Albert Abramovitz

Wuxtry! [Extra!]

c. 1936

Harriet (Keese) Lanfair (1900-1988) lithograph, c. 1935, signed in pencil on lower right margin. Printed on a very light japan paper, with margins. A proof impression, with printers...

George Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed ’43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover). A fine black impression. Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all adds to the richness of texture and color.” This work produces a very sophisticated lithographic look, akin in some ways to drypoint work in etching. After Groton, Harvard College and Harvard Law (and several breakdowns) Biddle concluded that a conventional career in law was not for him; he decided on art, went to Paris, worked with Mary Cassatt and familiarized himself with modernist currents in art (as well as more traditional European art). After serving in WWI, and the dissolution of his marriage, he became interested in working outside of the European tradition (although his travels continued to include Europe, and he spent a period working under the influence of Jules Pascin in Paris in the mid-‘20’s). Coffee Huskers, like many of the Mexican and Haitian prints...

Reginald Marsh (1898-1954), East Tenth Street Jungle, 1934, etching, signed and annotated “Second Proof, First State”, in pencil [also initialed and dated in the plate]. Reference: S...

Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and only one or two of the prior states), and considered only 10 of the 15 valuable. His notation “Forty Proofs” is therefore surely an expression of a hoped-for edition size, as opposed to an actual edition size. We have found this quite often the case with Marsh prints – he indicates an edition size but the actual number of impressions printed is considerably smaller. There is an eerie, almost ominous note in this, as in several of Marsh’s merry-go-round prints...

"Figure" is an original linoleum print by Gerrit Sinclair, signed in the lower left hand corner. It features a woman fixing her hair in front of a mirror, her nude body visible to the viewer from the back and front reflecting in the mirror. Image: 6" x 5" Framed: 13.37" x 12.43" Gerrit Sinclair brought the charming style of American Regionalism painting...

This artwork "chrysanthemum" is an original linocut print on paper by American botanical artist Henry Evans, 1918-1990. It is hand signed, titled, dated and numbered 213/320 in penc...

This artwork titled "Worm Wood" is an original linocut print on paper by American botanical artist Henry Evans, 1918-1990. It is hand signed, titled, dated and numbered 185/200 in p...

This artwork titled "A Kodak Moment" 1992 is an offset lithograph by renown Western artist Gary Carter, born 1938. It is hand signed and numbered 816/850 i...