Man Harvesting
JAN ALTINK
Dutch, (1885-1971)
Etching with drypoint, 1931, from a very small edition. 7 7/8 x 10 1/8 in. Signed and dated in pencil. This is a fine impression with probably the full margins. The condition is fine. (The two edges of the platemark, verso, are professionally reinforced due to the intense pressure of the plate from printing.) Altink was born, raised and studied in Groningen and this is a view of the countryside where he lived. He was a founding member of the Dutch expressionist group called "de Ploeg" which means both "plow" and "team". The subject of this print is very appropriate given the meaning of "de Ploeg." In fact, most of Altink's etchings show a deeply bitten plate and his lithographs are consistently dark and dramatic. Provenance: C.J.M. Rolink.
$1,650

A Few Ideas
PEGGY BACON
American, (1895-1987)
Drypoint, 1927, Flint 71, edition unknown. 7 7/8 x 9 7/8 in. Signed and dated in the plate, lower right. Signed, dated and titled in pencil. This is a fine, rich impression of this uncommon and entertaining print. The margins are full and the condition is excellent. Left to right, around the table: Yasuo Kuniyoshi, Mrs. George Biddle, John Carroll, Louise Hellstrom, George Biddle and and Mrs. Kuniyoshi. Left to right, across the back: Henry Billings, Alexander Brook, Pat Riley, Peggy Bacon, Inez Carroll and Mrs. Riley. The scene is George Biddle's livingroom at their home in Croton-on-Hudson. This outstanding print is in the collection of: The Philadelphia Museum of Art, The Amon Carter Museum of American Art, the Brooklyn Museum and the National Gallery among others. Provenance: Hirschl & Adler, New York.
$5,000

From Hillside Gardens
GUSTAVE BAUMANN
American, (1881-1971)
Woodcut printed in colors, 1941-46, Chamberlain 162, edition 83. 12 3/4 x 12 5/8 in. Signed, numbered and titled in pencil. This is a fine, vibrant impression of the second of two printings. The margins are wide. The condition is fine apart from a very faint suggestion of toning in the margins. The first printing (1941) was generally with a silver leaf background and here in the second printing (1946), the background color is silver ink. The inspiration for this lovely print was a garden at Hillside, Lydia Coonley Ward's home in Wyoming, New York. (Note: This is a Baumann replica frame of exceptional quality. We had it made up for this print.)
$16,500

Self Portrait
THOMAS HART BENTON
American, (1889-1975)
Lithograph, 1972, Fath 84, edition 300. 19 5/8 x 13 3/4 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression of this large work. The margins are full and the condition is excellent.
SOLD

Stewart's
PAUL CADMUS
American, (1904-1999)
Etching, 1934, Davenport 35, Johnson & Miller 78; edition 50. 8 x 11 3/4 in. Signed in pencil. This is a superb impression printed on white wove paper. The margins are full and the condition is fine. (There's a tiny speck to the left of the platemark which does not show when matted.) This great, early work relates closely to a painting which is now in the collection of the Museum of Modern Art in New York. That work has the title "Greenwich Village Cafeteria."
$8,500

Underground
LETTERIO CALAPAI
American, (1902-1993)
Etching and aquatint, 1946, edition 30. 17 5/8 x 11 3/4 in. Signed, dated, titled and numbered in pencil. This is a superb impression of this extremely rare work. The margins are full and the condition is excellent. This dramatic, modernist view shows the subway station at 42nd Street and Times Square in New York. Calapai was active with the WPA program from 1935-1943. He worked with Stanley W. Hayter at his studio in New York from 1946 to 1949. This outstadning print is in the National Gallery, the Art Institute of Chicago and Boston University, among others. We have had this print custom framed and that cost is included in the price.
$14,000

Woman at a Window
GUSTAVE DE SMET
Belgian, (1877-1943)
Woodcut printed in color, circa 1920, Boyens 517, from a very small edition. 9 x 8 1/2 in. Signed in ink, lower right. Here we have a fine impression with full margins. The paper is a thin light tan wove. The condition is fine. This is a rare print as are all of de Smet's woodcuts. Along with Constant Permeke and Fritz van den Berghe, de Smet is one of the preeminent Belgian expressionist painters. This print relates closely to a painting done in 1920.
$2,500

House of the Barn Owl (Het Huis van der Kerkuil, Groningen)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1977-1981, RKD CD 77-28 (iv/VII); edition 40. 8 3/8 x 11 1/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is very good apart from very slight light toning around the image. As outlined in the online catalogue raisonne, this plate went through some dramatic state changes. Note: The RKD Netherlands Institute for Art History has published online a series of catalogues including this one. https://rkdstudies.nl/
$850

Young Walnut Tree between Elderberry and Beech Tree (Jonge Notenboom tussen Vlierstruik en Beukenboom)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1981, RKD CD 80-11 (iii/III); proofs only. 7 3/4 x 11 5/8 in. Signed in the plate, lower left. Signed in pencil and inscribed, "proefdruk." This is a fine, total impression of this rare print. The margins are full and the condition is fine. The work was based on sketches done in Rhijnaumen.
$1,100

Tawney Owl on a Wall (Bosuil opeen Muurtje)
CHARLES DONKER
Dutch, (b. 1940)
Etching, 1969, RKD CD 69-7, edition only 20. 6 1/2 x 6 1/2 in. Signed and numbered in pencil. PMZN is etched in the lower left corner of the plate. This is a fine, delicate impression of this rare, early print. The margins are full and the condition is fine. (There's a tiny circular spot to the left of the platemark.) Owls are a favorite subject of the artist throughout his career.
$1,100

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

November Textures
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, 1933, Pasadena catalogue page 96; edition unknown. 10 x 11 3/8 in. Signed and titled in pencil. This is a superb impression with fresh colors. The margins are full and the condition is fine. This print is the cover illustration for the first major retrospective of Gearhart's work. "Behold the Day, the Color Block Prints of Frances Gearhart" was published in conjunction with the 2009-2010 exhibition at the Pasadena Museum of Art. Authors include Susan Futterman, Victoria Dailey and Nancy Green.
$9,000

Weltschmertz
ROCKWELL KENT
American, (1881-1940)
Lithograph, 1947, Burne Jones/Rightmire 141, edition 100. 13 3/4 x 19 1/2 in. Signed and titled in pencil. This is a fine impression with wide and possibly the full margins. There are preliminary sketches and a tracing in the Kent collection at Columbia University. Weltschmertz translated from the German means "world weariness." It's about melancholy and pensive thoughts. Impressions are cited in five museum collections.
SOLD

Clouds at Sunset
GENE KLOSS
American, (1903-1996)
Drypoint and aquatint, 1953, Sanchez 449, edition 250. 9 x 13 7/8 in. Signed in pencil. Here we have a superb impression with full margins. The condition is fine apart from traces of the original hinges showing at the top corners, recto. This was a presentation print for the Print Club of Albany. Impressions are cited in the following museums: The National Gallery of Art, The Smithsonian American Art Museum, The Fine Arts Museum of San Francisco and the Worcester Art Museum, and others.
$2,250

Summer Evening in New Mexico
GENE KLOSS
American, (1903-1996)
Aquatint and drypoint, 1941, Sanchez 370, edition 75. 8 7/8 x 12 in. Signed and titled in pencil. This is a fine, dramatic impression with full margins. The condition is fine. (There's a little bit of time toning on the outer right edge of the sheet.)
$3,500

The Cushion (Der Polster)
MAXIMILLIAN KURZWEIL
Austrian, (1867-1916)
Woodcut printed in colors, 1903, edition unknown. 11 1/4 x 10 1/4 in. Signed with the printed text below along the support sheet. This is a stellar impression with the untrimmed original support. The margins are full and the condition is fine. (There's some modest rippling in the upper margin where the sheet is attached to the mount.) This is the published edition of this famous print published by the Verlag der Gesellschaft für Vervielfältigende Kunst, Vienna. It's illustrated on page 241 of Jugendstijl; Graphik und Druchkunst by Hans Hofstatter.
$3,800

Manhattan Canyon
ARMIN LANDECK
American, (1905-1984)
Drypoint, 1934, Kraeft 46, edition 100. 14 x 6 3/4 in. Signed in pencil and inscribed, "for Wellesley Davis." This is a superb impression with full margins. The condition is excellent. This is an early, stellar New York image with a nice balance of modernism and careful observation. This plate did wear down a bit after awhile and not all of the impressions are this rich. Provenance: Hirschl & Adler, New York.
$4,000

At the Sea (An der Zee)
PAUL LESCHORN
German, (1876-1971)
Woodcut printed on gray paper, circa 1915-20, edition unknown. 8 7/8 x 15 1/2 in. Signed and titled in pencil. Here we have a fine impression of this somber and finely executed print. The margins are full. The condition is very good apart from a soft crease in the upper margin well away from the image. There's a fine, informative story about the artist on the following blog called Modern Printmakers: Paul Leschorn: Master of Light. https://haji-b.blogspot.com/2011/01/paul-leschhorn-master-of-light.html
$1,000

Winter on White Street
MARTIN LEWIS
American, (1881-1962)
Drypoint and sand ground, 1934, McCarron 110 (iii/III), edition 41 including 4 trial proofs. 10 7/8 x 6 7/8 in. Signed in the plate, lower left. Signed in pencil. This is a very fine, atmospheric impression with full margins. The condition is fine apart from a couple of tiny specks in the lower margin. This uncommon print was done in Danbury, CT. As McCarron aptly states, "The placement of two blank white rectangles near the center of the composition is a daring compositional device." (see pg. 197).
SOLD

Seated Man before a Stove (Zittende Man voor Potkachel)
LOU LOEBER
Dutch, (1894-1983)
Linoleum cut, circa 1926, edition 75. 11 7/8 x 9 3/4 in. Initialed in the block, lower right. Signed and numbered in pencil. This is a fine impression printed on thin Japanese paper. The margins are full and the condition is fine. This stellar Dutch modernist image exemplifies De Stijl aesthetics and it's one of Loeber's best prints. This print is illustrated on page 36 of "Gedroomd Papier, Tekeningen en Prenten 1850-1935" by Ton Geerts (2010). Louise Marie 'Lou' Loeber studied at the Rijksacademie in Amsterdam from 1915-1918. Mondrian was a big influence along the way as was Bart van der Leck (who became a neighbor of hers in Blaricum.) In 1931, she married the artist Dirk Koning (1888-1978) whose work was somewhat similiar. Loeber's early prints are rare.
SOLD