International Fine Print Dealers Association Art

CHILDE HASSAM (1859 - 1935) CALVARY CHURCH IN THE SNOW, 1915 (C. 62) Etching, Signed with the cypher and inscribed "imp" in pencil, Image 7 x 4 7/8 inches, plus margins. Sheet 8 3/8...

Color lithograph, Edition 75 Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with "Mountaintime", followed in 1982 by their first three-dimensional lithograph, "Ruckus...

CHILDE HASSAM (1859 – 1935) OLD CHINATOWN - SAN FRANCISCO 1904 (Cortissoz 95 i/iii?) Etching, 5 ¼ “ x 5”. Signed and dated in the plate and with his cypher in ...

CHILDE HASSAM (1859 – 1935) HAY BARN, 1920 (C.160) Etching signed in pencil with cypher. Annotated in plate upper left “The Whitcomb Farm Stratham N.H. / July 17, 1917 and also...

CURRIER AND IVES A HALT BY THE WAYSIDE, ca 1870 (Conningham 2694) Lithograph with original color. 1 - 1 1/2 inch margins. Image 8 x 12 1/2 Inches, sheet 10 3/4 x 14 3/4 inches. Ge...

This is # 1 of an edition of 30 Laurence Winram is a Scottish photographer based in Edinburgh. His projects are diverse but the work most personall...

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 This is an original block print from “Let’s Play”, an intended but unpublished children’s book done in collaboration with her sisters Edna and May. 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...

GEORGES ROUAULT (1871 – 1958) La PARADE 1932 (CR.203, W.211) color etching and aquatint 1932. Edition 270. Frontispiece from “Cirque”. Signed in plate as issued...

Spoil Bank Crucifix. 1919. Wood engraving. Physick catalog 157. Image 2 x 3 (sheet 4 x 4 3/8). Printed on simili-Japan paper. Housed in a 10 x 8-inch archival mat. The Spoil Bank A...

ADOLFO MEXIAC (Mexican b.1927 - ) DESPERTAR, (Awakening) 1960 Linoleum cut signed, titled and dated. image 19 1/4 x 27 1/2. Sheet 24 x 31 1/2 Generally very good condition save for a loss along the top sheet edge and creasing in the lower right part of the sheet. This print was most likely produced at the TGP (El Taller de Grafica Popular...

Original gouache, probably Belgian for matchbox covers. Mid-20th Century.

Surrealist landscape with skull and red daisy Watercolor on paper, 1960-1970 Unsigned Stamped with the artist's estate stamp verso (see photo) Provenance: Estate of the artist Refere...

Louisa Chase was born in Panama City, Panama. Seven years later, her family moved to Lancaster, Pennsylvania. She studied painting and sculpture at Syracuse University and at the Ya...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master ...

#90 Strange Creature Oil and pencil on board, 1932 Signed and dated in the image lower right (see photo) Provenance: Joseph M. Erdelac, Cleveland, OH Condition: excellent Archival framing Image size: 10 1/2 x 11 3/4 inches Frame size: 25 x 24 inches Painter, illustrator and commercial artist Norbert Lenz was born in Norwalk, Ohio and received his artistic training at both the Huntington Polytechnic Institute and the Cleveland School of Art. During his career Lenz exhibited his paintings and drawings at such institutions as the Pennsylvania Academy of Fine Art, the Art Institute of Chicago, the Cleveland Museum of Art and the Butler Institute of American Art. Today the art of Norbert Lenz is held by the Columbus Museum of Art, the Cleveland Museum of Art and the Butler Institute of American Art. Lenz was also a very highly regarded commercial designer of stamps. He worked for a number of years at the House of Farman, a leading vendor of first day covers...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

FRANCES H. GEARHART EUCALYPTUS, ca 1929-30 Color linocut, signed in pencil. 6 5/8 x 3 5/8 inches. Sheet 8 3/4 x 5 inches. edition c 50-75 Very good impression. On a thick fibrous j...

LEOPOLDO MENDEZ (1902 – 1969) THE MAKING OF TORTILLAS 1954 Linocut. Edition unknown. This example signed in pencil and dated 1957. 14” x 47 3/8...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) SEA TREASURES...

FRANCES H. GEARHART (1869-1958) DESERT BARRIER c. 1933 Color block print, unsigned 12 x 9 ¼”. Typical original margins on good fibrous japan paper. ...

FRANCES H. GEARHART (1869 – 1958) NEAR TWILIGHT (aka Twilight Nears) c. 1934. Color block print. Signed and titled in pencil. Image 9 1/8 x 5 inches. Good impression, large sheet in good condition with original hinges at top margins edge.. Sheet size, 14 1/2 x 9 1/8 inches. Usual tack holes along the right sheet edge for printing, deckle edges right and bottom. Remnants of a vertical fold across the lower margin 1 1/4 inches from the bottom. A couple of small spots one in right and one in left margins. An example of TWILIGHT NEARS was exhibited in the Wichita Art...

FRANCES H. GEARHART (1869 – 1958) GAILLARDIAS c. 1928 Color block print. Edition unknown but small. 7 ¼” x 5 ¾”. Gearhart did very few pure flower pr...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Archivally matted to museum standards, unframed. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006.

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006.

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006.

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006.

The Oliver which is in several museum collections and has won numerous awards) is being used to promote the show, Printed Ladies, opening March 1st at The Metropolitan Museum of Art, and will be reproduced on the cover of the upcoming revised second edition of Carol's book, The Mezzotint: History and Technique which is due out in early 2024 Thomas Oliver invented the first double-sided lateral top stroke machine. This was No. 9 introduced in 1916. With light focused on the machine it suggested the logo of the Bugs Bunny Looney Tunes series - giving off an anima-like aura. The print was issued in an edition of 75. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer...

Silkscreen. Exhibition History: Bernard Jacobson Gallery, London, 'Pia Fries: Schwarzwild', 2 June - 2 July 2006.

Raoul Dufy, 'La Pêche' (Fishing), woodcut, 1910, from the second edition of 220 printed in 1953. With the estate stamp 'ATELIER RAOUL DUFY' in the lower left margin. Numbered '106/220' in pencil, lower right. Titled in the block, lower right. A superb, richly-inked impression, on heavy, cream wove paper, the full sheet with wide margins (3 to 5 inches), slight toning at the sheet edges, well away from the image; otherwise in excellent condition. Archivally sleeved, unmatted. Image size 12 1/2 x 15 13/16 inches (318 x 402 mm); sheet size 19 9/16 x 25 3/4 inches (497 x 654 mm). From the suite of four woodcuts entitled 'Les Plaisirs de la Paix' (The Pleasures of Peace), originally published by Éditions de La Sirène, Paris in 1926. The other three works in the series are 'La Danse' (The Dance), 'La Chase' (The Hunt), and 'L'amore' (Love). See our other listings for 'La Danse' and 'L'amore'. Collections: Cleveland Museum of Art, Minneapolis Art...

Screenprint in colours, 1971, on wove paper, signed and dated in ball point pen on the reverse, numbered from the edition of 250 (there were also 50 artist’s proofs in Roman numerals), printed by Silkprint Kettner, Zurich, published by Bruno Bischofberger, Zurich, 90.2 x 121.9 cm. This work forms part of Warhol’s substantial ‘Death and Disaster’ series which he started in 1962, early examples of which depicted car crashes...

Benton Spruance, 'Havoc in Heaven', lithograph, 1948, edition 30-35, Fine and Looney 270. Signed, titled, and numbered 'Ed 35' in pencil. Initialed in the stone, lower right. Printed...

Signed upper right in the image Edition: From: “Kyo-Maiko” set (Traditional Dancer in Kyoto), 6 images Publisher: Han Uchida, Kyoto Provenance: Private collection, Connecticut. ...

Unsigned Graphite on paper

Oil Study of Two Horses Oil on canvas, c. 1880 Unsigned Estate stamp verso of canvas and on stretcher (see photo) Condition: Excellent New gilt frame aptterned afte...

Etching, aquatint and embossing with hand colouring in watercolour on paper Plate size: 39.5 x 39.5 cms (15 1/2 x 15 1/2 ins) Paper size: 58 x 58 cms (22 3/4 x 22 3/4 ins)

Original subway poster, c. 1980, on wove paper, unsigned as issued, 28 x 71.3 cm. 'Surveillance Is Your Busywork' is an unused subway lithograph placard, produced in the early 80s b...

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) References And Exhibitions: Arwas 33 2nd state B Sheet: 13 1/4 X 25 5/8" Image: 10 3/4 x 23 5/8" Condition: excellent Paul Berthon (b Villefranche, Rhone, 1872; d Paris, 1909) Little specific is known about the short 37-year life of this French designer and lithographer. He began his training in Villefranche, where he studied painting. In 1893 he moved to Paris, entering the Ecole Normale d'Enseignement du Dessin. There he became a pupil and disciple of Eugene-Samuel Grasset, the Professor of Decorative Arts, and was also influenced by Luc Olivier Merson. Berthon's main output consisted of posters and decorative panels. However, he also produced bookbindings and furniture designs, both of which he exhibited at the Salon in 1895. He created designs for ceramics for Villeroy & Boch in the late 1890s; and a few designs for the covers of such magazines as L'Image (July 1897) and Poster (May 1899). His work is in an Art Nouveau style. He adopted that movement's plant and figural motifs, especially the motif of the femme fatale, as well as the long sinuous lines that characterize the movement. These features can be seen in such works as the poster Leçons de violon (1898). Berthon distinguished himself in the production of large, colored posters in the relatively new medium of chromolithography, some of which were printed under the direction of Jules Cheret by Chaix & Company. The graphic oeuvre of Paul Berthon consists of ninety-four original lithographs. Almost two-thirds of Berthon's original lithographs are what the artist termed, "Panneaux Decoratifs" (Decorative panels). Unlike most Art Nouveau posters, Berthon's panneaux decoratifs included no advertising and no letterpress. They were meant to stand alone as significant works of art in their own right. A large collection of his work seems to have been destroyed during the world wars. By the start of the First World War the Art Nouveau movement had lost its momentum. The posters of Berthon, Grasset and Mucha were no longer prized possessions, and many of the posters were lost. During the economic depression that followed World War II many of the lithographic posters were used as wallpaper or wrapping paper. Berthon died in Paris in 1909. Courtesy: Answers and Enchantedgal Courtesy of French Wikipedia Edmond-Honoré Sagot , born in 1857 and died on April 6 , 1917, is a bookseller , art dealer , publisher of prints and original posters . In 1881 he founded the house “Ed. Sagot” in Paris. This establishment still exists under the name “ Sagot - Le Garrec ” and is one of the oldest art galleries still in operation. Edmond Sagot is the first contemporary art dealer to specialize in prints and posters. Following his example, several print dealers emerged in the early 1890s : Gustave Pellet , Edouard Kleinmann, A. Arnould, then Ambroise Vollard , who served as a driving force in the development, sale and promotion of artists' prints. contemporaries 1 . Biography Edmond Sagot opened in Paris in 1881 at 53 rue d'Argout an artistic bookstore which, from 1884, developed its activities towards the trade in prints . The “Ed. Sagot” house then took as its address 39 bis rue de Châteaudun . There are also framing and drawing material. Sagot sells drawings, etchings , lithographs , then, in 1891, publishes the world's first catalog of posters illustrated by modern and contemporary artists. This event is partly at the origin of what Ernest Maindron and Octave Uzanne soon called “posteromania”. Sagot was one of the pioneers and Parisian leaders of this new art form, his gallery serves as a dissemination relay with the provinces and abroad, and becomes a place of exchange between many art critics and young people. artists 2 . Later, he associated his son-in-law, Maurice Le Garrec, with his activity, who in 1917 3 took over the gallery under the name “Sagot - Le Garrec, dealer in prints”, and moved to 18 rue Guénégaud . Today the gallery Sagot - Le Garrec, always specialized in printmaking and drawing XIX th and XX th centuries, is located 10 rue de Buci . It is managed by Nicolas Romand, the fifth generation of merchants. Edmond Sagot is also known for having acquired four coppers belonging to a series of engravings executed by Francisco Goya , the Disparates . He is the older brother of the Parisian art dealer Clovis Sagot , known as “Sagot le Jeune”. Publications Jules Chéret and Paul César Helleu produced posters for Edmond Sagot, but also Alexandre Lunois (in 1894), the young Belgian artist Henri Evenepoel , whose project was exhibited at the Salon pour l'art (in 1896), George Bottini (in 1898), Edgar Chahine (from 1897), or even Georges de Feure . The gallery edited works by Charles Heyman , Gaston de Latenay , Gustave Leheutre , Alfredo Müller...

Color woodcut/lithograph with chine collé and collage Woodman returned to Shark's in 2015 to make her most recent print "The White & Black Set". The artist poses a set of white a...

Color monotype with hand coloring. The artist describes this project: Making these monotypes was a wonderful new experience for me. They combine a painterly, abstract background with a graphic structure of hard edged, flat forms. Those dark shapes can be read as either positive/foreground space (body silhouettes or curtains) or as negative space that frames a central image (landscapes, columns, creatures). Similarly, the white lines and dots...

Screenprint

Woman in a Fur Wrap Pen and ink heightened with white, c. 1920 Signed in ink lower right (see photo) Estate stamp verso (see photo) Provenance: estate of the artist Borghi & Company, New York Condition: excellent Sheet/Image size: 11 1/8 x 8 1/8 inches Rudolph Bauer 1889-1953 "Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay...

Isca Greenfield-Sanders Tommy and Stinky Direct to plate photogravure and aquatint. Edition of 50

Isca Greenfield-Sanders Bright Beach Direct to plate photogravure and aquatint. Edition of 50

Isca Greenfield-Sanders Golden Parachute Color aquatint and gold leaf. Edition of 50

Isca Greenfield-Sanders Silver Beach Direct to plate photogravure and aquatint. Edition of 50

Isca Greenfield-Sanders Man in the Waves Direct to plate photogravure and aquatint. Edition of 50

Jan Matulka (1890-1972), Spanish Woman with Guitar, lithograph, 1925, an unsigned proof impression. Reference: Flint 13, only a few impressions kn...

Isca Greenfield-Sanders Parachute Class Direct to plate photogravure and aquatint. Edition of 50

Evergood, Philip (American 1901-1973). NUDE IN ARMCHAIR. Pencil on paper, 1950. Signed and dated, lower right, and inscribed, lower left "For David Rust July '52 P.E." 22 1/2 x 18 5...

13 nude guys form a circle in the desert. This is number 1 from a limited edition of 12. The work is signed on the back. A book of the artists work will be published in early Spring...

Charles Dufresne (1876-1938), Une Escale au Brasil (A Stopover in Brazil), etching and drypoint, c. 1920, signed in pencil lower right margin and inscribed “epreuve de artist” lower ...

Color lithograph with pochoir, Edition25 Susan Hall lived and worked for many years in New York City before returning to her childhood home in Point Reyes Station, California. She depicts moments suspended in the mysterious light of this place of marshland, wave-broken coast line and tawny, rolling hills. In Susan's latest prints Solitary Oak and As the Moon Rises...

DIANA THORNE (1895-1963) ROUGHY’S CHRISTMAS c. 1936 Original pen & ink illustration on board. Signed in ink lower right. Image 19 1/4 x 14 ½”. Diana Thorne is well known for her depiction and illustrations of dogs. Her dog etchings are highly collectable. Please see the Diana Thorne etching listing below also on 1stdibs sold by this dealer LU411310493262 "At Your Service" The following biography is by Frank J. Leskovitz ©1995-2022 Diana Thorne was born Ann Woursell on October 7, 1895 in Odessa, Russia. (Some evidence indicates that she may have actually been born in 1894.) In her youth, Thorne spent time in Winnipeg, Canada and later on a farm in Calgary, Canada. She was to eventually become one of America's most recognized canine artists. Thorne began drawing all her favorite four-legged creatures as a young child. She was the oldest child in a Jewish family of four girls and two boys. Her siblings were Abraham, Paula, Judith, Samuel, and Katherine. Thorne's parents were Chaim and Rose Woursell. During this period, Jews in Russia were experiencing severe oppression and physical attacks. The situation seemed hopeless. Canada opened its doors to immigrants fleeing Russia, offering free homestead land in the West. The family left Canada for Germany around 1912 where Thorne took her first formal art studies at the Imperial Academy in Munich and Charlottenburg Technical College in Berlin. The First World War began two years later and Thorne and her family were subsequently detained by the German government. They managed to escape to England, where Thorne was said to have supported herself as a reporter, librarian, writer, bicycle shop owner, and typewriter repair person. At this time she began her first experiments in both illustration and etching and was said to have studied with artist William Strang. On September 27, 1920, Thorne and several of her family members arrived in the United States. Her first published etching, titled "Rollin' Home", was well received in 1926. From this point on, she became an established artist. Thorne began commercial artwork in New York City in 1929. In her private life, she was known as Mrs. Arthur North, claiming to reside at times in Boston, Massachusetts, Philadelphia, Pennsylvania or Connecticut. (The pseudonym Thorne originated from an anagram of the name North.) There is evidence that Arthur North was actually an alias of artist Carton Moore-Park (1877-1956). This ruse allowed Thorne and Moore-Park to present themselves as a married couple, even though Moore-Park was already married. Frequently, biographies of the artist are filled with inaccuracies supplied by Thorne herself, such as referring to her father as a Scotsman or claiming to be Canadian born, which served to conceal the true details of her past. The author-illustrator of more than forty books and illustrator of more than fifty, Thorne's main reason for success was a total dedication to her drawing and a deep love for her subject matter. A sportswoman and owner of dogs herself, Thorne illustrated (and often authored) children's books dealing with dogs and animal life. Thorne's longtime publisher was the Saalfield Publishing Company of Akron, Ohio, once a leading publisher of children's literature and paper novelties. In her etchings of dogs, Thorne had the ability to show motion and action. A combination of whirling lines with solid lines and light and dark tones brings to the viewer's eyes the dog in motion. Thorne’s dog etchings are admired because they capture the humor and energy transpired by man and dog. In addition to dog etchings, she is also known for a series of socially sensitive etchings published in a 1928 portfolio, "The Human Comedy". Thorne also executed a series of popular sports etchings featuring topics such as skiing and boxing which were characterized by multiple images engraved on the same plate. Very much in demand as an animal portrait painter, Thorne illustrated some of the most famous dogs in America, including Franklin D. Roosevelt's Scottie "Fala" and Admiral Richard E. Byrd's "Igloo", the terrier who accompanied him on his famous Antarctic Expedition. Diana Thorne was most active between the 1920s and 1940s. Sadly, she was diagnosed as mentally ill and committed to New York City's Belleville Hospital in September 1962. Thorne died in July 196 Diana Thorne's work appeared in numerous magazines and newspapers including The American Magazine, The Literary Digest, Liberty, The Woman's Home Companion, The Household Magazine, Maclean's, Home Arts, Nature Magazine, National Home Monthly, This Week Magazine, The American Kennel Gazette, The New York Times, The Boston Post, and The New York Herald Tribune. Throughout the 1940s she was a regular contributer of artwork and written articles to the Christian Science Monitor. Thorne was widely known in New York and London for her artwork. Noted galleries such as Kennedy & Company and the Schwartz Galleries of New York City, the Gage Gallery of Cleveland, and the Hudson Galleries of Detroit carried many of her etchings, which were produced in editions ranging from fifty to one hundred signed impressions. Her print, "Pan of Puck Hill", was featured in England's Fine Prints of the Year and was also selected as one of the Graphic Arts Society's Fifty Best Prints of the Year by the Chicago Society of Etchers. Thorne received widespread acclaim for her unique etchings, sketches, watercolors, sculpture, lithography, and paintings, which were exhibited in the principal cities of the United States and England. She had her first New York City showing in April 1929 at the Schwartz Galleries in an exhibition titled, "Drypoints and Drawings by Diana Thorne". In 1930, her work was presented at three solo exhibitions. The first took place at the Vose Galleries of Boston. This was followed by additional exhibitions in New York City at Milch Galleries and the Fifty-Sixth Street...

FRANCES H. GEARHART and sisters PATTY 1928 Color block print. Titled and signed “the Gearharts” in Frances H. Gearhart’s hand. This is an original color block print from “Let’s Play”, an intended but unpublished children’s book done in collaboration with her sisters.. There were about 24 prints in the series. The printing of the individual prints varies but likely no more than 30 -50. On fibrous japan paper, Image 7 1/2 x 6 ¾ inches. The Generally good condition. Minor soiling in the margins. Small loss upper sheet edge. Full sheet. In 2009, after 81 years, based on the original prints, the book was published by the “California Book...

FRANCES H. GEARHART (American, 1869-1958) JOSHUA TREE c. 1925-30 Color block print. Signed in pencil. 6 1/2 x 4 1/2 inches. Edition unknown, bur likely...