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Self Portrait CECIL BULLER Canadian, (1886-1973) Wood engraving, 1949, Ainslie 53 (iii/III); edition 25. 10 1/16 x 8 1/8 in. Signed in pencil. This is a superb impression of this uncommon print. The paper is a japanese and the margins are full. The condition is excellent. This work was made on the occasion of Butler's entry as an associate in the the National Academy of Design. As Ainslie states, "The whole image has a dream-like quality that is reinforced by the pensive attitude of the face. Symbolic elements and sections of earlier prints appear behind the portrait, suggesting her relationships with those particular works and with the recurring elements of her thoughts and subconscious mind. (See Cecil Buller, Modernist Printmaker, Glenbow Museum, (1989), page 42. $2,000 |
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The Heavens CHARLES BURCHFIELD American, (1893-1967) Wood engraving in collaboration with JJ Lankes, 1923-24, Czestochowski 4, Cleveland/Prasse 185, edition 13. 6 1/8 x 4 5/8 in. Initialed in the block (B+L) by Burchfield and Lankes. Signed and titled by both artists in pencil and also inscribed "no. 5". The print is titled along the bottom margin in pencil. This is a superb impression of this extremely rare work. The margins are full and the condition is fine apart from small old hinges showing at the top corners, well away from the image. Burchfield and Lankes published eleven wood engravings together. Burchfield did the designs and Lankes cut the blocks. The Heavens deals with the world of the spirit and it reaffirms the mysticism of Burchfields's work from 1915-17. This wood engraving was intended for a publication of Ecclesiastes along with three other prints. That publication never materialized. The checklist of Burchfield's prints by Joseph Czestochowski appeared in the American Art Journal, November 1976, pages 99-110. SOLD |
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Mexican Girl MARGARET BURROUGHS African American, (1915-2010) Linoleum cut, 1998, edition unknown. 21 1/2 x 13 3/4 in. Initialed in the block, lower left. Signed, titled and dated in ink. This is a superb impression printed on white wove paper. The margins are probably full and the condition is fine. (There's a small bent corner, lower right, and a smudge on the bottom center margin.) This large, dynamic print relates to an earlier and smaller version of the same subject. (An impression from the Melvin Holmes Collection of African American Art measures 13 3/4 x 8 3/4 in. It's dated 1953 and the edition was only five impressions.) Dr. Margaret T. Burroughs was a visual artist, writer, educator and founder of the DuSable Museum of African American History in Hyde Park (Chicago). Burroughs spent a brief time in Mexico where she studied printmaking under the direction of Leopoldo Méndez at the Taller de Gráfica Popular. As a leader of the Black Arts Movement in Chicago, her works focused on community and the social empowerment of art. $3,500 |
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Birthday Party MARGARET BURROUGHS African American, (1915-2010) Linoleum cut, 2002, edition 10 plus later proofs. 16 1/8 x 19 3/8 in. Signed, dated and titled in ink. This is a good impression printed on a sturdy wove paper. The margins are narrow along the top and bottom but this appears to be the full sheet as printed. The condition is fine. This large and charming image was created in 1960 and printed in an edition of only ten impressions. This is a later printing from 2002. Margaret Burroughs was a pioneering African American artist, writer and activist. She co-founded the Ebony Museum in Chicago which is now the DuSable Museum of African American History. An impression of this print is in the Art Institute of Chicago. Burroughs also produced a 1986 etching of the same subject. SOLD |
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8:30 Express LETTERIO CALAPAI American, (1902-1993) Wood engraving, 1943-44, edition 27 plus proofs. 5 1/4 x 8 1/2 in. Initialed in the block. Signed, numbered and titled in pencil. This is a fine impression in fine condition. The margins are full. This potent image of a packed New York subway scene combines the expressionist "edge" of the wood engraving medium with a tilted perspective suggesting chaos and disorder. Impressions of this print are located at the Art Institute of Chicago, The Metropolitan Museum of Art, The National Gallery of Art, the Yale University Art Gallery. SOLD |
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City Canyon LETTERIO CALAPAI American, (1902-1993) Wood engraving, 1950, edition 75. 10 3/4 x 6 1/2 in. Initialed in the block, lower right. Signed and titled in pencil and also inscribed "artist's proof." This is a fine impression with substantial margins. The condition is fine. The artist's embossed stamp is in the lower right. $800 |
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Eagle Dance HOWARD COOK American, (1901-1980) Wood engraving, 1942, Duffy 201, edition 200. 10 x 8 in. Signed and dated in pencil. This is a superb impression in fine condition. The margins are full. This print was published by the Woodcut Society of Kansas City. The print is still in the folder it was published in and
it's attached at the two top corners, verso. Duffy cites ten impressions in museum collections. $1,800 |
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Sun and Desolation HOWARD COOK American, (1901-1980) Woodcut, 1926, Duffy 34, edition 50. 9 1/4 x 13 3/4 in. Signed in the block, lower right. Signed in pencil. This is a superb impression printed on thin, cream japan paper. The margins are full and the condition is fine. This large work was probably done in Maine where he spent the summer of 1926. $1,500 |
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Wood Interior HOWARD COOK American, (1901-1980) Wood engraving, 1931, Duffy 171, edition about 150 (?) 6 1/2 x 4 1/8 in. Signed, dated and numbered in pencil. This is a fine impression printed on thin light cream wove paper. The margins are wide and the condition is fine. (There's just the faintest suggestion of toning within an earlier mat opening.) This is from the deluxe edition of 100 from The Checkerboard
published by Weyhe Gallery in 1931. $900 |
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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 |
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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 |
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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. $1,600 |
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Moonlit Night (Mannacht) ANNA JULIE DE GRAAG Dutch, (1877-1924) Woodcut printed in colors, 1920, Cat. Grafiek GJ Nieuwenhuizen Segaar, no. 26; edition unknown. 8 1/2 x 6 1/2 in. Signed and dated in pencil. This is a fine impression printed on gray paper. The margins are full. The condition is fine. De Graag specialized in arts and crafts style woodcuts. She lived and worked in the Hague and studied at the Academy there with J.J. Aarts. The verso bears the stamp of Segaar over the publisher's stamp of Cornelius de Lorm. SOLD |
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Nature Study ANNA JULIE DE GRAAG Dutch, (1877-1924) Woodcut printed in colors, 1917, edition unknown. 7 1/8 x 5 3/8 in. Initialed and dated in the plate. Signed in pencil. this is a fine impression printed on gray laid paper. The margins are wide and the condition is fine apart from slight toning within an earlier mat opening. This print was published by Cornelius de Lorm and their stamp is on the verso. SOLD |
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To Be Or Not To Be VICTOR DELHEZ Belgian, (1902-1985) Wood engraving, 1948, small edition. 11 3/4 x 8 7/8 in. Signed in pencil and initialed in the block. Inscribed "epreuve d'artiste". A fine impression in fine condition. Full margins. $875 |
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Three Virtues (Drie Deugend) VICTOR DELHEZ Belgian, (1902-1985) Wood engraving , 1943, Breda catalogue # 490, edition unknown. 11 3/4 x 9 in. Signed in pencil and also inscribed "épeuve d'artiste." This is is a fine impression with full margins. The paper is a cream colored wove which is typically what Delhez printed on. His editions were always very small and each impression is usually inscribed as an artists proof. This early work from his Danse Macabre series, also called Dodendans, is exemplary of Delhez's interest in humor and the macabre. This is his version of the Chinese proverb, "Hear no Evil, See no Evil, Speak no Evil." SOLD |
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De Zichter (Harvester) JOHAN DIJKSTRA Dutch, (1896-1978) Woodcut, 1924-25, edition unknown. 28 3/4 x 20 1/2 in. Signed in pencil and also inscribed "handdruck." A fine impression in very good condition. There are a few small printing creases showing mostly in the wide margins. The block for this large work was cut in 1924-25 and very few impressions were taken. This is from the second printing in 1957-58 with the addition of "handdruk" in pencil. Some later impressions are known which were printed on thin paper and without the added inscription. Dijkstra was a founding member of the Groningen art society known as "De Ploeg." This Dutch expressionist movement was inspired by Kirchner, among others. $3,000 |
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Street Scene with Lady in a Hat JOHAN DIJKSTRA Dutch, (1896-1978) Woodcut, circa 1925-27, edition unknown but quite small. 20 1/2 x 15 in. Signed in pencil lower right and inscribed 'epreuve," lower left. This is a superb, early impression printed on tan paper. The margins are substantial and the condition is fine. Dijkstra was a founding member of the Dutch expressionist movement known as "De Ploeg," (The Plow) which was established in Groningen in 1918. Indeed, expressionism was international. Dijkstra, along with Jan Wiegers, Jan Altink and others, were keenly aware of the German contingent of the expressionist movement and Wiegers became very close friends with Kirchner while he was living in Davos, Switzerland. Dutch expressionism is often overlooked but it represents an integral part of early 20th century Dutch artistic heritage. The Groninger Museum today possesses a large collection of prints, drawings and paintings by these artists. This is an exceptional and rare woodcut certainly printed in a very small edition. Dijkstra's best work, as seen here, clearly reflects the influence of Kirchner but also shows an artist with his own compelling vision. De Ploeg prints were printed in small editions due to the rather limited audience at the time. SOLD |
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Suburbs (Buitenwijk) JOHAN DIJKSTRA Dutch, (1896-1978) Woodcut printed in yellow and black, 1923, De Vries H5, edition unknown. 14 x 21 1/8 in. Signed and dated in ink. Inscribed in pencil "eigen druk" (printed by hand). This is a superb impression of this large, outstanding Dutch expressionist woodcut. The margins are full. The condition is very good. (The artist carefully added a small cutout paper patch, printed in black, onto the image to the left of center. The pressure of the block and the stickiness of the ink pulled up a small part of the paper in this spot. He was obviously pleased with the impression to have gone to this extent to fix it.) Dijkstra, like Jan Altink, was taught by the non-conformist painter F.H. Bach. Both were founders of the "de Ploeg" movement in Groningen and the two often painted together. They were both in the first de Ploeg show in 1919. SOLD |
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Woodcuts, Ploeg, 1927 (Houtsneden, Ploeg, 1927) JOHAN DIJKSTRA Dutch, (1896-1978) Woodcut printed in colors, 1927, De Vries p.55, 88; edition unknown. 8 1/4 x 14 7/8 in. Signed with the orange atelier stamp in the lower right corner. This is a fine impression with full margins. The condition is very good apart from a vertical centerfold and minor soiling and stray yellow printer's ink in the bottom margin. The name of the artist appears in the upper right corner as typescript. It seems that in the mid-twenties, the Ploeg artists were discussing the possibility of creating a portfolio of Ploeg prints which could be used as a sort of promotional gift for art dealers, museums etc. They decided to launch a competition for a cover design. According to De Vries, Dijkstra submitted at least two (this being one of them). At the next meeting, however, it turned out that the other members were not very enthusiastic about the idea and the project was eventually abandoned. SOLD |
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