Old Man Reading
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1941, Fath 44, edition 250. 10 x 12 1/8 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression in excellent condition. The margins are full. According to the artist, "This old man was from one of the small towns near K.C.(Kansas City). A painting was made directly from life - the litho was made from the painting."
$3,800

Lonesome Road
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1938, Fath 18, edition 250. 9 5/8 x 12 1/2 in. Signed on the stone, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. Benton did a painting of this subject in 1927. He also did a drawing of this Arkansas subject in 1926.
$3,500

Dream (Droom)
JOZEF CANTRE
Belgium, (1890-1957)
Woodcut, 1926, edition unknown. 12 1/2 x 9 1/2 in. Initialed and dated in pencil, lower right. Signed and titled in pencil. Also inscribed "handdruk." Cantré was a Belgian sculptor and printmaker. He was a member of "De Vijf" (The Five) together with his brother Jan Frans Cantré, Joris Minne, Frans Masereel and Henri van Straten. He was a pioneer of the Flemish expressionist movement.
$1,200

Drizzly Morning in Chicago
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1929, Chamberlain/Kingsland 84, edition 100. 3 7/8 x 7 3/8 in. Signed, numbered and titled below in pencil. There's a pencil inscription as follows, "a la petite Bertie avec mille lendresses." This is a fine impression with plate tone. The margins are full and the paper bears a BFK RIVES watermark. Fine condition apart from a very faint suggestion of toning from a previous mat opening.
$800

The Abbey Farm
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1931, Chamberlain/Kingsland 109, edition 100 plus 3 working proofs. 7 1/2 x 10 1/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is very good. There are remains of olde hinges at the top corners, verso, and a soft dent in the lower margin away from the image. The setting of the subject is Breuil-le-Vert, Ile -de-France.
$500

Early Morning Market, Senlis
SAMUEL CHAMBERLAIN
American, (1895-1975)
Drypoint, 1939, Chamberlain/Kingsland 273, edition 300. 9 x 6 3/4 in. Signed in pencil. This is a superb impression in fine condition. The margins are full. The plate was engraved for presentation to the Society of American Etchers, renamed the Society of American Graphic Artists.
$500

Post-Surreal Configuration: Biological Symphony
LORSER FEITELSON
American, (1898-1978)
Lithograph, 1939, edition 20. 12 1/8 x 17 1/4 in. Signed and dated on the stone, lower left. Signed, numbered and titled in pencil. This is a superb impression with full margins. The condition is fine apart from a small previous hinge on the top left edge, verso. This highly regarded and uncommon print was originally printed in an edition of twelve and in 1972 the second edition of twenty was printed. "Through the WPA project and it's lithographic printer, Carl Winter, Feitelson and (Helen) Lundeberg undertook to make prints which reflected these noted artists' achievements in Post-Surreal Abstraction, which they pioneered in Southern California." This text is on page 18 of Los Angeles Prints, 1883-1980, by Ebria Feinblatt and Bruce Davis (1980). This print is illustrated on page 53 of this catalogue and there's a painting which relates to the lithograph. (Impressions of this print are found in the National Gallery of Art (DC), the Smithsonian American Art Museum and the Whitney American Art Museum.)
SOLD

Winter Twilight
WANDA GAG
American, (1893-1946)
Lithograph, 1927, Winnan 39, edition 100. 10 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil. This is a fine impression of this stellar print. The margins are full and the condition is excellent. Seventy-five impressions were printed on the zinc plate by George Miller. The total edition was apparently not printed. Two study drawings are in the Philadelphia Museum of Art.
SOLD

Backyard Corner
WANDA GAG
American, (1893-1946)
Lithograph, 1930, Winnan 80, edition 100. 10 3/8 x 12 7/8 in. Initialed on the stone "w" lower right. Signed and dated in pencil. Here we have a fine impression with full margins. The condition is fine apart from slight waviness in the outer margins and a little wrinkle in the lower right corner. This work was printed in New York by George Miller. Winnan cites fifteen impressions in museum collections around the world including the Kupferstichkabinett in Basel, The British Museum in London and the Pushkin State Museum in Moscow. This impression was deaccessioned from the Minneapolis Institute of Art and it previously came from the estate of the artist.
$2,800

Mirror of the Goddess
ERNEST HASKELL
American, (1876-1925)
Etching, 1920, Pousette-Dart pg. 31 (ii/II); edition 100 pus 5 in the first state. 9 x 11 7/8 in. Signed and dated in the plate. Signed in pencil. This is a fine impression with full margins. The condition is fine. Haskell was a printmaker and illustrator well known for his theatrical posters. Whistler is known to have taught him the art of etching and he made several caricatures of him. His prints are in many museums including: the National Gallery of Art, the Art Institute of Chicago, The Metropolitan Museum of Art, the Amon Carter Museum, the Mead Art Museum and so on. "Mirror of the Goddess" is one of his very best prints.
$800

Durerweg (Durer's Path)
HORST JANSSEN
German, (1929-1995)
Etching, 1982, Griffelkunst 57, edition unknown. 11 x 4 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The condition is very good apart from light toning within an earlier mat opening.
$500

Abstraction in Red and Black
JAN JORDENS
Dutch, (1883-1962)
Linoleum cut, 1961, edition unknown. 6 1/4 x 6 5/8 in. Signed and dated in pencil. This is a fine impression with probably the full margins. We have two old hinges showing at the top corners of the sheet and a handling crease in the lower left margin, away from the image. In 1916, he moved with his family to Groningen and joined de Ploeg movement in 1918 when it was founded. He was a constantly innovative artist and he introduced free expression in his art classes in the early 1920s. He admired the prints of Jan Wiegers and later in his career Jordens exhibited in Paris. The Groninger Museum organized a joint exhibition of his work with Jan van der Zee in 1958.
$800

House and Tree
JAN JORDENS
Dutch, (1883-1962)
Woodcut, 1955, unknown. 9 1/2 x 3 3/8 in. Signed and dated in ink. This is a fine impression printed on light cream laid paper. The margins are full and the condition is fine. In 1916, he moved with his family to Groningen and joined the de Ploeg movement in 1918, when it was founded. He was a constantly innovative artist and he introduced free expression in his art classes in the early 1920s. He admired the prints of Jan Wiegers and later in his career Jordens exhibited in Paris. The Groninger Museum organized a joint exhibition of his work with Jan van der Zee in 1958. It's important to note that early works by Jordens, from the 1920s-1940s, are extremely hard to come by.
$650

Modernist Forest Scene
JAN JORDENS
Dutch, (1883-1962)
Etching, undated (possibly 1950s), edition unknown. 12 x 6 7/8 in. Signed in pencil. Here we have a fine impression printed with tone with full margins. Fine condition. Jordens produced several of these expressionist landscapes and this is among the largest we have encountered. The editions are small. It's important to note that early works by Jordens, from the 1920s-1940s, are extremely hard to come by. There's a fine publication about the artist published by the Groninger Museum in 2006, "Geen Kunstenaar der Voleinding, Maar des Wordens," which is part of the series published about the de Ploeg artists, this being volume # 8.
$700

Landscape
JAN JORDENS
Dutch, (1883-1962)
Drypoint and etching, 1952, small edition. 7 1/4 x 6 in. Signed and dated in pencil. Here we have a fine impression with full margins. The condition is very good other than for a crease in the lower left margin and faint toning to the front of the sheet. This engaging print is consistent with Jordens expressionist style of this period. His later work is more abstract in general and this is especially noted in his paintings.
$500

Manhattan
LAWRENCE KUPFERMAN
American, (1909-1982)
Drypoint, 1943, from a very small edition. 11 x 8 1/4 in. Signed and titled in pencil and also inscribed, "Dec 29, 1943." This is a superb impression of this compelling and extremely rare print. This is the full sheet as printed (with a ragged edge across the bottom). Fine condition. This potent, wartime image is among his finest prints and the influence of German expressionism is readily evident. Kupferman was a Boston contemporary of Karl Knaths, Jack Levine, Hyman Bloom and Carl Zerbe. During the years 1937-1940, they were all employed by the WPA program. Kupferman was teaching at the Massachusetts College of Art when this print was done. A comparable work to this is "Vertigo."
$1,600

Strawberries (Les Fraises)
JEAN-EMILE LABOUREUR
French, (1877-1943)
Engraving, 1924, Laboureur 286 (iii/III), edition 70. 7 7/8 x 6 3/8 in. Initialed in the plate, lower left. Signed and numbered in pencil. Here we have a fine impression with full margins. The condition is very good apart from a small French customs stamp on the verso and two old hinges on the right edge, verso. There's an extremely faint suggestion of light toning within an earlier mat opening. The plate was cancelled in 1926.
$650

Strawberries (Les Fraises)
JEAN-EMILE LABOUREUR
French, (1877-1943)
Engraving, 1924, Laboureur 286 (ii/III), edition 7. 7 7/8 x 6 3/8 in. Signed and numbered in pencil. this is a fine impression of the second state of three. The margins are full and the condition is fine. (Old hinges remain on the right edge, verso.) This impression lacks the artist's monogram and there's less work in the foreground shading.
$450

Strawberries (Les Fraises)
JEAN-EMILE LABOUREUR
French, (1877-1943)
Engraving, 1924, Laboureur 286 (i/III), edition 6. 7 7/8 x 6 3/8 in. Signed and numbered in pencil. This is a fine impression of the first state of three. The margins are full and the condition is fine. (There are old hinges on the right edge, verso.) This rare impression bears the blindstamp PETIET EDITEUR PARIS in the lower left margin. The watermark is ARCHES, PARIS.
$400

Le Bal Bullier
JEAN-EMILE LABOUREUR
French, (1877-1943)
Woodcut, 1898, Laboureur 579, edition 60 (61?) 8 3/4 x 11 3/8 in. Initialed in the block, lower left. Signed and numbered in pencil. This is a fine, rich impression with full margins. The condition is excellent. This stellar woodcut was exhibited at the Société Nationale des Beaux-Arts in the spring of 1898. It's illustrated and discussed on page 139 of The Artistic Revival of the Woodcut in France 1850-1900 (1984) by Jacquelyn Baas and Richard Field. Bal Bullier was a ballroom in Paris created by François Bullier in the mid 19th century and it was open until 1940. It was a well known student dance hall at 31 Avenue de l'Observatoire. (Note: the catalogue states an edition of sixty-one impressions but all the numbering we have seen is from an edition of sixty, as here. The catalogue suggests there exists an "épr. d'essai" proof before the monogram in the block which would account for the extra impression.)
$4,500