Isabel Bishop (1902-1988), Man With Arms Folded, etching, 1929-1943, signed in pencil lower right margin, numbered (XV/XXV) lower left. Reference: Teller 7a, from the AAA edition of 25 (after a few proofs made by the artist earlier). In excellent condition, with full margins, 5 3/8 x 3 5/8, the sheet 13 x 10 inches, archival matting.

A fine impression, printed by Stephen Sholinsky of Stem Graphics, and with his chop mark, a stylized double S,  lower right margin. Printed on a Rives Heavyweight paper, published by Associated American Artists, 1985.

Isabel Bishop’s prints were virtually always of figures, drawn directly from her models. Here, the model is probably a denizen of 14th Street, a man in a reflective posture. Interestingly, the print has a number of markings at the right (semi-circles, the letters H and X, a circle) that seem at first glance to have nothing to do with the composition. We know of another such print by her close colleague Reginald Marsh, his Girl Standing, Repeated of 1943 (Sasowsky 224) which also has such marks. Whether these marks on Man With Arms Folded were already on the plate, or represent some testing of the plate – or were in fact added to enhance the composition, which they do, is something of a mystery.

A fine rare proof impression, printed with a light veil of plate tone.

Provenance: Midtown Galleries, New York, purchased in 1980 by current owner.

This is one of a small number of proofs that Bishop personally printed in 1940. In 1978 an edition of 50 was printed professionally. The vast majority of impressions of Strap Hangers found today on the market are from the 1978 edition. Proof examples, now highly coveted by collectors, have an atmospheric character that the later impressions lack.

Bishop was of course a member of the Union Square group of New York artists, an informal circle of friends including Reginald Marsh, Armin Landeck, Raphael Soyer, and Yasuo Kuniyoshi. Virtually all her prints were figure studies. In the early years her printmaking was focused on etching; later she added aquatint to her repertoire.

Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellent condition, printed on cream wove paper, with margins, 5 7/8 x 3 7/8, the sheet 7 5/8 x 4 5/8 inches, archival mounting with window mount.

A fine atmospheric proof impression, before the edition printed decades later and before the corners of the plate were burnished (and thus with a platemark set in strong relief), printed with a light veil of plate tone.

Provenance: Associated American Artists, with a copy of their signed certificate of authenticity attached to the mat.

This is one of a small number of proofs that Bishop personally printed in 1943. In 1981 an edition of 25 was printed; these were printed professionally and numbered I-XXV. Proof examples are highly coveted today; printed by Bishop herself, they tend to have an atmospheric character that the later impressions lack.

Bishop was of course a member of the Union Square group of New York artists, an informal circle of friends including Reginald Marsh, Armin Landeck, Raphael Soyer, and Yasuo Kuniyoshi. Virtually all her prints were figure studies. In the early years her printmaking was focused on etching; later she added aquatint to her repertoire.