1940s for the Swope before it became the trendy thing to do. Cox was a fine painter but he produced a small body of work. He tended towards a magic regionalist landscape tradition and his work is quite compelling.
SOLD

Crack-Up
RALSTON CRAWFORD
American, (1906-1978)
Lithograph, 1949, Freeman L49.1, edition 30. 10 x 14 1/4 in. Signed and numbered in pencil. Here we have a fine impression with full margins. There are remains of two tiny hinges on the top corners, verso, otherwise this print is in fine condition. This powerful, early lithograph was printed by George Miller in New York. This work symbolized in black and white the emotions engendered by his four years of war experiences and the shock he had felt when he was stationed at the Bikini Atoll in 1946. (Crawford had been appointed artist-correspondent by Fortune magazine to work with meteorologists on visual charts pertaining to the atomic testing at this remote location.) (See Freeman, page 4, The Lithographs of Ralston Crawford, 1992, published by the University of Kentucky Press.) Ex-collection: Lois Torf, Boston.
SOLD

Hounds and Coyote
JOHN STEUART CURRY
American, (1897-1946)
Lithograph, 1931, Cole 12, edition 25. 10 x 14 in. Signed and dated on the stone, lower left. Signed, dated, titled and numbered (25 prints) in pencil. This impression is dedicated in pencil to fellow artist Harry Wickey and his wife, "To the Wickeys and best luck." The margins are full. The condition is good apart from occasional light foxing and small old hinges at the top corners of the sheet.
$800

Prize Stallions
JOHN STEUART CURRY
American, (1897-1946)
Lithograph, 1938, Cole 31, edition 250 as published by Associated American Artists. 12 3/4 x 8 3/4 in. Initialed and dated in the stone, lower left. Signed and titled in pencil. This is a very fine impression with full margins. The condition is excellent and the original; AAA hinges are in the top corners. The catalogue lists six museums that own this print and we are sure there are more.
SOLD

Ride a Cock Horse
JOHN DEMARTELLY
American, (1903-1980)
Lithograph, 1940, Zink 26, edition 250. 9 3/8 x 12 1/8 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is excellent and we have to original AAA label which goes with the print. Theis scene depicts the artist's wife playing with their first child while there were living in Kansas City. A painting of the subject is in the Whitney Museum.
$750

Blue Valley Fox Hunt
JOHN DEMARTELLY
American, (1903-1980)
Lithograph, 1937, Zink 10, edition 250. 12 3/4 x 16 1/2 in. Signed in pencil. This is a fine impression as published by Associated American Artists in New York. The margins are wide and the condition is very good. There's a trace of an old adhesive around the outer edges of the margins, verso, not showing on the front. De Martelly taught printmaking at the Kansas City Art Institute and he became a close friend of Thomas Hart Benton. In fact, the reclining figure in this print is Benton.
$1,750

Modern Art
ARTHUR WESLEY DOW
American, (1857-1922)
Lithograph printed in colors, 1895-96, edition unknown. 10 1/4 x 8 in. Signed on the stone, lower left. Here we have a fine impression with full margins. The condition is fine apart from subtle toning at the extreme outer edges of the sheet. This is the most common version of this iconic arts and crafts image which was originally published by Louis Prang & Co. in Boston. (As David Kiehl states, "The consummate skill of the Prang firm sensitively reproduced Dow's woodcut "Sundown, Ipswich River" for this poster... capturing the subtle washes of color that characterize his watercolors and Japanese-style woodblock prints." (See pg 119 of American Art Posters of the 1890s.) This smaller version was published in a large edition by Les Maitres de l'Affiche (Paris), (Plate 36) and bears their blindstamp in the lower right corner of the margin (Lugt 1777c). This print was created to promote the journal by this name which was edited by J.M. Bowles and published from 1893-1897. A careful comparison between the two versions does show slight differences in color. (See: American Art Posters of the 1890s by David Kiehl and others, Metropolitan Museum of Art (1988), color plate 4.) There is a third version of this print from 1897, printed in Dresden by Verlag von Gerhard Kuhtmann for the portfolio, Das Moderne Plakat.
SOLD

New Towers
WERNER DREWES
American, (1899-1985)
Woodcut, 1931, Rose 58 (iii/III); edition 20. 11 5/8 x 8 1/8 in. Signed, dated and numbered in pencil. This is a fine impression printed on cream Japanese paper. The margins are full and the condition is fine. (There are minor paper imperfections in the margins and a few tiny specks of foxing.) Drewes produced a number of stellar expressionist woodcuts of New York from 1930-32. They are generally uncommon today.
$2,000

Toy Shop Window
MABEL DWIGHT
American, (1875-1955)
Lithograph printed in colors, 1927, Robinson/Pirog 19, edition 50. 9 1/2 x 12 1/8 in. Signed on the stone, lower center. Signed in pencil and inscribed, "Paris 1927." This is a fine impression with rich colors. The paper is a cream laid and the margins are full. The condition is fine. This charming, beautifully composed print was based on Dwight's time in Paris during 1926-27. Her work there was printed at the studio of Edouard Duchatel which amounted to sixteen lithographs. This work was printed by George Miller in New York suggesting it was drawn on stone after she returned from Paris. Dwight was fortunate to have a master printer in George Miller and she was referred to him by Carl Zigrosser. Dwight admired the work of Daumier and this appreciation is reflected in this print. She created a total of only seven lithographs in color and this is arguably the finest.
SOLD

Deserted Mansion
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1928, Robinson / Pirog 31, edition 30. 11 1/2 x 9 5/8 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is excellent. Dwight often took the ferry from Manhattan to Staten Island and that's where she discovered this stately yet run down Victorian structure. A watercolor was done of the same subject and the edition was printed by George Miller.
$900

Winter, Central Park
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1931, Robinson / Pirog 58, edition 24. 10 x 11 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The condition is also fine. The edition was printed by George Miller in New York.
$950

Nova Scotia
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1935, Robinson / Pirog 77, edition 40. 9 7/8 x 12 1/8 in. Signed in pencil. Here is a fine impression with full margins showing a deckle edge on all sides. The condition is fine other than for a little toning in the left margin well away from the image. According to the catalogue raisonné, Dwight visited Nova Scotia as a guest of Erhard Weyhe and his family.
SOLD

The Survivor, Staten Island
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1929, Robinson / Pirog 40, edition 40. 10 x 13 3/4 in. Signed and dated in pencil. This is a fine impression with full margins. The condition is also fine. The edition was printed by George Miller in New York and three impressions are cited in museum collections. This compelling image provides a glimpse of the dramatic changes to the American urban landscape during the first half of the twentieth century.
$2,500

Winter
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1945, Robinson / Pirog 109, edition only 4. 9 3/8 x 13 3/8 in. Signed in pencil. This is a fine impression with full margins. The condition is fine apart from the faintest suggestion of toning within an earlier mat opening. The setting of the image is New Hope, PA. Dwight lived in Bucks County off an on at a friend's farm beginning in 1939.
$1,500

The Family
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1928, Robinson / Pirog 27, edition 50. 8 x 10 1/8 in. Signed in pencil. Here we have a fine impression in fine condition. The margins are full with a deckle edge all around. The edition was printed by George Miller in New York.
$1,300

Book Auction
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1932, Robinson/Pirog 63 (i/II); edition 40. 9 x 10 3/8 in. Signed and dated in pencil. This is a fine, rich impression printed on RIVES watermarked paper. The margins are full and the condition is fine. This is an undescribed first state impression before the image was reduced along the left side by about 1 3/16 inches. There's a preliminary drawing showing this state illustrated on page 105 of the catalogue which was apparently titled. "Fashionable Auction." This title appears in pencil along the lower left edge of the margin written by someone unknown and it's also listed in the entry as an alternate title for the print. (We have the second state impression on this site if you search under Mabel Dwight.) The scene depicted here is is the book auction of the collected works of the Marquess of Lothian held at the Anderson Galleries in New York, 1932. Dwight was there making sketches and the result was this fine print.
$1,600

Derelicts, New York
MABEL DWIGHT
American, (1875-1955)
Lithograph, 1931, Robinson/Pirog 61 (ii/II); edition 40. 9 3/4 x 12 3/8 in. Signed in pencil. This is a fine, dark impression of this compelling print. The margins are full and the condition is excellent. The scene is along the East River below the steelwork and tower of the Manhattan Bridge. This print relates to a watercolor in the Philadelphia Museum of Art.
$2,500