The Artists of the WPA

Russell lee (1903-1986)
A group of 5 photographs depicting children.

Silver prints, the images measuring 177.8x244.5 to 336.6x266.7 mm; 7x9⅝ to 13¼x10½ inches, four sheets slightly larger, each with Lee's signature and a numeric notation, in ink or pencil, one with the title, date, and notations, in pencil, and one with Lee's F.S.A. credit hand stamp and the typed title and date, in ink, on verso. 1937-40; three printed 1970s.

Coat rack in hall, grade school, San Augustine, Texas, 1939 * Young boy playing with truck, late 1930s * Two of the Bodray children in their home near Tipler, Wisconsin, 1937; printed 1970s * Children play with the goats at all day Sunday visiting, Pie Town, New Mexico, 1940; printed 1970s * Children at the blackboard, Lake Dick Project, Arkansas, 1938; printed 1970s.

Russell lee (1903-1986)
A group of 5 photographs depicting the Southern United States.

Silver prints, the images measuring 165.1x241.3 mm; 6½x9½ inches, and slightly larger, the sheets 203.2x254 mm; 8x10 inches, all but one with Lee’s signature, and each with Lee’s F.S.A. credit hand stamp and the title, date, and numeric notation, in pencil or typed, on verso. 1938-39.

Southeast Missouri Farms. Son of sharecropper dressing in combination bedroom and corn crib, 1938 * Residents at Boothville, Louisiana sitting on dock, 1938 * Sewing cap into toe of boot. Cowboy bootmaking shop, Alpine, Texas, 1939 * Farmers in town, Spur, Texas, 1939 * Family living in Mays Avenue camp. Oklahoma City, Oklahoma, 1939.

(john vachon, john collier, et alia)
A group of 5 F.S.A. portrait photographs, including three by Vachon, one by Collier, and one unidentified.

Silver prints, the images measuring 190.5x241.3 mm; 7½x9½ inches and slightly smaller, and the reverse, the sheets 203.2x254 mm; 8x10 inches, Vachon’s vintage prints with the typed title and date, and the numeric notation, in pencil, one with Vachon’s F.S.A. credit hand stamp; the unidentified print with a publication hand stamp with the title, date, and numeric notation, in pencil and ink; the later prints with the Library of Congress hand stamp, and the photographer’s credit, title, date, and numeric notation, in pencil, on verso. 1938-43; two printed 1960s-70s.

Vachon’s Rehabilitation Client, Guilford County, North Carolina, 1938 * Rehabilitation Client, Beaufort County, North Carolina, 1938 * Omaha Nebraska, 1938; printed later, Collier’s Juan Lopez, the Mayor of the Town, Trampas, New Mexico, 1943; printed later, and an unknown photographer, Pocatello Yardmaster, circa 1940.

Aaron bohrod (1907-1992)
Getting Ready for Auction.

Oil on Masonite. 686x889 mm; 27x35 inches. Signed in oil, lower right recto. 1942.

This work is to be published in Charles C. Eldridge's forthcoming We Gather Together: American Artists and the Harvest, University of California Press, 2022.

In 1941 the president of American Tobacco Company approached then director of the New York gallery, Associated American Artists, Reeves Lewenthal to select leading American scene painters to travel to the American southeast to capture in paintings the planting, harvesting, curing and auction of tobacco crops. Amongst the nineteen artists who received the commissions for this project were Arnold Blanch, Aaron Bohrod, and Ernest Fiene. These paintings appeared in adds for Lucky Strike brand cigarettes from 1942 - 1947. In the 1940s over 1.5 million American farms were dedicated to supplying the tobacco industry.

Ernest fiene (1894-1965)
Farmers in the Grading Room.

Oil on canvas. 711x965 mm; 28x38 inches. Signed lower right. 1942.

Arnold blanch (1896-1968)
A Stick of Tobacco After Curing.

Oil on canvas. 641x940 mm; 25¼x37 inches. Signed in oil, lower right recto. 1942.

Robert gwathmey (1903-1988)
Tobacco Farmers.

Color screenprint. 345x267 mm; 13⅝x10⅝ inches, full margins. Edition of 300. Signed twice in ink, lower margin. Published by the National Serigraph Society. 1947.

A very good impression with strong colors. Williams 8.

Robert gwathmey (19003-1988)
Non-Fiction.

Color screenprint. 455x355 mm; 17½x14 inches, full margins. Signed in ink lower left. 1945.

A very good impression of this scarce print with strong colors. Williams 5.

Jack delano (1914-1997)
Interior of a Negro Rural House, Greene County, Georgia.

Silver print, the image measuring 187.3x238.1 mm; 7⅜x9⅜ inches, with Delano’s signature, in ink, on verso. 1941; printed 1960s.

Marion post wolcott (1910-1990)
Farmers exchange news and greetings in front of Court House on Saturday afternoon, Versailles, Kentucky.

Silver print, the image measuring 165.1x241.3 mm; 6½x9½ inches, the sheet 203.2x254 mm; 8x10 inches, with Wolcott’s F.S.A. credit hand stamp, a typed caption, and numeric notations, in pencil, on verso. 1940.

Georges schreiber (1904-1977)
Two lithographs.

Cotton Pickers. 237x335 mm; 9⅜x13⅛ inches, full margins. 1943. * Evening in South Carolina. 243x336 mm; 9½x13⅛ inches, full margins. 1947. Both an edition of 250. Both signed in pencil, lower right. Both printed by George C. Miller & Son, New York. Both published by Associated American Artists, New York.

Both very good impressions.

Georges schreiber (1904-1977)
In Tennessee.

Lithograph. 232x330 mm; 9⅛x13 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by the Associated American Artists, New York.

A very good impression.

Russell lee (1903-1986)
Game of cards, bunkhouse of strawberry pickers near Hammond, Louisiana * Gathering Lettuce, Yuma County, Arizona.

Together, 2 silver prints, the images measuring 177.8x238.1 and 250.8x330.2 mm; 7x9⅜ and 9⅞x13 inches, the first on a trimmed United States Department of Agriculture exhibition mount 196.9x260.4 mm; 7¾x10¼ inches, with a numeric hand stamp; the second with Lee’s F.S.A. credit hand stamp, title, in red pencil, and numeric notation, in pencil, on verso. 1939.

Carl mydans (1907-2004)
Cotton patch in stony soil which is characteristic of a good part of the Crabtree Creek recreational demonstration area near Raleigh, North Carolina.

Silver print, the image measuring 187.3x244.5 mm; 7⅜x9⅝ inches, the sheet slightly larger, with Mydans’ Resettlement Administration hand stamp, an N.E.A. hand stamp (with the date 6-2-36), the title and RA number, in pencil, and an RA number hand stamp, on verso. 1936.

Arthur rothstein (1915-1985)
Dust Storm, Cimarron County, Oklahoma.

Silver print, the image measuring 254 mm; 10 inches square, the sheet 355.6x279.4 mm; 14x11 inches, with Rothstein’s signature, in pencil, on recto, and the partial title and negative date, in pencil, on verso. 1936; printed 1960s.

(farm security administration)
A portfolio of 10 F.S.A. photographs, including images by Dorothea Lange, Walker Evans, Arthur Rothstein, and Ben Shahn.

With 10 (of 10) iconic photographs from the Farm Security Administration, each printed under the supervision of Arthur Rothstein. Silver prints, the images measuring 203.2 mm square to 301.6x209.6 mm; 8 to 11⅞x8¼ inches, the sheets 279.4x355.6 mm; 11x14 inches, each with a credit, title, date, and RA number hand stamp, and all but three with the printer’s portfolio hand stamp, on verso; not including original printed paper title folder. FROM A LIMITED EDITION. The Photographic Historical Society of New York Inc., 1975

Dorothea Lange’s Hoe Culture, 1936 * Migrant Mother, Nipomo, California, 1936; Arthur Rothstein’s Farmer and Wife, Colorado, 1939 * Dust Storm, Cimarron County, Oklahoma, 1936 * Sharecropper’s Wife and Child, Arkansas, 1935 * Badlands, South Dakota, 1936; Walker Evans’ Bud Fields Family, Alabama, 1936 * Bethlehem, Pennsylvania, 1935; and Ben Shahn’s Sheriff’s Deputy, Morgantown, W. Va., 1935 * Linworth, Ohio, 1935.

Margaret bourke-white (1904-1971)
Scene at a dam-workers’ bar, Fort Peck, Montana.

Silver print, the image measuring 181x235 mm; 7⅛x9¼ inches, the sheet 203.2x254 mm; 8x10 inches, with a Works Progress Administration notation, in ink, a date hand stamp, and lengthy typewritten caption with Bourke-White’s credit, on verso. 1936.

Dorothea lange (1895-1965)
String of Five Housecars * Squatters Along the Highway, Near Bakersfield, California * Facilities of Kern County Migratory Camp, California * Exterior shower unit, FSA camp Merrill, Klamath County, Oregon.

Together, 4 silver prints, the images measuring 168.3x212.7 to177.8x235 mm; 6⅝x8⅜ to 7x9¼ inches, three with sheets slightly larger, one with a numeric notation, in ink, on recto, and each with an N.E.A. hand stamp (with the date) and numeric notations, in pencil, three with Acme Newspictures hand stamps, three with captions, typed or in pencil, one with Lange’s F.S.A. credit hand stamp, one with an RA number, in pencil, and three with typed caption labels, on verso. 1935-39.

Reginald marsh (1898-1954)
Bread Line.

Etching. 129x230 mm; 5x9 inches, wide margins. Fourth state (of 4). Edition of 50. Signed and numbered 15/50 in pencil, lower right. 1929.

A superb, dark impression of this extremely scarce etching. Sasowsky 63.

Born in Paris, the second son in a well-to-do family, Marsh attended Yale University and then moved to New York where, during the early 1920s, he worked as an illustrator and took classes at the Art Students League. Marsh was equally influenced by his art teachers in New York, notably John Sloan (1871-1951), as well as American Regionalists like Thomas Hart Benton (1889-1975) and Old Masters such as Rubens, Titian and Tintoretto. He wholly rejected the modern artistic movements gaining strength in America at the time—Cubism, Surrealism, Abstraction. Instead he pursued a style that is best summed up as social realism: depictions of everyday life in New York, Coney Island beach scenes, vaudeville and burlesque women, the jobless on the streets of New York and the railroad yards and freight trains in New York and New Jersey.

He participated in the federal art programs under the WPA, painting two murals in Washington, DC, and, funded by the Treasury Relief Art Project, completed a series of frescoes in the New York Customs House, now the National Museum of the American Indian, that depict eight New York Harbor scenes and eight portraits of great navigators. It is one of the most celebrated mural installations created under the New Deal in New York City.

Raphael soyer (1899-1987)
Union Square.

Lithograph. 180x220 mm; 7⅛x8⅝ inches, wide margins. Edition of approximately 10. Signed in crayon, lower right. Printed by Jacob Friedland, New York, with the partial blind stamp, lower margin. 1929.

A very good impression of this scarce lithograph. Cole 17A.

Soyer is known for his social realist depictions of daily life around New York City. He participated in the WPA as a muralist, completing the murals at the Kingsessing Station Post Office in Philadelphia with his brother Moses (1899-1974) in 1939, and painting two murals for the Queens Borough Public Library in 1936. He was also engaged as a printmaker, and the WPA published many of his lithographs during that time.

Frank cohen kirk (1889-1963)
All That He Left.

Oil on linen. 641x762 mm; 25¼x30 inches. Signed in oil, lower left recto. Circa 1933.

A variant of this secular ex-voto is in the collection of the National Academy Museum, New York, published in Philpott, The Life and Work of Frank C. Kirk, New York, 1938, page 3 (illustrated). This variant also published in Kleeblatt, Painting a Place in America: Jewish Artists in New York 1900-1945, New York, 1991, page 137.

A related painting, Homecoming, also from the early months of the Great Depression during which Kirk sojourned in the Anthracite Coal Mining Region of Northeastern Pennsylvania, is in the collection of the Smithsonian American Art Museum, Washington, DC.

Frank cohen kirk (1889-1963)
My Inheritance.

Oil on linen. 800x864mm; 31½x34 inches. Signed in oil, lower left recto. Circa 1933.

John sloan (1871-1951)
The Wake on the Ferry.

Etching. 125x178 mm; 5x7 inches, wide margins. Edition of 350 (from an intended edition of 200). Signed, titled and inscribed “200 proofs” in pencil, lower margin. Printed by Ernest Roth, New York for the Art Students League. 1949.

A very good impression. Morse 313.

The WPA gave opportunities and financial help to many artists who were struggling during the Depression. Sloan, already an established artist and teacher at the Art Students League (who taught many artists who particapted in the WPA programs), did not fit that profile, but he did participate in the Treasury Section of Fine Arts, which hired well-known artists for its projects. He painted the mural The Arrival of the First Mail in Bronxville in 1846 for the post office in Bronxville, New York. He also created two paintings for the WPA, one The Wigwam, Old Tammany Hall, now in the collection of the Metropolitan Museum of Art, New York, the other Fourteenth Street at Sixth Avenue, originally hung the office of U.S. Sen. Royal Copeland and now is exhibited at the Detroit Insitute of Arts.

Designer unknown
“Early” Is the Watchword! Cancer is Curable.

Color silkscreen poster on board. 356x279 mm, 14x11 inches. New York State Department of Health, WPA Art Project NYC. Circa 1937.

One in a series of public service announcements informing the American public about cancer, in this specific instance advising early treatment.

Designer unknown
Long Island Tercentenary Celebration / Suffolk County.

Color screenprint poster, 559x355 mm, 22x14 inches. Federal Art Project, WPA, Nassau Country. 1936.

A rare and unrecorded WPA poster promoting the two month long celebration of Long Island's 300th anniversary. One of several posters promoting the event, this one shows a split scene of images from the previous two centuries; the first, early settlers arriving on Long Island, and then cozy colonialists, fireside, with an infant and spinning wheel.

Not in the Library of Congress.

Paul landacre (1893-1963)
Three Kids and a Horse.

Wood engraving on Japan. 190x256 mm; 7½x10 inches, full margins. Signed, titled and numbered 20/100 in pencil, lower margin. Published by Erwin H. Furman, The Print Rooms, Los Angeles. From Three Fine Prints by California Artists. With the original paper folder issued by The Print Rooms. 1941.

A very good impression. Wien 246.

Paul landacre (1893-1963)
Children’s Carnival.

Wood engraving on thin Japan paper. 215x305 mm; 8½x12 inches, wide margins. Edition of 265. Signed and titled in pencil, lower margin. 1946.

With—Happy New Year, woodcut on Japan paper. 145x83 mm; 5⅜x3⅜ inches, full margins. Circa 1950.

Very good impressions. Wien 275.

Howard cook (1901-1980)
Bremen #2.

Wood engraving. 281x203 mm; 11¼x8 inches, small margins. Edition of only 30 (from an intended edition of 50). 1931.

Cook, most widely known for his lyrical prints of Manhattan, was born in Massachusetts and traveled the continental United States extensively. As a young man, he moved to New York and enrolled in the Art Students League. He studied printmaking there under Joseph Pennell (1857-1926) who, nearing the end of his life, was characterized by his atmospheric cityscape etchings. Cook’s interest in the medium increased after a trip to Paris in 1925, where he spent time with fellow ex-pats and master printmakers James E. Allen (1894-1964) and Thomas Handforth (1897-1948).

Cook’s career took off after a 1926 trip to Maine, when woodcuts he made there were picked up by Forum, one of the most widely-circulated American magazines at the time. The publication subsequently commissioned Cook to create woodcuts of the American Southwest, where he became enamored with New Mexico and the Taos artist’s colony, returning throughout his life (he relocated there permanently in 1939 and ultimately died in Santa Fe). By the end of the 1920s, Cook’s adept printmaking caught the interest of Carl Zigrosser (1891-1975), the esteemed director of the Weyhe Gallery in New York who supported many emerging artists. In 1929, Zigrosser both hosted Cook’s first solo exhibition and encouraged him to travel to Paris, providing him entrée into the venerable lithography studio Atelier Desjobert. Despite experimenting in a range of printmaking techniques, the woodcut remained Cook’s medium of choice.

At the peak of his career, from the late 1920s until his 1939 move to New Mexico, Cook feverishly depicted a rapidly-changing New York. Construction on skyscrapers flourished in the interwar period, with landmark towers like the Chrysler Building completed in 1930 and the Empire State Building completed the following year, while the Great Depression halted progress on other projects and construction sites remained commonplace. Cook was employed by the Works Progress Administration during this time. Artists like Cook, Louis Lozowick (1892-1973), and Samuel Margolies (1897-1974) embraced the evolving city as their subject, using exaggerated perspective to emphasize the grandeur of buildings, and portraying construction workers as everyday heroes.

James e. allen (1894-1964)
The Wreck.

Color lithograph. 360x245 mm; 14⅛x9⅝ inches, wide margins. Edition of 40. Signed and inscribed “Ed/40” in pencil, lower margin. 1937.

A very good impression of this scarce lithograph.

We have found only two other impressions at auction in the past 30 years. Ryan 45.

Martin lewis (1881-1962)
From the River Front.

Etching and aquatint. 378x303 mm; 14¾x11⅞ inches, full margins. Edition of approximately only 19. Signed and inscribed “imp” in pencil, lower right. 1916.

A superb impression of this extremely scarce, early etching.

A view of lower Manhattan, near what is now the South Street Seaport. McCarron 10.

Reginald marsh (1898-1954)
Tug at Battery.

Etching with hand coloring in watercolor. 200x250 mm; 8x9⅞ inches, full margins. Second state (of 2). Edition of approximately only 20 (few of which were hand colored). Signed and inscribed “4” in pencil, lower margin. 1934.

A superb, crisp and dark impression with strong contrasts and before any of the corrosion on the plate cited by Sasowsky; extremely scarce. Sarkowsky 145.

Reginald marsh (1898-1954)
Skyline from Governor’s Island.

Etching. 130x288 mm; 5x11¼ inches, wide margins. Fourth state (of 7). One of only 16 proofs aside from the published edition of 50. Numbered "8" and signed by the artist’s wife, Felicia Marsh, in pencil, lower margin. 1929.

A very good impression. Sasowsky 69.

Riva helfond (1910-2002)
Barges on Canal.

Color lithograph. 320x465 mm; 12½x18¼ inches, full margins. Signed and titled in pencil, lower margin. Published by the Works Progress Administration, with the ink stamp lower left. 1935-43.

A very good impression.

Helfond taught at the Federal Art Project’s Harlem Community Art Center in the late 1930s before working in the Works Progress Administration’s graphics division. Helfond worked in traditional printing techniques such as lithography as well as the new fine art medium, the screenprint, alongside Anthony Velonis (1911-1997).

Louis lozowick (1892-1973)
Barge Canal—Harlem.

Color woodcut. 232x142 mm; 9¼x5⅝ inches, full margins. Edition of only 15. Signed, dated and numbered 5/15 in pencil, lower right. 1940.

A very good impression of this extremely scarce woodcut. Flint 172.

In the 1930s with the onset of the Great Depression, Lozowick turned toward depicting the social reality of New York City and its residents who were affected by economic despair. He also worked for public programs that supported artists, such as the New York Graphic Arts Division of the WPA and the Treasury Relief Art Project creating numerous prints and, most notably, in 1936, a mural for the New York City General Post Office.

James turnbull (1909-1976)
Deck Scene with Canopy.

Watercolor and charcoal on paper. 394x285 mm; 15½x11¼ inches. Signed, Jim Turnbull, lower right. Signed, James B. Turnbull, and inscribed #47, verso.

James Turnbull was awarded two mural projects funded by the Treasury Section of Fine Arts, (TSFA). In 1939 he completed, The Lead Belt, for the Fredericktown, MO Post Office, and in 1940, Loading Cattle for the Jackson, MO Post Office. The latter is now the Chamber of Commerce building, and the mural has been moved to the new post office serving Jackson.

James turnbull (1909-1976)
Coal Mine Rail Road.

Watercolor on paper. 285x394 mm; 11¼x15½ inches. Signed, Jim Turnbull, lower left. Inscribed, Coal Mine RR, and, #223, verso. Stamped, Jim Turnbull, verso.

Peter sekaer (1901-1950)
Youngstown, Ohio, Gibson Street * New Orleans * St. Louis Street.

Together, 3 photographs. Silver prints, the first image measuring 114.3x158.7 mm; 4½x6¼ inches and the other two 120.7x95.2 mm; 4¾x3¾ inches, and the reverse, the sheets 177.8x127 mm; 7x5 inches, each with Elizabeth Sekaer Rothschild’s (the photographer’s widow) signature, and her notations, including Sekaer’s credit, the title, and date, in pencil, on verso. Circa 1938-39.

Walker evans (1903-1975)
Cherokee Parts Store Garage Work, Atlanta, Georgia * Street scene, Vicksburg, Mississippi.

Together, 2 photographs. Silver prints, the images measuring 190.5x241.3 mm; 7½x9½ inches, the sheets 260.3x336.5 mm; 10¼x13¼ inches, each with the Library of Congress hand stamp and numeric notations, in pencil, on verso. 1936; printed 1970s.

Walker evans (1903-1975)
Steelmill and workers’ houses, Birmingham, Alabama.

Silver print, the image measuring 184.1x235 mm; 7¼x9¼ inches, the sheet 203.2x254 mm; 8x10 inches, with the Library of Congress hand stamp and numeric notations, in pencil, on verso. 1936; printed circa 1960-70.

Berenice abbott (1898-1991)
Sobol Gas Station.

Silver print, the image measuring 193.7x244.5 mm; 7⅝x9⅝ inches, with Abbott’s signature, in pencil, and her Photograph by Berenice Abbott hand stamp, on verso. Circa 1937.

Carl mydans (1907-2004)
Manhattan From Brooklyn Heights.

Silver print, the image measuring 250.8x336.6 mm; 9⅞x13¼ inches, the mount slightly larger, with Mydans’ signature, title, and date, in ink, on mount recto, and his credit hand stamp, on mount verso. 1937.

Morris kantor (1896-1974)
Union Square.

Oil on linen canvas. 584x381 mm; 23x15 inches. Signed and dated in oil, lower right. 1931.

Louis lozowick (1892-1973)
Above the City.

Lithograph. 435x195 mm; 17x7¾ inches, full margins. Signed “Louis Lozowick (A.L.)” and numbered 100/200 by the artist’s wife in pencil, lower margin. Printed by Burr Miller, New York. 1932.

A very good impression. Flint 88.

Ernest fiene (1894-1965)
City Lights (Madison Square Park, New York).

Etching and drypoint. 303x233 mm; 11⅞x9⅛ inches, full margins. Edition of 40. Signed in pencil, lower right. 1932.

A very good impression.

Fiene, born in Germany, came to the United States in 1912, and settled in New York City, spending the majority of his life and career split between there and Woodstock. Known for his scenes of New York, during the WPA years, Fiene worked as a muralist on projects such as the Canton, Massachusetts Post Office and a set of four oil on canvas murals for The Stewart Lee Udall Department of the Interior in Washington, DC.

Louis lozowick (1892-1973)
Distant Manhattan from Brooklyn.

Lithograph. 202x334 mm; 8x13¼ inches, full margins. Edition of approximately 200. Published by the American Artists Group, New York. 1937.

A very good impression. Flint 145.

In the 1930s with the onset of the Great Depression, Lozowick turned toward depicting the social reality of New York City and its residents who were affected by economic despair. He also worked for public programs that supported artists, such as the New York Graphic Arts Division of the WPA and the Treasury Relief Art Project creating numerous prints and, most notably, in 1936, a mural for the New York City General Post Office.

Werner drewes (1899-1985)
Three woodcuts.

Skyscrapers. 340x215 mm; 13⅜x8½ inches, full margins. Signed, dated and numbered I/XXX. 1930 * Self-Portrait. 410x295 mm; 16⅛x11½ inches, full margins. Signed, dated and numbered I/XXX. 1932 *It Can’t Happen Here. 155x262 mm; 6⅛x10¼ inches, full margins. Signed, dated and numbered I/XXXV. From the same-titled portfolio. 1934.

Very good impressions. Rose 48, 78 and 97.

Harry gottlieb (1895-1922)
Statue of Liberty.

Color screenprint. 392x478 mm; 15⅜x18¾ inches, full margins. Artist’s proof. Signed, inscribed “artist’s proof” and numbered 1/1 in pencil, lower margin. Circa 1945.

A very good impression of this scarce screenprint.

Gottlieb was born in Bucharest, but immigrated to Minnesota with his family when he was twelve years old and studied at the Minneapolis Institue of Art. He served as an illustrator for the Navy during World War I, then moved to New York City where, influenced by the Ashcan School, he began painting in a social realist style. In 1935, he joined the Federal Art Project in the Silk Screen Unit where he was first introduced to the silkscreen method of printmaking. The WPA was integral in the promotion of silkscreening as an artistic technique; developed in the early 1900s it had been used mostly for commercial purposes. Gottlieb continued to be a pioneer of the medium beyond his work with the WPA.

Robert philipp (1895-1981)
In Central Park, NY.

Oil on masonite board. 356x597 mm; 14x23½ inches. Signed in oil, lower right. Circa 1938.

Exhibited: Wichita Art Museum, Wichita, KS, The Neglected Generation of American Realist Painters: 1930-1948, May 2 - June 14, 1981.

Literature: Wooden, Howard E., The Neglected Generation of American Realist Painters: 1930-1948,1981, illus., p.48.

Robert Philipp participated in the Easel Project division of the WPA/FAP.

Bertram hartman (1882-1960)
Repairs on a Steeple.

Oil on canvas. 915x685 mm; 36x27 inches. Signed in oil, lower center recto.

In 1939, Hartman completed his mural, View from Johnson's Bluff, for the Dayton Post Office, Dayton, TN. The mural is still in place, however the post office facilities are now used to house Dayton Water and Electric. This project was funded by the Treasury Section of Fine Arts, (TSFA).

Frank di gioia (1900-1981)
Day.

Oil on canvas. 1015x765 mm; 40x30 inches. Signed and dated in oil, lower left recto. 1950.

Frank di Gioia created a companion piece to this painting, titled Night, measuring the same as this painting. Night is in the collection of the Albright-Knox Art Gallery, Buffalo, New York, and was gifted to the collection by Mrs. John W. Ames, 1961, (1961:1).

Louis ribak (1902-1979)
City at Night.

Oil on linen. 305x610 mm; 12x24 inches. Signed in oil, lower right recto. Circa 1940s.

Joseph solman (1909-2008)
New York Nocturne, Sixth Avenue.

Gouache on black wove paper. 262x365 mm; 10¼x14⅜ inches. Initialed twice in ink and gouache, lower right recto and titled in white pencil verso. 1936.

Sidney Paul Schectman was the co-owner of Mercury Galleries, New York and was instrumental in exhibiting The Ten, a group of New York Expressionist painters (also called the “Whitney Dissenters,” including Ben-Zion, Ilya Bolotowsky, David Burliuk, Earl Kerkam, Mark Rothko, Louis Shanker, and Joseph Solman in the mid to late 1930s.

Jules halfant (1909-2001)
Gryphon Peddlar, Harlem.

Oil on canvasboard. 305x406 mm; 12x16 inches. Signed, Halfant, lower left. Signed, Jules Halfant, and inscribed, 0-1375, verso.

Exhibited: “The New York Group,” ACA Gallery, New York, 1938.

Claude clark (1915-2001)
Old Swedes’ Church.

Lithograph. 292x228 mm; 11½x9 inches, full margins. Signed and titled in pencil, lower margin. Published by the Works Progress Administration (WPA), PA. 1940.

Another impression of this scarce WPA print is in the collection of the Metropolitan Museum of Art.

Isaac friedlander (1890-1968)
Ruins in Brooklyn.

Etching. 175x240 mm; 7x9½ inches, full margins. Artist’s proof. Signed, titled, dated and inscribed “Trial proof No. 4” in pencil, lower margin. 1939.

A superb, richly-inked impression of this very scarce etching.

Friedlander was born in Latvia. In 1912, he went to Italy where he met and worked with the Russian artist Maxim Gorky. During this period he also received his only art training, studying etching, drawing and relief printing at the Academy of Rome. In 1937, he emigrated to New York where he worked full time as an artist until his death. He is best known for his woodcuts and etchings, many of which are embued with a sharp social commentary reflecting the despair of the WPA era. His work is in many major American museums, including the Smithsonian American Art Museum, Washington, DC, and the Brooklyn Museum, New York.

Will barnet (1911-2012)
Swing Shift.

Etching and aquatint. 249x270 mm; 9⅞x10⅝ inches, wide margins. Artist’s proof, aside from the edition of 30. Signed and inscribed “Artist’s Proof” in pencil, lower margin. Printed and published by the artist, New York. 1937.

A superb, richly-inked impression of this etching made by Will Barnet while he was working as a printer in the Graphic Division of the Federal Art Project in New York. Szoke 41.

Born in Beverly, Massachusetts, Barnet attended the School of the Museum of Fine Arts in Boston from 1928-30. He later won a 3 year scholarship to the Art Students League, New York, where he focused on printmaking. Throughout his career, he mastered a variety of techniques, including etching, woodcut and lithography. An extremely dynamic artist, Barnet changed his style significantly throughout his career. His earliest graphic works captured the social and economic despair which resulted from the Great Depression; during these years he also worked for the WPA, producing prints for the graphics arts division.

William gropper (1897-1977)
Sweatshop.

Lithograph. 240x305 mm; 9½x12 inches, wide margins. Edition of 300. Signed in pencil, lower right. Printed by George C. Miller & Son, New York. Published by Contemporary Print Group, New York. From The American Scene, no. 2. 1934.

A very good impression.

Alicia wiencek (fiene) (1918-1961)
The Painter.

Oil on board. 610x457 mm; 24x18 inches. Signed and dated in oil, lower right, recto. Signed, titled and inscribed “215 West 57th Street, New York City” in pencil, verso. 1936.

Wiencek was a muralist in the WPA - she painted the mural North Carolina Cotton Industry in 1937 for the Mooresville Post Office, NC, now in the Moorseville Graded School District for the Treasury Section of Fine Arts. She also assisted the artist Louis Fiene, whom she later married, on two WPA murals - one for the post office in Canton, Mass., and the other in the Department of the Interior Building, Washington, DC.

A native of Chicopee, Massachusetts, Winecek studied at the Art Students League of New York. Her paintings were exhibited at the International Carnegie Institute, the Pennsylvania Academy of the Fine Arts, the National Association of Women Artists and the National Academy of Design. Fiene was also a member of the National Association of Women Artists.

Alicia wiencek (fiene) (1918-1961)
Mural Study, (Cane Workers).

Oil on Masonite. 610x610 mm; 24x24 inches. Signed and dated in oil, lower left. 1937.

Albert gold (1916-2006)
Fish Packing, Crisfield, MD.

Watercolor on paper. 330x463 mm; 13x18¼ inches. Signed, Albert Gold, lower left. 1938.

Albert gold (1916-2006)
Circus Workers.

Pencil and watercolor on paper. 495x648 mm; 19½x25½ inches. Signed, Albert Gold, lower right. 1939.

James turnbull (1909-1976)
Coal Miner’s Locker Room, West Virginia.

Watercolor on paper. 394x285 mm; 15½x11¼ inches. Signed, Jim Turnbull, lower left. Inscribed, #72, on verso. 1941.

Harry sternberg (1904-2001)
Blast Furnaces #1.

Etching and aquatint. 300x212 mm; 11⅞x8⅜ inches, full margins. Signed in pencil, lower right. Published by Associated American Artists, New York. 1937.

A very good impression.

Harry sternberg (1904-2001)
Steel Workers.

Color screenprint. 550x280 mm; 21½x11 inches, full margins. Signed in ink, lower right. 1950.

A very good impression with strong colors.

Claude clark (1915-2001)
Drill Press.

Carbograph (carborundum etching) on cream wove paper. 241 mm; 9½ inches diameter (tondo), wide margins. Signed in ball point pen and ink, lower right. Published by the Pennsylvania Art Program, WPA, Philadelphia. 1941.

A very good, dark impression. We have found only one other impression of this scarce WPA print at auction in the past 20 years.

Claude clark (1915 - 2001)
Tanning a Machine Gun Barrel.

Lithograph on cream wove paper. 254x330 mm; 10x13 inches, 1¼-inch margins. Signed and titled in pencil, lower edge. Published by Works Progress Administration (WPA), Federal Art Project, Philadelphia. 1941.

Edward arthur wilson (1886-1970)
Two lithographs.

Hard Work. 280x330 mm; 11x13 inches. Signed and titled in pencil, lower margin. Circa 1940 * Pipe Jungle. 280x334 mm; 11x13¼ inches, full margins. Signed, dated and numbered 15/50 in pencil, lower margin. 1941.

Both very good impressions.

Wilson was born in Glasgow and moved to New York as a young man in 1893. Wilson was a sought-after illustrator of over 77 books and an accomplished printmaker. His WPA prints depicted the heroic efforts of industrial workers.

Edward arthur wilson (1886-1970)
Two lithographs.

Raising a Pipe. 285x316 mm; 11¼x12½ inches. Signed and dated in pencil, lower margin. 1941 * Pipe Jungle. 280x334 mm; 11x13¼ inches, full margins. Signed, titled and dated in pencil, lower margin. 1941.

Both very good impressions.

Wilson was born in Glasgow and moved to New York as a young man in 1893. Wilson was a sought-after illustrator of over 77 books and an accomplished printmaker. His WPA prints depicted the heroic efforts of industrial workers.

Raphael soyer (1899-1987)
Waitresses.

Lithograph. 292x240 mm; 11½x9½ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. 1954.

A very good impression. Cole 71.

Soyer is known for his social realist depictions of daily life around New York City. He participated in the WPA as a muralist, completing the murals at the Kingsessing Station Post Office in Philadelphia with his brother Moses (1899-1974) in 1939, and painting two murals for the Queens Borough Public Library in 1936. He was also engaged as a printmaker, and the WPA published many of his lithographs during that time.

Josef presser (1907-1967)
Stevedores.

Charcoal, pastel and gouache on cream wove paper. 507x339 mm; 20x13⅜ inches. Signed in charcoal, lower right. Circa 1940.

Sold Swann Galleries, New York, June 4, 2009, sale 2182, lot 115.

Born in Lublin, Poland, Presser (1907-1967) attended the Boston Museum of Fine Arts School and thereafter maintined residency in the American northeast. He was a member of the Philadelphia Watercolor Club as well as the New Haven Paint and Clay Club.

Robert gildersleeve (1924 - )
Mural Study.

Gouache and pen and ink on buff wove paper. 355x483 mm; 14x19 inches. Signed in ink, center edge, and signed and dated "1/32/20" in ink, lower right. 1932.

Charles turzak (1899 - 1985)
Harvest.

Gouache and pencil on wove paper. 95x483 mm; 3¾x19 inches. Signed in ink, lower right. Circa 1935.

Michael loew (1907-1985)
Project for Mural, Agriculture.

Tempera on black illustration board. 355x578 mm; 14x22¾ inches. Signed, Michael Loew, and inscribed as titled on label affixed to frame backing.

Michael Loew was awarded mural projects funded by the Treasury Section of Fine Arts, (TSFA), completing the Amherst, OH Post Office in 1941, and the Belle Vernon, PA Post Office in 1942.

Lois north (b. 1908)
Life of Hiawatha, (Pair of Mural Studies).

i) Charcoal and graphite on paper. 24x52 inches. ii) Charcoal, graphite, and colored pencil on paper. 23x50 inches.

These drawings are studies for a mural completed by Lois North for the Edgewood School Library, New Haven CT. The mural was exceuted in tempera on plaster, and measured six feet three inches high by fifty-seven feet three inches wide. The mural was destroyed in 1997.

James daugherty (1887-1974)
Untitled (Mural Study/Summer Activities)..

Watercolor, charcoal and pencil on cream wove paper. 356x535 mm; 14x21 inches. Signed and dated in pencil, upper left recto. With the artist’s estate ink stamp, lower left verso. 1930.

James daugherty (1887-1974)
Untitled (Study for a Mural/Flat Tire).

Watercolor, gouache and pencil on cream wove paper. 317x330 mm; 12½x13 inches. With the artist’s estate ink stamp, lower right verso. Circa 1935-37.

James michael newell (1900 - 1985)
Two Mural Studies.

Color pastels, wash and crayon on wove paper. Both 114x368 mm; 4¼x14½ inches. Circa 1938-39.

Newell was a WPA muralist in the New York Federal Art Project who worked in fresco.

Jean swiggett (1910-1990)
Exploration and Mining, Kellogg, Idaho, (Mural Study).

Pencil and watercolor on artists board. 400x921 mm; 15¾x36¼ inches. Signed, Jean Swiggett, lower right. Inscribed, Kellogg, Idaho / oil on canvas, on verso.

There is no evidence this mural nor any other was executed for a project in Kellogg, Idaho. Jean Swiggett was awarded two other murals: while working under the Treasury Section of Fine Arts, Local Industry, a work on canvas, was completed in 1940 for the Franklin Post Office, Franklin, IN, and in 1938 under the Federal Art Project, Swiggett and Ivan Bartlett completed a casein tempera fresco for the Longbeach Polytechnic High School titled, Industrial Activities in Long beach.

Twentieth century school
Mural Study, Five Panels.

Gouache and pencil on wove paper. (1-2) approx. 95x337 mm; 4¼x13¼ inches; (3-5) approx. 95x362 mm; 4¼x14¼ inches. Circa 1937-40.

Robert l. lambdin (1886-1981)
Sketch for Proposed Mural Panel, the Beekman Downtown Hospital.

Gouache on paper. 95x362 mm; 11x14 inches. Signed in ink, lower left recto. Signed and titled in ink, on the artist’s label on the frame back. Circa 1937-40.

Anton refregier (1905-1979)
The ‘34 Strike: Calling out the National Guard.

Color screenprint. 205x460 mm; 8x18⅛ inches, full margins. Proof, likely from an unrealized edition. Titled in pencil, lower left and inscribed “L Gilbert” in colored pencil, lower right. Circa 1948.

A very good impression of this extremely scarce screenprint with strong colors.

We have not found another impression at auction in the past 30 years.

Based on the dockworkers’ strike in San Francisco in 1934, one of the subjects of Refregier’s 1941-48 mural entitled “History of California” for the Rincon Annex Post Office in San Francisco commissioned by the Treasury Section of Fine Art.

Hugo gellert (1892-1985)
Two prints.

Roosevelt and his Two Wives, lithograph. 305x295 mm; 12x11½ inches, full margins. Signed in pencil, lower right. From Aesop Said So. Circa 1936 * Curse of the Modern World, screenprint and lithograph. 415x335 mm; 16⅜x13⅛ inches, full margins. Edition of approximately 54. Signed in pencil, lower right. Published by International Workers Order. From Century of the Common Man: Two Speeches by Henry A. Wallace. 1943.

Very good impressions.

Gellert was born in Budapest and immigrated to New York in 1906. He studied at Cooper Union and the National Academy of Design. During World War I, he became interested in politics and began making illustrations for radical political publications. A member of the Communist Party of America, he focused his career on making artwork that was accessible to the public, such as illustrations in newspapers and magazines, murals and posters. In 1938, he painted the murals at the Communications Building at the New York World’s Fair; during the fair’s planning he also oversaw he formation of a labor union to protect the rights of artists as it was being planned. He continued to remain loyal to the Communist Party throughout his career and life, founding the American Artist’s Congress, a Communist organization, and eventually facing investigation by the House of Un-American Activities Committee.

William gropper (1897-1977)
“Wage Standard.”

New Deal/WPA-themed political cartoon published in Freiheit. Pen and ink with wash on paper. 394x285 mm; 15½x11¼ inches, sheet. Signed "Gropper" in lower right.

William gropper (1897-1977)
“WPA Wage Cuts” * “Economize! Cut W.P.A..

Together, two New Deal/WPA-themed political cartoons published in Freiheit. Pen and ink with blue pencil tracing on paper. First measures 390x286 mm; 15¼x11¼ inches, sheet, unsigned. Second measures 290x387mm; 11½x15½ inches, sheet, signed “Gropper” in lower right. Both with blue pencil printing notations in margins.

William gropper (1897-1977)
“Down with the New Deal-We’ll Fight Roosevelt-Cut the W.P.A.”

New Deal/WPA-themed political cartoon of Uncle Sam getting head-smacked by anti-Dealers, published in Freiheit. Pen and ink with wash on paper. 407x293 mm; 16x11½ inches, sheet. Signed “Gropper” in lower right.

William gropper (1897-1977)
Untitled (Four Men Seated at a Table).

Gouache on cream wove paper. 635x508 mm; 25x20 inches. Signed in gouache, lower right. Circa 1940.

William gropper (1897-1977)
Destruction.

Oil on canvas. 405x507 mm; 16x20 inches. Signed in oil, lower right recto.

Eugene higgins (1874-1958)
Revolution.

Charcoal and pastel on paper. 381x610 mm;15x24 inches. Signed in charcoal, lower center edge. Circa late 1930s.

Exhibited: Clayton-Liberatore Gallery, NY, 1971, Eugene Higgins: Exhibition of Oil Paintings, Watercolors, Drawings and Etchings, illus. plate 6 in the accompanying catalog.

Eugene Higgins was born and raised in Missouri and studied at the St. Louis School of Fine Arts before continuing his studies in Paris at l'École des Beaux-Arts and the Académie Julian. In Paris, his painting was greatly influenced by the realist masters Jean-François Millet and Honoré Daumier. After returning to the United States, Higgins set up his studio in New York. He worked in a social realist style, while depicting sympathetic portrayals of the downtrodden. In the late 1930s and early 1940s he was engaged by the Treasury Section of Fine Arts to paint murals in Beaver Falls, Pennsylvania, Mt. Pleasant, Tennessee and Shawano, Wisconsin.

Harry sternberg (1904-2001)
Enough.

Aquatint. 380x300 mm; 15x11¾ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. 1947.

A very good impression.

Remo farruggio (1904-1981)
Surrealist Landscape with Christ.

Oil on canvas. 610x762 mm; 24x30 inches. Signed and dated in oil, lower left recto. 1945.

Ivan “le lorraine” albright (1897-1983)
Self Portrait at 55 East Division Street.

Lithograph. 363x260 mm; 14¼x10¼ inches, full margins. Edition of 250. Signed and titled in pencil, lower margin. Published by Associated American Artists, New York. 1947.

A superb, richly-inked impression. Grayson 13.

Albright was a native of Chicago and an American painter, sculptor and printmaker most renowned for his self-portraits, character studies and still lifes. He honed a fiercely independent style which focused on highlighting the minute detail and texture of every surface, often requiring him to spend years or even decades on a single work. Though he worked under the auspices of the Public Works of Art Project (PWAP) in 1933-34 and the Works Progress Administration (WPA) for a few months in 1936, Albright generally seemed to disdain the contemporary work of many other American Regionalist and Realist artists who worked in these governement supported programs. His oil on canvas, The Farmer’s Kitchen, 1933-34, now in the Smithsonian American Art Museum, Washington, DC, which comes closest to capturing the feeling in the works of American Regionalist artists, shows a weary woman seated and peeling a bunch of radishes in a hard-scrabble farm kitchen. The scene is almost a parody of works by Grant Wood (1891-1942) or John Steuart Curry (1897-1946). Albright summed up his view of the American Regionalists popular at the time, observing, “There is that group of American Sceners whose pictures are more news bulletins than art. They picture the tornado, the flood, the drought lands, the TVA, but pathetically enough are six months behind the newspaper headlines and photographs.”

Ivan “le lorraine” albright (1897-1983)
Fleeting Time Thou Hast Left Me Old.

Lithograph. 347x243 mm; 13⅝x9⅝ inches, full margins. Edition of 250. Signed and titled in pencil, lower margin. Published by Associated American Artists, New York. 1945.

A very good impression. Grayson 11.

Albright was a native of Chicago and an American painter, sculptor and printmaker most renowned for his self-portraits, character studies and still lifes. He honed a fiercely independent style which focused on highlighting the minute detail and texture of every surface, often requiring him to spend years or even decades on a single work. Though he worked under the auspices of the Public Works of Art Project (PWAP) in 1933-34 and the Works Progress Administration (WPA) for a few months in 1936, Albright generally seemed to disdain the contemporary work of many other American Regionalist and Realist artists who worked in these governement supported programs. His oil on canvas, The Farmer’s Kitchen, 1933-34, now in the Smithsonian American Art Museum, Washington, DC, which comes closest to capturing the feeling in the works of American Regionalist artists, shows a weary woman seated and peeling a bunch of radishes in a hard-scrabble farm kitchen. The scene is almost a parody of works by Grant Wood (1891-1942) or John Steuart Curry (1897-1946). Albright summed up his view of the American Regionalists popular at the time, observing, “There is that group of American Sceners whose pictures are more news bulletins than art. They picture the tornado, the flood, the drought lands, the TVA, but pathetically enough are six months behind the newspaper headlines and photographs.”

George biddle (1885-1973)
Three Beggars.

Oil on canvas. 762x508 mm; 30x20 inches. Signed, Biddle, and dated, 1929, lower right. Signed, Biddle, inscribed, 203, and as titled on verso.

The Treasury Section of Fine Arts (TSFA) awarded two mural projects to George Biddle: in 1936 he completed Society Freed through Justice, as part of a large arts project at the Kennedy Department of Justice Building, Washington, D.C.; and in 1939 he created three panels for the New Brunswick Post Office, New Brunswick, NJ.

Isaac soyer (1902-1981)
The Refugee.

Oil on canvas. 812x607 mm; 32x24 inches. Signed in oil, lower left recto and verso.

Abram tromka (1896-1954)
The Tailor.

Oil on artists board. 285x235 mm; 11¼x9¼ inches. Signed in oil, lower right recto.

William gropper (1897-1977)
Despair.

Oil on canvas. 402x505 mm; 15¾x19⅞ inches. Signed in oil, lower left recto.

Working in oil on canvas, Gropper completed three mural projects: Two canvases for the Freeport, New York Post Office, 1938; Three canvases for the Stewart Lee Udall Department of the Interior building, Washington, DC, 1936-7 and installed in 1940; One canvas, painted for the Northwestern Branch post Office, Detroit, later moved and installed at Wayne State University Student Center, Detroit, Michigan.

Elizabeth olds (1897-1991)
Harlem W.P.A. Street Dance.

Gouache on paper. 350x572 mm; 13¾x22½ inches. Signed, Elizabeth Olds, lower right recto . Circa 1937.

With a painting of a steel mill scene on the verso.

This double-sided art work relates to the same-titled 1937 lithograph Olds created for the Federal Art Project, and is most probably a preliminary work made before the print was excecuted.

Ward lockwood (1894-1963)
Untitled, (Boy in Winter Hat).

Charcoal on paper. 489x368 mm; 19¼x14½ inches. Signed, WL, lower right.

Remarkably, Ward Lockwood was awarded four mural projects between 1934 and 1942. His first project, funded through the Public Works of Art Project, (PWAP) created murals for the Taos County Courthouse along side Emil Bisttram, Bert Phillips, and Victor Higgins. Second, he and Richard Haines created murals for the courthouse in Wichita, KS, 1935-36 under the Treasury Section of Fine Arts, (TSFA). Third, he partook in the grand decoration project of the Clinton Federal Building, 1937, (TSFA). Fourth, He created a mural for the Hamilton, TX Post Office, 1942, (TSFA).

Lawrence lebduska (1894-1966)
Untitled.

Oil on card laid to Masonite. 356x215 mm; 14x8½ inches. Signed, Lebduska, and dated, 59, lower left. 1959.

Rockwell kent (1882-1971)
Starry Night.

Wood engraving. 177x125 mm; 7x5 inches, full margins. Edition of 1750. Signed in pencil, lower right. Published by the Literary Guild of America. 1933.

A very good, evenly-printed and dark impression. Burne-Jones 103.

Kent was a WPA muralist whose commission for the Post Office in Washington, DC (now the Clinton Federal Building) was highly controversial. The mural portrayed Puerto Rico’s first airmail delivery and seemed to sympathize with the cause for Puerto Rican independence. A woman is shown with a letter in Kuskokwim Eskimo dialect that reads “To the people of Puerto Rico, our friends! Let us change chiefs. That alone can make us equal and free!”

Rockwell kent (1882-1971)
Hero.

Lithograph. 310x230 mm; 12⅛x9 inches, full margins. Edition of 150. Signed in pencil, lower right. 1931.

With– Dirty Deborah. Lithograph. 226x170 mm; 8⅞x6⅝ inches, full margins. Edition of 150. Signed in pencil, lower right. 1933.

Both very good impressions. Burne-Jones 69 and 96.

Rockwell kent (1882-1971)
And Now Where?

Lithograph. 335x240 mm; 13⅛x9⅜ inches, full margins. Published by the American Artists Group, New York. 1936.

A very good impression. Burne-Jones 110.

Kent’s And Now Where? originally appeared to the public in The New York Woman magazine in 1936. Kent was a WPA muralist who was then known for his controversial commission for the Post Office in Washington, DC (now the Clinton Federal Building). The mural portrayed Puerto Rico’s first airmail delivery and seemed to sympathize with the cause for Puerto Rican independence. A woman is shown with a letter in Kuskokwim Eskimo dialect that reads “To the people of Puerto Rico, our friends! Let us change chiefs. That alone can make us equal and free!”

John steuart curry (1897-1946)
The Plainsman.

Lithograph. 396x245 mm; 15⅝x9⅝ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. 1945. Cole 40.

A key Regionalist at the time the New Deal was implemented, Curry participated as a muralist for the The Treasury Section of Fine Arts, a merit based program rather than a relief program. He was commissioned to create the murals for the Kennedy Department of Justice Building in Washington, DC in 1937, and the Norwalk City Hall, in Norwalk, Connecticut in 1936.

Ben shahn (1898-1969)
Maynardville, Tennessee.

Silver print, the image measuring 165.1x215.9 mm; 6½x8½ inches, the sheet 203.2x254 mm; 8x10 inches, with a Library of Congress hand stamp and numeric notations, in pencil, on verso. 1935; printed circa 1960-70.

Ben shahn (1898-1969)
Scene at Smithland, Kentucky.

Silver print, the image measuring 158.7x215.9 mm; 6¼x8½ inches, the sheet 203.2x254 mm; 8x10 inches, with a Library of Congress hand stamp and numeric notations, in pencil, on verso. 1935; printed circa 1960-70.