Armin Landeck (1905-1984), York Avenue Tenements, drypoint, 1938, signed and dated in pencil lower right,  inscribed “Printer’s Proof” lower left margin, and “For Mohammad” lower middle margin. Reference: Kraeft 74, only state, apart from the edition of 100. In pristine condition. The full sheet with full margins, printed on a heavy cream wove paper, 10 3/8 x 9, the sheet 14 1/4 x 13 1/4  inches.

A superb impression, richly printed, and with a light veil of plate tone.

Landeck printed his proofs personally, supplying his dealers with proofs as they had need for replacements. But since Landeck insisted that his prints be affordable – he put a cap of $100 on prints sold by Associated American Artists in the late ’70′s and early ’80′s, for example – the demand increased substantially in his later years.  At that point he enlisted the printing help of two artists: Anthony Kirk and Mohammad Omer Khalil; this impression may have been given to Khalil.

Landeck said of this print: “…something of the character and mood of that part of New York City. I had a job near there and spent time wandering around the area. This street marks the boundary of the city. Tenements came up to the park – and stopped. Moral: Build more parks!”

Armin Landeck (1905-1984), York Avenue Tenements, drypoint, 1938, signed and dated in pencil lower right,  inscribed “ed 100″ lower left margins. Reference: Kraeft 74, only state, from the edition of 100. In very good condition, barely perceptible light tone, remains of prior hinging verso, soft printer’s crease upper right. The full sheet with full margins, printed on a heavy cream wove paper, 10 3/8 x 9, the sheet 14 1/4 x 12 5/8 inches.

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

Landeck said of this print: “…something of the character and mood of that part of New York City. I had a job near there and spent time wandering around the area. This street marks the boundary of the city. Tenements came up to the park – and stopped. Moral: Build more parks!”

A fine impression, carefully printed with a light veil of plate tone over the buildings and land areas.

Landeck, an eminent American Precisionist, here creates a bleak picture of the late Depression years reminiscent of Hopper’s isolationism.  The sign in front of the Lodge says “Sunset Palace Lodge, Good Eats, Good Beds.”  Landeck noted that this setting was “a place near Woodbury Connecticut.” The print was not editioned when it was made, but was later printed in an edition of 100 (and signed by Landeck), the edition to be included with a deluxe edition of the catalogue raisonne.