Rockwell Kent, American, 1882-1971, “Fair Wind” (Burne-Jones 83), wood engraving, 1931, 6 7/8” x 5 7/16”, plus full margins. Edition of 170, signed in pencil, and dedicated in pencil "To Catherine Bryan", a rich, dark impression in excellent condition. $4,500

Rockwell Kent (American, 1882-1971), ''Night Watch'' (Burne-Jones 34), wood engraving, 1929, signed in pencil, edition of 120, 7 15/16 x 5 7/16'', plus full margins. A fine impression in excellent condition. $4,250

Rockwell Kent, American, 1882-1971), "Oarsman" (Burne-Jones 86), wood engraving,1931, 6 15/16" x 5 13/32", plus full margins to 13 3/8" x 11 1/4". Edition of 150, signed in pencil, a rich, dark impression in excellent condition. $4,000

Rockwell Kent (American, 1882-1971), "Mountain Climber", (Burne-Jones 93),1933, wood engraving. Edition of 250 by the Print Club of Cleveland, signed in pencil. 7 7/8 x 5 x 7/8 plus full margins. A fine impression in excellent condition. $3,800

Rockwell Kent (American, 1882-1971),"The Drifter", (Burne-Jones 92),1933, wood engraving. Associated American Artists edition of 250, signed in pencil. 5 3/8" x 6 7/8", plus full margins. A fine impression in excellent condition. In the permanent collection of the Whitney Museum, the National Gallery of Art, the Amon Carter Museum and many others. $4,500

Margaret Burroughs was a Black artist from Chicago. The iconic "Black Venus" is considered the single most important print by Burroughs. Linoleum cut on imitation Japan paper, 1957. 356x280 mm; 14x11 1/8 inches, full margins. Signed, titled and numbered from the edition of 60 in pencil, lower margin. With the printer's blind stamp, lower left. Directly from the artist's estate. $6,000

Jolan Gross Bettelheim (Hungaria/American, 1900-1970) “Transmission Line (Control)”, lithograph, ca. 1949. Signed in pencil from the edition of 50. Abstracted patterns derived from transmission lines and towers. 9 1/4” x 11 1/2”, plus full margins, excellent condition. $3500 . Bettelheim was widely acclaimed in the 1920s and 1930s for her industrial scenes, and was trained in Berlin, Vienna, Paris and Cleveland, and created about 40 prints, generally in small editions. $2,200

James E. Allen (American, 1894-1964) “Kill Creek”, lithograph, ca. 1938. Titled and signed in pencil. Allen was known for his industrial scenes and was widely exhibited in the 1930s-early 1940s. His work is held by many museums. Excellent condition, full margins, 11 3/4” x 9”. $1,800

Adolf Dehn (American, 1895-1968) “Lower Manhattan”, lithograph 1936, 11 1/4 x 15 1/5, plus full margins. Signed, dated and titled in pencil. Known for his views of New York in the decades between the wars, Dehn won numerous awards in the 1930s and 1940s, and his work is in numerous museums including the Museum of Modern Art and The Metropolitan, NY. Extensive biography on request. $2,800

“San Francisco Bay”, lithograph, 1940. Titled, signed, dated and numbered 120/150 in pencil, on white wove, 9 1/4” x 12”, with good margins. One of twenty prints by different artists commissioned by the San Francisco Chronicle as a continuation of the WPA Federal Arts Project. Loran was an important California modernist, widely exhibited and collected throughout the 1930s and 1940s. $900

Mildred Rackley (American, 1906-1992) "Boogie Woogie", silkscreen, 1940, signed in pencil from the edition of only 86. 10 3/8 x 14 3/8 inches, plus margins. This scarce print by one of the early pioneers of the color silkscreen captures all of the exuberance of a scene in Harlem in the 1930s and 1940s. $3,000

Joseph S. Trovato (Italian/American, 1912-1983) - "Notice from the Draft Board", woodcut, lightly struck grey/black ink on Japan paper, titled and signed in pencil by the artist from a small edition, rarely seen. A powerful WPA image, an impression of which was featured in the 1991 book and exhibition Graphic Excursions, based on the collection of Dave and Reba Williams. Matted: 19" x 25", Sheet: 18" x 24", Image: 11 3/8" x 14". SOLD

Robert Riggs (1896-1970) “Club Fighter”, lithograph, 1933, probably an edition of 50, titled, signed by the artist and numbered "10" in pencil, 14 1/2" x 18 1/2". (Ref: Bassham 35). In the National Gallery of Art and other collections. Riggs is known for his stunning images of boxing scenes, with all of the gritty reality of America in the WPA period. From a private collection. SOLD

“High Level Bridge Over Harlem”, etching, 1936. An outstanding view below the bridge, as a train speeds past industrial buildings near the Harlem River. From a 1939 New York Tribune review by Carlyle Burrows of the artist's Leonard Clayton Gallery show: “...A supplementary group of drawings, from the semi-Cezannish landscape to the recent “At The Beach” and the lithographically effective “High Level Bridge Over Harlem”, reveal still further Scott's interests and range. “ $2,500

Scott influenced and was influenced by Thomas Hart Benton, and introduced the younger artist to Martha’s Vineyard. Benton wrote Scott's obituary tribute for the Vineyard Gazette in 1940. We carry numerous works by the artist. Background on request. “Coal Mining” Western Mining Town, original charcoal drawing, ca. 1935. Signed in pen by the artist's wife and initialed “R.S”. 14 1/4” x 18 3/4”. $1,500

William J. Scott (American, 1879-1940) “Open pit Mining - Martha’s Vineyard”, etching, 1936. Edition presumed small, only one other impression known. 7” x 9 7/8” (image). A striking composition. Open pit mines still exist on the Vineyard. Signed by the artist's wife. Scott influenced and was influenced by Thomas Hart Benton, and introduced the younger artist to the Vineyard. Benton wrote Scott's obituary for the Vineyard Gazette in 1940. Please contact us for additional information.