Ifpda International Fine Print Dealers Association

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

'The Lamentation', lithograph, 1941, edition 35, Fine and Looney 198. Signed, titled, and annotated 'Ed 35' in pencil. Initialed in the stone, lower ri...

Color lithograph with metallic leaf, Edition 30 Kushner's use of rich color harmonies and bold, fluid drawing, mark his belief in the importance of beauty in our lives. Kushner ha...

Jane Peterson (1876-1965) Lilies Oil on canvas, 1952-1953 Signed by the artist lower right: JANE PETERSON (see photo) Painting size: 29 x 23 inches Frame size: 38 x 32-1/2...

Lawrence Nelson Wilbur (1897-1988), 'Sundown, Stonington, Maine', wood engraving, artist's proof, edition not stated but small, 1969. Signed and titled in pencil. Signed in the block...

Reginald Marsh, 'A Morning in May', etching, 1936, edition 100 (Whitney, 1969), Sasowsky 169. Unsigned as published; numbered '89/100' in pencil. A superb, richly-inked impression, ...

Baby, Baby Etching & aquatint printed in colors, 1991 Signed, dated, titled & numbered in pencil (see photos) Edition: 35 (4/35) plus 10 AP Condition: Excellent, colors fresh Image/...

HAROLD LUKENS DOOLTTLE (1883 - 1974) WESTERN GRANDEUR c. 1945 Aquatint, signed titled and dedicated. Image 9 ¾ x 13 5/8 inches. Large full sheet with deckle edges 15 ½ x 19 inches...

An overflow of traffic in front of St. Bartholomew's Episcopal Cathedral on Park Avenue between 50th and 51st

PAUL GAUGUIN (French 1848 - 1903) DEAUX FEMMES MAORIES ACCROUPIES. 1894-5 (Kornfield 26: Guerin 87 ) Zincograph (Lithograph) on smooth, cream imitation Japan paper, edition 200. Pu...

Masami Iwata, 'Flowers and Ko-Imari', color woodblock print, c. 1960, edition 250. Signed, and with the artist’s seal, lower right. A superb, painterly impression, with fresh colors,...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

Allen Ladd as Shane Colored and metallic paper collage. c. 1960's Signed in ink lower right; Signed in pencil on reverse; (see photo) Titled in pencil upper left recto (see photo) C...

Robert Blackburn, Untitled (Reclining Nude), brush and ink, c. 1948, unsigned. A fine, spontaneous work, on cream wove paper. Slight toning to the sheet edges; otherwise in excellent condition. Matted to museum standards, unframed. Image size 18 3/4 x 23 1/2 inches (476 x 597 mm). Provenance: Adrienne E. Wheeler Collection, acquired from the artist. ABOUT THE ARTIST Robert Blackburn (1920 - 2003) participated in the rich mix of art programs and creative groups available in Harlem as he grew up, including Charles Alston's Harlem Arts Workshop, the Harlem YMCA, and later the Harlem Artist's Guild. In 1937 he joined the WPA at the Harlem Community Art Center, the largest New York center for instruction in the arts. There he was exposed to Harlem's most prominent artists, Aaron Douglas, William Henry Johnson...

Original chromolithograph teaching chart by Heinrich Jung G. Ton Koch, and F. Quentell. Darmstadt, Verlag Frommann & Morian, circa 1902.

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) PAYSAGE D’ ITALIE 1866 (Melot 7 iii/iii) Etching, plate 6 ¼ x 9 inches, Third state after the removal of the text but before the random scr...

"Mexican Orchestra" is one of the George Overbury Hart's largest pieces. It is #14 from a limited edition of 50. The image captures a festive event with hanging lanterns, an orches...

William Wegman is an American artist renowned for his iconic dog photographs featuring his Weimaraners, who he sees as "perfect fashion models", utilizing their elegant forms and abi...

Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican) Etching, 1748 From the first printing of the "Vedute di Roma" An early impression with strong contrasts Before the price and the addition of numbers in the later states. A view of Michelangelo's done from behind the Piazza, redesigned in 1547 Condition: Excellent Plate size: 15 3/4 x 24 3/4 inches Reference: Robison 5 a/g Hind 5 i/VII Focillon 54.789 Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), St. Peter's is regarded as one of the holiest Catholic shrines...

Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...

Etude pour une baigneuse (Study for a Bather) Drypoint, 1901-1911 Signed with the signature stamp, Lugt 2137a Printed: Louis Fort, Paris Publisher: Ambrose Vollard, Paris "The fame o...

Basketball Player Gouache on card stock, c. 1940 Signed by the artist in ink lower center A study for the fresco mural in the Social Security Buildin...

Early Speed Lithograph, 1953 Signed lower right Edition 250 Published by Associated American Artists Illustrated: AAA catalog 1953-03 Reference: AAA Index 1187 Condition: The sheet i...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

Bull engaging the muleta (Bull Fight) Signed with the Estate stamp lower left (See photo) Provenance: Estate of the Artist Marbella Gallery Inc., NYC Refer...

Action Plus Lithograph, 1950 Signed lower right (see photo) Titled lower left (see photo) Edition 250 Published by Associated American Artists, New York Illustrated: AAA catalogs 195...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Possibly a rendering for the renovation of Marion Oliver McCaw Hall in Downtown Seattle. Original gouache on artist board. American, circa 1962, artist unknown.

Conversation Lithograph, 1893-1894 Signed and numbered in pencil lower left (see photo) Edition: (57/100) 100 Printed on wove paper Published by Edouard Kleinmann An early Nabi schoo...

Adolph Gottlieb (1903-1974). NIGHT GLOW. Etching and aquatint in colors, 1971. Edition of 65. Signed and dated in pencil, numbered 17/65 in pencil. Published and printed by 2RC Edizi...

Untitled (Female Nude) Graphite and sgrafitto on yellow paper, 1987 Signed lower right Note: Steven Assael is represented by Forum Gallery in New York. In 1977 he won the Charles Ro...

7th Avenue Canyon Etching, 1927 Signed and titled in pencil by the artist (see photo) Depicts what was then referred to s the Garment Disctrict in New York City. References And Exhib...

Beautiful Impressionist painting featuring elegantly-dressed Parisians out for an afternoon stroll. Bouquets of flowers rest in a tub to the left of the streetlamp, while a horse-dra...

Karl Michel, 'Austellung Karl Michel', woodcut, 1924, edition 20. Signed, dated, numbered 'op. 173' (the artist's inventory number) and '7/20' (the impression number/edition size) and annotated 'Vorgesdruck' (artist's proof) in pencil. A fine, richly-inked impression on hand-made cream, wove paper, with full margins (1 1/16 to 1 1/2 inches); toning to the right sheet edge deckle, otherwise in good condition. With the artist's blind stamp in the bottom center margin. Designed and printed by the artist. Very scarce. Matted to museum standards (unframed). An elegantly designed, dynamic exhibition announcement with the German copy in the block: 'Austellung Karl Michel – Deutsches Buchmuseum Leipzig/Zeitzer str 12, Berlin S.W. 61 Teltower str 33 / Buchschmuck/ Plakate/ Anzeige/ Schultzmarke/ Illustrations/ Ex Libris'. English translation: 'Karl Michel Exhibition – German Book Museum, Leipzig Zeitzer Street 12, Berlin, S.W. 61 Teltower St. 33. / Book Decoration / Posters / Announcements / Illustrations / Ex Libris.' Image size 6 x 4 inches (152 x 102 mm); sheet size 8 1/16 x 5 1/2 inches (205 x 140 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine 'Das Plakat' (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

In th Bighorns (Wyoming) Drypoint, c. 1930's Signed in pencil lower right (see photo) Titled in the plate lower left Condition: Excellent Image/Plate size: 6 3/8 x 4 3/8 inches Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

Self taught outsider art by African American artist from New Orleans with work in major museum and private collections. White created a bold c...

La Pique (The Pike) Lithograph, 1950 Original lithograph drawn with chalk and "frottage textures" transferred to stone, 1950. Unsigned printer's proof Inscribed on the verso in Mourl...

Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printe...

Dark House is a soft-ground etching with aquatint signed in pencil by the artist. This image is in the collection of the Detroit Institute of the Arts Printmaker Earl Horter, born in 1881 in Germantown, Pennsylvania, was known for his realistic etchings and aquatints of urban scenes, though he was also an illustrator and painter. As a teenager, he engraved stock certificates. He was essentially self-taught, though he did take an etching class when he moved to New York City in 1903 to work for an advertising agency. Horter had a one-man show in 1916 in New York City at the Frederick Keppel and Company gallery. He was given the exhibition by Carl Zigrosser, later the first Curator of Prints and Drawings at the Museum of Modern Art. Horter was back in Philadelphia in 1917, where he would remain until his death in 1940. He worked there as art director for the N. W. Ayer advertising firm from 1917-1923. Horter was a member of the Society of Illustrators. He exhibited at the Pan American Exposition in 1915 in San Francisco, California; the Art Institute of Chicago, Illinois; and the Philadelphia Print Club's National Exhibition of Prints; as well as Corcoran Gallery biennials from 1935 to 1939, in Washington, D.C. Horter is listed in "Mantle Fielding's Dictionary of American Artists"; "Who Was Who in American Art"; and Mallett's "Index of Artists". Though not a man of extraordinary means, Horter was a lover of modernist art, which he gradually purchased, creating an important collection, well ahead of its time in America, of Cubist and Precisionist works, as well as African sculpture and Native American artifacts. Artists Horter collected include Europeans Picasso, Braque, Duchamp and Brancusi, and Americans Charles Sheeler and Arthur B. Carles. He was a friend of Carles, as well as other artists and collectors such as Leopold Stokowski, conductor of the Philadelphia Orchestra; Franklin Watkins; S. S. White; and Carroll Tyson...

Provenance: Marina Picasso Estate, her number verso Purchased from Jan Krugier Gallery, NY References And Exhibitions: Georges Bloch, Picasso: Catalogue de l'oeuvre grave et lith...

Fritz Eichenberg, 'The Wolf and the Little Kids' from the suite 'Fables with a Twist', wood engraving, 1975-76, artist's proof apart from the edition of c. 50. Signed, titled, and annotated 'Artist’s Proof' in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (7/8 to 1 1/2 inches), in excellent condition. Complete with vellum folder with descriptive text in red and black linotype. Printed by master printer Harold McGrath at The Gehenna Press, Northampton, MA. Image size 13 15/16 x 12 1/8 inches (354 x 308 mm); sheet size 16 1/2 x 14 inches (419 x 356 mm). Archivally sleeved, unmatted. Collection: Harvard Museums. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil.

DUCHAMP, Marcel. International DADA Exhibition 1916-1923. Large Poster printed in black and orange, designed by Duchamp. Single sheet, 965 x 635 mm, (38" x 25"). New York: Sidney Janis Gallery, 1953. Folded. A fine copy of this extremely rare Duchamp poster...

LEONARD EDMONDSON (1916 – 2002) THE MOST FORMAL GARDEN, c. 1965 Color intaglio signed titled and annotated “Artist’s Proof" Irregular platemark 10 ¼ x14...

Spring Landscape with house and figure A preliminary watercolor for a color aquatint, illustrated on line, title unknown Signed lower left in block letters (see photo) Watercolor and...

(Catlett, Elizabeth)illus. FOR MY PEOPLE by Margaret Walker. Linited Editions Club, NY, 1992. Edition of 400 signed by Walker and Catlett, and numbered 204 on the Justification page....

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

Untitled Pastel on paper, 1922 Signed with the artist's initials in pencil Provenance: Estate of the artist Francis M. Nauman (label) Private collection, NY A very early abstract/cubist work by Kelly. Created while the artist was studying with Arthur Carles in Philadelphia. Leon Kelly (October 21, 1901 – June 28, 1982) was an American artist born in Philadelphia, PA. He is most well known for his contributions to American Surrealism, but his work also encompassed styles such as Cubism, Social Realism, and Abstraction. Reclusive by nature, a character trait that became more exaggerated in the 1940s and later, Kelly's work reflects his determination not to be limited by the trends of his time. His large output of paintings is complemented by a prolific number of drawings that span his career of 50 years. Some of the collections where his work is represented are: The Metropolitan Museum in New York, The Whitney Museum of American Art, the Museum of Modern Art, the Philadelphia Museum of Art, and Boston Public Library. Biography Kelly was born in 1901 at home at 1533 Newkirk Street, Philadelphia, PA. He was the only child of Elizabeth (née Stevenson) and Pantaleon L. Kelly. The family resided in Philadelphia where Pantaleon and two of his cousins owned Kelly Brothers, a successful tailoring business. The prosperity of the firm enabled his father to purchase a 144-acre farm in Bucks County PA in 1902, which he named "Rural Retreat" It was here that Pantaleon took Leon to spend every weekend away from the pressures of business and from the disappointments in his failing marriage. Idyllic and peaceful memories of the farm stayed with Leon and embued his work with a love of nature that emerged later in the Lunar Series, in Return and Departure, and in the insect imagery of his Surrealist work. "If anything," he once said,"I am a Pantheist and see a spirit in everything, the grass, the rocks, everything." At thirteen, Leon left school and began private painting lessons with Albert Jean Adolphe, a teacher at the School of Industrial Art (now the University of the Arts) in Philadelphia. He learned technique by copying the works of the old masters and visiting the Philadelphia Zoo, where he would draw animals. Drawings done in 1916 and 1917 of elephants, snakes and antelope, as well as copies of old master paintings by Holbein and Michelangelo, heralded an impressive emerging talent. In 1917, he studied sculpture with Alexander Portnoff but his studies came to an abrupt halt with the start of World War I. Being too young to enlist, he joined the Quartermaster Corp at the Army Depot in Philadelphia, where he served for more than a year loading ships with supplies and, along with other artists, working on drawings for camouflage. By 1920, the family's fortunes drastically changed. His father's business had failed due to the introduction of ready made clothing and his marriage, unhappy from the beginning, dissolved. Broken by circumstance Pantaleon left Philadelphia to begin a wandering existence looking for work leaving Leon to support his mother and grandmother. He found a job in 1920 at the Freihofer Baking Company where he worked nights for the next four years. Under these circumstances Leon continued to develop his skills in drawing and painting and learned of the revolutionary developments in art that were taking place in Paris. During the day he was granted permission to study anatomy at the Philadelphia School of Osteopathy where he dissected a cadaver and perfected his knowledge of the human figure. He also met and studied etching with Earl Horter, a well known illustrator, who had amassed a significant collection of modern art which included work by Brancusi, Matisse, and Cubist works by Picasso and Braque. Among the artists around Horter was Arthur Carles, a charismatic and controversial painter who taught at the Pennsylvania Academy of Fine Arts. Leon enrolled in the Academy in 1922, becoming what Carles described as, "his best student". In the next three years Leon work ranged from academic studies of plaster casts, to pointillism, to landscapes of Fairmount Park in Philadelphia, as well as a series of pastels showing influences from Matisse to Picasso. Clearly influenced by Earl Horter's collection and Arthur Carles he mastered analytical cubism in works such as The Three Pears, 1923 and 1925 experimented with Purism in Moon Behind the Italian House. In 1925 Kelly was awarded a Cresson Scholarship and on June 14 he left for Europe. Paris The first trip to Europe lasted for approximately three and a half months and introduced Kelly to a culture and place where he felt he belonged. Though he returned to the Academy in the Fall, he left for Europe again a few months later to begin a four-year stay in Paris. He moved into an apartment at 19 rue Daguerre in Paris and began an existence intellectually rich but in creature comforts, very poor. "I kept a cinderblock over the drain in the kitchen sink to keep the rats out of the apartment" he once explained. He frequented the cafes making acquaintances with Henry Miller, James Joyce and the critic Félix Fénéon as well as others. His days were split between copying old master paintings in the Louvre and pursuing modernist ideas that were swirling through the work of all the artists around him. The Lake, 1926 and Interior of the Studio, 1927, now in the Newark Museum. Patrons during this time were the police official Leon Zamaran, a collector of Courbets, Lautrecs and others, who began collecting Kelly's work. Another was Alfred Barnes of the Barnes Collection in Philadelphia. In 1929 Kelly married a young French woman, Henriette D'Erfurth. She appears frequently in paintings and drawings done between 1928 and the early 1930s. Philadelphia The stock market crash of 1929 made it impossible to continue living in Paris and Kelly and Henriette returned to Philadelphia in 1930. He rented a studio on Thompson Street and began working and participating in shows in the city's galleries. Work from 1930 to 1940 showed continuing influences and experimentation with the themes and techniques acquired in Paris as well as a brief foray into Social Realism. The Little Gallery of Contemporary Art purchased the Absinthe Drinker...

MARK FREEMAN (1908 - 2003) MANHATTAN CLIFFS, 1947 Lithograph (offset?) with 2 color plates. Signed, titled and dated. 19 1/2 x 15 in., large grey sheet, 22 3/8 x 17 1/2 in. Very good condition. A large and very strong image of New York.

Anton Schutz, 'Chicago Harbor', etching, edition 100, c. 1927. Signed and numbered '87/100' in pencil. Annotated '580 Chicago Harbor', in another hand, in the bottom left margin. A f...

A Bit of New England Oil on canvas,, 1908 Signed lower left corner: L. O. Griffith Condition: Excellent Canvas size: 26 x 38 inches Frame size: 33 3/8 x 45 1/4 inches Note: origi...

ROBERTO MATTA (1911-2002) FOG, GOG, AND MAGOG 1971 Color lithograph. Plate 1 from “Fog Gog, and Magog” 1971. Signed in pencil and numbered. This work is number 92 from the edition o...

Shahn, Ben. IMMIGRANT FAMILY. Serigraph, 1941. Prescott 2. Edition size unknown; Prescott knew of only 3. This copy unsigned. 11 1/2 x 18 inches (image), 19 1/4 x 25 1/4 (sheet), framed to 23 x 28 1/4 inches. This was only the second print made by Shahn, and the first serigraph, a medium in which he continued to use for his prints throughout his career. Provenance: Kennedy Galleries, with its label, George Krevsky Gallery...

Red to Green Portal Aquatint, 1979 Signed and dated in pencil lower right (see photo) Edition: 95 (84/95), see photo Provenance: U.S. Representative James A. Leach, retired Condition...

Color lithograph, Edition 30 In 2010, Ray made his first lithographs at Shark’s Ink., Pyzinerol and Pyzinerol II. Ambitious prints with 18 colors from 15...

Fritz Eichenberg, 'The Pimp', wood engraving, 1980, artist's proof before the edition. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 3/16 to 3 1/2 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 x 9 3/4 inches (305 x 248 mm); sheet size 18 x 14 inches (457 x 356 mm). ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Albert Heckman (1893-1971), 'Bridge at Poughkeepsie', lithograph, 1934, edition 30. Signed, titled, and annotated '30 Impressions' in pencil. A superb, richly-inked impression, on cr...

Cyrus Le Roy Baldridge, 'Peking '25', woodblock print, published 1926. Signed, titled, dated, and annotated 'No 124' in pencil. A fine impression, with fresh, undiminished colors; the full sheet, in excellent condition. Watanabe 6 mm seal, lower right, indicating an impression printed between 1945 and 1957. Archivally sleeved, unmatted. Image size 9 5/8 x 14 5/16 inches; sheet size 10 7/16 x 15 3/8 inches. ABOUT THE IMAGE A 'paifang', also known as a 'pailou', is a traditional style of Chinese architectural arch or gateway structure. It has been theorized that the paifang gate architecture was influenced by Buddhist torana temple gates. Paifang are designed with traditional Chinese architectural motifs including multi-tiered roofs, prominent supporting posts, and gracefully arched openings. This is an unusual ukiyo-e or 'floating world' woodcut published by Watanabe Shozaburo, Tokyo, in that the subject is of an early 20th-century scene in Peking, China. ABOUT THE ARTIST Cyrus Leroy Baldridge...

Georg Gelbke, Untitled (Women Bathing), etching, 1920. Signed and dated in pencil. Initialed and dated in the plate, lower right. A fine, richly-inked im...

The Monumental Tablet Etching, engraving, drypoint and burnishing, c. 1748 Series: Grotteschi (Grotesques, 4 plates) Original, unwashed condition. Excellent. Second edition first is...