Will Barnet

AT THE SEASHORE

1939

Avery, Milton. NIGHT NUDE. Woodcut, 1953. Edition of 25 in black and white (there were a further 25 printed in black and blue). Signed, dated and numbered "6/25" in pencil, and also ...

Barnet, Will. CHILD REACHING. Szoke 83, Cole 82, Johnson 65. Woodcut, 1940. Edition of 25. Titled and signed in pencil. 7 1/4 x 11 1/4 inches (image), 8 1/8 x 11 1/2 inches (sheet). ...

Barnet, Will. SLEEPING MAN (REST). Szoke 42, Cole 41, Johnson 40. Woodcut, 1937. Edition of 10. Titled "Sleeping Man" at left, and signed at right, both in pencil. This print is usua...

Bacon, Peggy. SPEAKING OF CHILDREN and PTA FRIEND'S SEMINARY. Flint 120. Etching, 1933, together with a preparatory drawing, titled "PTA Friend's Seminary." The etching titled, dated an signed in pencil. The edition size is not known, but likely small as the print is uncommon; there are no auction...

Bacon, Peggy. THE CLINIC. Flint 109. Drypoint, 1932. Edition size not known, but likely very small as the print is rare. 4 15/16 x 6 7/8 inches, plus wide margins (the sheet is 11 x ...

Frasconi, Antonio. SIX SOUTH AMERICAN FOLK RHYMES ABOUT LOVE. South Norwalk, CT., 1964. Edition of 2000, of which this is one of 100 numbered and with a signed woodcut frontispiece. ...

Ohio-born Walter DuBois Richards (1907-2006) was educated at the Cleveland School of Art. He re-located to New York around 1933 where he had a successful career as a commercial artis...

Aline Feldman was born in 1928 and grew up in Kansas. She studied design and printmaking at Washington University in St. Louis under Werner Drewes and Fred Becker, respectively. She studied painting at Indiana University...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) FRUIT FOR SALE c.1928 Color block print. Unsigned. This is an original block print from “Let’s Play”, an intended but unpublished children’s book done in collaboration with her sisters Edna and May in 1928. Image 8 x 7 inches. On a tissue thin laid paper. Irregular sheet 9 3/8 x 8 1/2. The entire series consisted of over 20 children's images. There were very few printed. The editions of the various children varied but likely no more than 50. This impression very well printed with good colors, Very good condition. The margins are likely as issued with the irregular edges. The margins and paper used for this series varies from one print to the next. A bit of tape remnants at top center sheet edge. A very nice example of this print. It is not unusual for impressions of this series to be unsigned, although many are signed "The Gearharts" The Provenance of this example is fascinating. It was acquired from a gentleman who knew the Gearharts as a child in the early 50's in Pasadena. It was part of a collection given to him by Frances. In his adult years he was in the military and took the collection with him as he traveled around Europe, After 81 years, based on the original prints, this book was published by the “California Book...

Fritz Eichenberg, 'The Aquarium', wood engraving, 1933, edition 200. Signed and titled in pencil. Initialed in the block, lower right. A superb, richly-inked impression, on pale yel...

Fritz Eichenberg, 'The Steps', wood engraving, 1933, edition 200. Signed, titled, and annotated 'Ed. 200' in pencil. Initialed in the block, lower right. A superb, richly-inked impr...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...