Keith Sheridan, LLC Figurative Prints

Imao Keinen, 'Japanese Flowering Cherry and Mugimaki Flycatcher' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban diptych, 1882. A fine impression, with fresh colors, on cream Japan paper, in excellent condition. Archivally sleeved, unmatted. Image size: diptych 12 5/8 x 17 7/8 inches (321 x 452 mm). ABOUT THE ARTIST Born in Kyoto, Imao Keinen (1845-1924) studied painting and calligraphy with Umegata Tokyo and Suzuki Hyakunen. He taught at the Kyoto Prefecture School of Painting and exhibited in shows in Japan and Paris. One of the most well-known Japanese painters of his time, Keinen was honored by his country with the title of 'Artist of the Japanese Empire...

Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression on off-white, wove paper, w...

Adriaan Lubbers, 'Skyline from Jersey Heights', lithograph, 1930, edition 25. Signed, titled, and numbered '4/XXV' in pencil. Dated 'Paris 1930' in pencil. A fine impression, on crea...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

'Broken Carousel', color lithograph, 1950, edition 35, Fine and Looney 285. Signed, titled, and numbered '18/35' in pencil. Initialed in the stone, lower right. A fine, richly-inked ...

Edouard Goerg, 'Le Paradis Terrestre' (Paradise on Earth), etching, 1931, edition 40. Signed, titled, and numbered '3/40' in pencil. A fine richly-inked impression, on heavy, cream w...

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...

George Josimovich, Untitled (Harbor with Sailboats) ', linocut, 1923, edition 35. Signed, dated, and annotated '4/35' in pencil. Initialed 'G J' in ...

George Josimovich, 'Commuters', linocut, 1922-23, edition 20. Signed, dated '22, titled, and annotated '9/20' in pencil. Initialed in the block 'G.J....

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Léopold Survage, 'Le Cheval' (The Horse), color etching, edition 60, 1953. Signed and numbered '46/60' in pencil. Initialed in the plate, lower right. A superb, richly-inked impressi...

Max Weber, Untitled 'Feast of Passover', woodcut, 1920, edition proofs—this impression from the edition of 25 printed in 1956, Rubenstein 30. Signed in pencil...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

Bernard Picart, 'The Death of Hercules' from 'The Temple of the Muses', engraving, 1730. Signed in the plate, lower left. Titled in French, English, German, and Dutch. A superb, rich...

'Eyes for the Night', color lithograph, 1948, edition 35, Fine and Looney 261. Signed, dated, and titled, and annotated 'Ed 35' in pencil. A fine impression with fresh colors, on cream wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Printed by master lithographer Theodore Cuno. Image size 19 x 13 inches; sheet size 21 1/8 x 15 1/4 inches. Archivally matted to museum standards, unframed. Selected by the artist for his retrospective exhibition 'Benton Spruance: Lithographs...

Benton Spruance, 'Girl with Hands to Face', two-color lithograph, 1940, edition 30, Fine and Looney 180. Signed, titled, and annotated 'Ed. 30' in pencil. A superb impression, on cr...

Ferdinand Springer, 'Arbre-Homme', engraving, 1945, edition 23. Signed and numbered '23/20' in pencil. A fine, richly-inked impression, on heavy, b...

Robert Riggs, 'Psychopathic Ward', 2-color lithograph, c. 1940, edition c. 50, Beall 60, Bassham 78. Signed, titled, and numbered '14' in pencil. Signed in the stone, lower right. A ...

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

Thomas Balfour Garrett, 'Search', monotype in colors, c. 1910, a unique impression. Signed and titled in pencil. A superb, painterly impression with fresh colors on off-white, wove p...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK). ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 V. Inscribed 'J. F. note paper', in pencil, in the artist’s hand; with the Feininger estate stamp and catalog no. 'W 859' in pencil. Annotated 'W.290 V state 3609' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/4 inches; sheet size 10 x 7 5/16 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; NY, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Karl Eugene Fortess, 'Tanks & Trees', lithograph, c. 1940, edition 100. Signed, titled, and numbered '100/P' in pencil. Inscribed 'For Usui - K.' in the bottom left margin. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 1/2 inches); a slight crease across the top right sheet corner, well away from the image; otherwise in excellent condition. Image size 13 1/8 x 10 inches; sheet size 17 3/8 x 13 3/16 inches. Matted to museum standards, unframed. Provenance: Estate of Francis Pratt. Francis and her husband Bumpei Usui...

Mary Van Blarcom, 'Crown of Roses', color serigraph, c. 1945, edition not stated but small. Signed in pencil beneath the image, lower left. Titled in pencil, bottom left sheet corner. A rich painterly impression, with fresh colors, on cream laid paper, with full margins (3/8 to 7/8 inch), in excellent condition. Matted to museum standards, unframed. Image size 8 13/16 x 12 11/16 inches; sheet size 9 1/2 x 8 5/16 inches. ABOUT THE ARTIST Painter, printmaker, and craftsperson, Mary Van Blarcom was born in Newark, New Jersey, and studied at Wellesley College. She was a member of the National Serigraph Society, where she served on the board of trustees from 1945 through 1952 and was 1st vice-president from 1949-51. She was also a member of the National Association of Women Artists, the Artists Equity Association, the American Color Print Society, the New Jersey Artists Association (Director), and Artists of Today. Van Blarcom exhibited actively throughout the 1940s at many prominent art organizations, including Montclair Art Museum, 1941-45 and 1947-51 (prize, 1948); Society of Independent Artists, 1942-44; Artists of Today, 1942-46; Elisabeth Ney Museum, 1943; Northwest Printmakers, 1944, 1946-49; Laguna Beach Art Association, 1945-47, 1949; National Association of Women Artists, 1945-50, (prize, 1946); Library of Congress, 1946-47; Museum of Modern Art Traveling Exhibition, 1945-47; Carnegie Institute, 1947; Serigraph Gallery, 1946, 1951 (solo); American Color Print Society, 1947-52; Newark Museum, 1947-48, 1951; California State Library, 1947, 1949; National Serigraph Society, 1949 (prize), 1950 (prize); University of Chile, 1950; New Jersey State Museum, 1950; Philadelphia Art Alliance, 1951; and the Main Gallery, NY, 1952. Van Blarcom’s work is represented in the collections of the Newark Public Library, the U.S. Library of Congress; the American Association of University Women; the New York Public Library; Tel-Aviv Museum, Alabama Polytechnic Institute, Princeton Print Club...

Jean-Emile Laboureur, 'La Receveuse', engraving, 1919, edition 8, first state of two (artist's proof). Laboureur, Godefroy 190. Signed and numbered '3/8 ép' in pencil. Initialed and...

J. R. Hutchinson, 'Broadway from the Bowling Green, 1828', hand-colored etching, 1828. Signed and dated in the plate, beneath the image, lower right. Ann...

Richard Seewald, 'Der Hirte (The Shepherd)', woodcut with hand coloring, c. 1919. Unsigned as published in 'Genius', Vol 1, no. 1, 1919. A fine, richly...

Bernard Brussel-Smith, 'City Scene II', wood engraving, 1949, artist's proof, edition 100. Signed, titled, and annotated 'A.P.' in pencil. A superb, richly-inked impression, on whit...

Bernard Brussel-Smith, 'City Scene I', wood engraving, 1949, edition 100. Signed, titled, and numbered '93/100' in pencil. A superb, richly-inked impression, on white wove paper, wi...

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

Will barnet, 'Child Reaching', woodcut, 1940, edition 25, Cole 82. Signed and titled in pencil. A fine, black impression, on fibrous Japan paper, with full margins (5/8 to 1 3/4 inch...

Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches. Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City. Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library. ABOUT THE IMAGE Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...

Louis Conrad Rosenberg, 'Bowling Green, New York', etching, 1940. Signed in pencil. A superb, richly-inked impression, with all the fine lines printing c...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

Benton Spruance, 'Slack Rope Artist', lithograph, 1930, edition 30, Fine and Looney 35. Signed and titled in pencil. Numbered '2' in the bottom right margin. A fine impression, with ...

Sybil Andrews, 'Rue du Hallage - Rouen', color monotype, c. 1925, edition 3, proof 3. Signed 'Sybil Andrews pinx et imp' annotated 'No 3' and titled in pencil. Printed by the artist....

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

Matsuno Sofu (1899-1963), 'Hagoromo - Noh', woodblock print, 1937. Signed 'Sofu' with the artist's seal, lower right. A fine impression, with fresh color...

Giovanni Domenico Campiglia, 'Explorator', engraving, 1734, edition unknown, scarce. Signed 'Dom. Campiglia del.' in the matrix, lower left. A fine impression, on handmade antique, l...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

George Andreas Böckler, 'SunBurst Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked...

George Andreas Böckler, 'Chalice Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked ...

George Andreas Böckler, 'Dragon Fish Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly in...

Camille Billops, 'Mondo Negro III', color etching, 2000, edition 20. Signed, dated, titled, and numbered '7/20' in pencil. A superb, richly-inked impre...

'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...

Karl Michel, 'Ex Libris Verein' (New Year's Ex Libris Club Announcement), etching, 1924. Signed, dated, and numbered 'op. 167' in pencil. Signed and dated in...

Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

Martel Schwichtenberg (1896-1945), 'Varietésoubrette, Schwalbennest (Variety Soubrette, Swallow’s Nest), drypoint, 1922. Signed in pencil. A fine, richly-inked impression; the full sheet of cream wove paper, with wide margins (3 3/4 to 5 1/4 inches), in excellent condition. Image size 7 3/16 x 4 5/16 inches; sheet size 16 3/8 x 12 1/8 inches. Archivally matted to museum standards, unframed. Published in Die Schaffenden...

John DePol, 'North River Front', chiaroscuro wood engraving, 1953, edition not stated. Signed, dated, and titled in pencil. Signed in the block, lower left...

Al Hirschfeld, 'Kris Dancer, Bali', color lithograph, 1941, edition 1,000. Signed in the stone, lower right. A fine, clean impression, with fresh colors, on cream wove paper, the ful...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

John DePol, 'Domjulien, Haute Vosges, France', chiaroscuro wood engraving, 1971, edition 140. Signed, dated, titled and numbered '15/140' in pencil. Signed in the block, lower right....