editions@phillips.com
\n+1 212 940 1220
\n

\n\n

Cary Leibowitz
\nWorldwide Co-Head of Editions
\ncleibowitz@phillips.com
\n

\n\n

Kelly Troester
\nWorldwide Co-Head of Editions
\nktroester@phillips.com
\n

\n\n

Sarah Browne
\nSpecialist, Head of Sale, Editions
\nsbrowne@phillips.com
\n

\n\n

Jason Osborne
\nSpecialist, Editions
\njosborne@phillips.com

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During his lifetime, Charles Burchfield – best known for his watercolors – produced one etching, eleven wood engravings, and three lithographs. While printmaking was not his preferred mode of artistic production (in fact, he almost never strayed from his primary medium), the editions he did create demonstrate great technical skill and a distinct point of view. His keen graphic eye may have developed during the time he spent as a wallpaper designer early in his career – a job he worked to support his family before he began selling his work in New York galleries. While Burchfield’s style oscillated between the realist and the imaginary throughout his life, the overarching theme of reverence for the beauty and power of nature is present across his body of work. An ardent naturalist, Burchfield kept extensive journals that recorded his time spent outside, detailing the intense emotions these experiences evoked. Though he was not deeply involved in organized religion, he seems to have held pantheistic beliefs, recognizing God in the landscapes he felt so moved to capture in his art. While Burchfield was dissatisfied with his attempts at etching, finding the medium too restrictive, he engaged more extensively with wood engravings, whose high contrast inspired him to think more dramatically about light and form. The last editions Burchfield made were three lithographs printed between 1951 and 1952, all of which were stylized outdoor scenes after watercolors he had made in the 1940s. While his paintings tended to be rendered in vivid color, the monochrome palette of Burchfield’s print work allows the viewer to focus more intently on his use of form and contrast. The landscapes are richly textured, and capture both the serenity and the excitement of the natural world through his recognizably expressive linework. The present MODERNISM sale will include all three of Burchfield’s lithographic images, as well as a unique ink drawing of a study for a wallpaper design.

\n","conditionReport","The sheet slightly toned, pale mat-staining, pale surface soiling in the margins and on the reverse. \r\n\r\nIn our opinion, this work is in very good condition. \r\n\r\nF: the sheet hinged at the reverse upper corners. Within a metallic wood frame, with an overmat, under Plexiglas.\r\n\r\nAll condition assessments exclude a work’s frame.\r\n\r\nFor more information or images, please contact the department at Editions@Phillips.com","NY030426","auctionCurrency",{"_418":419,"_534":421},"currencySign","auction",{"_52":413,"_50":531,"_54":537,"_56":57,"_60":61,"_64":538,"_539":540,"_541":542,"_58":457,"_543":459,"_80":544,"_545":546,"_547":546,"_548":549,"_550":551,"_495":496,"_552":46,"_553":46,"_554":83,"_555":46,"_556":46,"_557":46,"_79":83,"_558":46,"_559":46,"_494":83,"_560":46,"_561":83,"_562":46,"_563":46,"_564":46,"_82":83,"_489":46,"_490":83,"_565":566,"_3234":3235,"_100":3265,"_3272":3273,"_68":3307,"_532":3309,"_106":3310,"_3311":3224,"_84":3312,"_62":3313,"_3314":3315},"MODERNISM: Editions & Works on Paper","2026-04-22T16:00:00.000000Z","lowestEstimate",500,"highestEstimate",90000,"saleTypeId","https://assets.phillips.com/image/upload/t_Website_AuctionPageHero/v1775500286/auctions/NY030426/NY030426.jpg","contactEmail","editions@phillips.com","conditionRequestEmail","auctionDetails","

MODERNISM celebrates Editions and Works on Paper from the turn of the 20th Century through the following decades in what was a transformative period of time where artists redefined the boundaries of visual expression spurred by progress and innovation amongst continual global challenges. Featuring selections by El Lissitzky, Edvard Munch, Paul Klee, Edward Hopper, Pablo Picasso, Charles Sheeler, Rene Magritte, Georges Braque and others, each work in this session represents not just an aesthetic achievement, but moments in time when these artists pushed their ideas and fine print, art-making boundaries to new visions of our world, historic ones that are now as important as ever.
\n
\nView Conditions of Sale >
\n
\nPriority Bidding is here! Secure a lower Buyer's Premium.
\n
\nDeadline to submit priority bids is Monday 20 April, 12pm ET
\n
\nLearn more >

\n\n

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(Three Bouquets) (M. 845)","https://assets.phillips.com/auctions/NY030426/231867_001.jpg",{"_470":3209,"_472":3210,"_476":3211,"_52":413,"_410":3195,"_478":571,"_482":83},66239,48045,"2026-04-22T18:51:26.989000Z","117",{"_410":3214,"_52":413,"_414":3215,"_448":3223,"_450":451,"_454":455,"_456":457,"_458":459,"_460":3224,"_461":3225,"_589":3226,"_463":2798,"_465":2799,"_466":385,"_468":3227,"_483":46,"_484":83,"_485":689,"_343":825,"_337":578,"_340":825,"_488":46,"_489":46,"_490":83,"_491":46,"_492":46,"_493":83,"_494":83,"_411":3224,"_452":3233,"_603":3224},"231868",{"_416":3216,"_426":3217},{"_418":419,"_420":421,"_422":599,"_424":581},[3218,3219,3220,3221,3222],{"_418":429,"_420":430,"_422":1172,"_424":1886},{"_418":434,"_420":434,"_422":672,"_424":673},{"_418":438,"_420":439,"_422":675,"_424":676},{"_418":419,"_420":421,"_422":599,"_424":581},{"_418":444,"_420":445,"_422":652,"_424":679},"https://www.phillips.com/detail/marc-chagall/231868",118,"La Lecture (The Reading) (M. 688)","https://assets.phillips.com/auctions/NY030426/231868_001.jpg",{"_470":3228,"_472":3229,"_474":3230,"_476":3231,"_52":413,"_410":3214,"_478":578,"_480":3232,"_482":83},66241,48046,46921,"2026-04-22T18:52:44.518000Z","1bfa0d2e-ec15-4d68-9d7c-acbe1202e88d","118","highlights",[3236,3241,3244,3247,3250,3253,3256,3259,3262],{"_589":3237,"_520":3238,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/1ee_hi.jpg","

EL LISSITZKY New Man, plate 10 from The Three-Dimensional Design of the Electro-Mechanical Show 'Victory over the Sun', $15,000–25000

\n","version","0",{"_589":3242,"_520":3243,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/2ee_hi.jpg","

PABLO PICASSO Le repas frugal (The Frugal Meal), plate 1 from La Suite des Saltimbanques, $60,000–90,000

\n",{"_589":3245,"_520":3246,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/newedhi_hi.jpg","

AFTER MARC CHAGALL Carmen, by Charles Sorlier, $40,000–60,000

\n",{"_589":3248,"_520":3249,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/3ee_hi.jpg","

EDWARD HOPPER The Railroad, $40,000–60,000

\n",{"_589":3251,"_520":3252,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/4ee_hi.jpg","

REMBRANDT HARMENSZ. VAN RIJN Cornelis Claez. Anslo, Preacher, $3,000–5,000

\n",{"_589":3254,"_520":3255,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/5ee_hi.jpg","

PABLO PICASSO Fumeur à la cigarette blanche (Smoker with a White Cigarette), $25,000–35,000

\n",{"_589":3257,"_520":3258,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/6ee_hi.jpg","

CHARLES SHEELER Industrial Series #1, $20,000–30,000

\n",{"_589":3260,"_520":3261,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/7ee_hi.jpg","

BLANCHE LAZZELL Three Trees, $10,000–15,000

\n",{"_589":3263,"_520":3264,"_3239":3240},"https://assets.phillips.com/auctions/NY030426/8ee_hi.jpg","

RENÉ MAGRITTE Le fils de l'homme (The Son of Man), $4,000–6,000

\n",{"_102":3266,"_104":3267,"_106":3268,"_117":3269},"2026-04-16T04:00:00.000000Z","2026-04-22T04:00:00.000000Z",{"_108":237,"_110":238,"_112":239,"_114":57,"_115":240,"_241":242},[3270,3271],{"_120":121,"_122":123,"_124":125,"_126":127},{"_120":129,"_122":129,"_124":130,"_126":127},"articles",[3274,3297],{"_3275":3276,"_3277":74,"_3278":3279,"_520":3280,"_3281":3282,"_3283":3284,"_3285":3286,"_3287":1765,"_3288":3289,"_3290":3291,"_460":3289,"_3292":3293,"_3294":1184,"_3295":3296},"coverUrl","https://flockler.com/thumbs/sites/889/modernism-editions-ny1-5cb35a96-e4bd-4b68-90dc-e2f5579d1c06_s600x0.png","section","summary","American Modernism and the frenetic movement of the 20th century. ","The New World Remade ","body","

Ralston Crawford, Overseas Highway, 1940. MODERNISM: Editions & Works on Paper New York.

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\nAsk for a definition of Modernism and expect to get more questions than answers; build a fence around it, and something will always slide through the pickets. It is in this shifting landscape that many American artists found themselves embracing the movement as a continuous interchange between images and modes, of a rapidly developing society, and the prospect that an expansive, globally-connected country was opening new creative avenues for art. They found it in the high and low urban landscapes and the newly connected countryside, in their trips to European salons and soldiers’ returns stateside, in the quietude of personal psychology, and in the spectacle of crowds. With such scope to bear, it can be daunting to tackle its immensity, but thankfully, there’s a verse for every vessel.

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Join us as we explore a range of works from our upcoming MODERNISM: Editions & Works on Paper sale in New York, featuring 40 works of American Modernism from the Berenice and Joseph Tanenbaum Family Collection. Over their lifetime, they collected works by key artists of the movement from iconic American Art galleries, including Hirschl & Adler, Inc., Kraushaar Galleries, Richard York Gallery, Kennedy Galleries, Inc., and Silvan Cole Gallery.

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Left: John Marin, Brooklyn Bridge, circa 1912. Right: Childe Hassam, Fifth Avenue, Noon, 1916. MODERNISM: Editions & Works on Paper New York.

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John Marin rips apart the Brooklyn Bridge

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Into bits and shares, graphite lays

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the cables of a nervous system.

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A restless age awaits, so they say in Vienna,

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and the search for lost time has already begun.

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But across town, noon up Fifth

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we are drowned in Childe Hassam’s flag-light

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for a crowd etched,

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dissolved to almost-nothing

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while vertical services resume overhead.

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Left: Edward Hopper, Night in the Park, 1921. Right: Edward Hopper, The Railroad, 1922. MODERNISM: Editions & Works on Paper New York.

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Edward Hopper’s park: one lamp,

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one man, a dark arranged by absence.

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The railroad cuts the frame, berm or embankment

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to take us anywhere; there’s a country out there,

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somewhere, and a new American loneliness yet to be named.

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George Bellows, Billy Sunday, 1923. MODERNISM: Editions & Works on Paper New York.

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Bellows fills the hall to bursting — a great pulpit bawl

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from a ballplayer-pastor

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the audience a single, heaving animal

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fed by spectacle, a convert for any dogma,

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oh does Billy love a Sunday.

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Left: Charles Sheeler, Roses, 1924. Right: Charles Sheeler, Industrial Series #1, 1928. MODERNISM: Editions & Works on Paper New York.

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Sheeler renders the rose as though set and stamped

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by our factory lines: each petal precise, negotiating with light.

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Then the factory as if it were a rose: clean and unashamed, all the better for it.

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Stuart Davis, Rue de l'Echaudé (Echaudé Street), 1929. MODERNISM: Editions & Works on Paper New York.

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A Paris alley flattens to jazz for Stuart Davis, all things equal between cobblestone and signage,

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all too loud, all too familiar, of course.

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You can take the artist out of New York...

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Ralston Crawford, Overseas Highway, 1940. MODERNISM: Editions & Works on Paper New York.

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Now there is a war on

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so Ralston Crawford gets to work on his highway. With him are

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one band of concrete,

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one stretch of sky,

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and a hard seam horizon — that somewhere, eventually, will too be paved.

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Left: Blanche Lizzell, Three Trees, 1950. Right: Charles Burchfield, Autumn Wind, 1952. MODERNISM: Editions & Works on Paper New York.

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Three trees cut from silence

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with a block Blanche Lazzell creates a world by removal

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what stays is the shape of what is taken

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bending toward sunlight without leaves to carry

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or obstruct our view of life through dormers.

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Burchfield catches up and hears the wind

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the trees knowing what comes next,

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a murmuration of birds, a midair ballet

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in an autumn air so thin and light.

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And this century learned to see that

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the new world was no place, no land. It was

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a method, a way of standing in front of this giant thing and not flinching.

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the machine

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the flower

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all modern

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all ours.

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Discover more from MODERNISM: Editions & Works on Paper >

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\n","publishDate","2026-03-30T21:32:05.000000Z","authorCredit","Arian Murati","coverPosX","coverPosY",0,"articleUrl","https://www.phillips.com/article/167346715/the-new-world-remade","auctionEditorialID",8924,"editorialID","flocklerID",167346715,{"_3275":3298,"_3277":74,"_3278":3299,"_520":3300,"_3281":3301,"_3283":3302,"_3285":3286,"_3287":1765,"_3288":3289,"_3290":3303,"_460":229,"_3292":3304,"_3294":3305,"_3295":3306},"https://flockler.com/thumbs/sites/889/editions-specialist-picks4-7f8eb3e7-c364-43da-aa63-542201ab7e14_s600x0.png","Our favorite works across several auctions this spring.","Specialist Picks: Editions Season in New York","

David Hockney, Man Looking for His Glasses, April 1986, 1986. Editions & Works on Paper New York.

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Left: Pablo Picasso, Le repas frugal (The Frugal Meal), plate 1 from La Suite des Saltimbanques, 1904. Right: Pablo Picasso, Buste d'homme (Bust of a Man), plate 4 from La Suite des Saltimbanques, 1905. MODERNISM: Editions & Works on Paper.

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Kelly Troester, Worldwide Co-Head of Editions, Deputy Chairman, Americas

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After years (!) surrounded by the history of printmaking in one fashion or another, many colleagues and friends in the business think about or are asked, "What would your fantasy collection include?" I am sure we would all have large storage spaces to rotate themes and new passions, but master prints would be a classical focus of mine. I’d have a few Dürers for sure, a Three Trees, Schongauer’s Temptation of St. Anthony, Blake, Segers, early Klee, Manet, Redon, a Degas monotype, Kirchner, Munch, Frida’s only litho… and these two moody beauties leading us into the 20th century. Drawn when Picasso was 23 or 24 years old, and his second and fourth prints made: truly, wow. All dramatic black and whites on my walls — especially with these rich and rare impressions of mannerist street performers: a blind man, an early lover of Picasso’s, and a young man — both (or all three figures) are glimpses of history as we move further away from them. Probably more important to me would be their symbolism of the dark fragility and the contrasting strength of life at the same time. How fortunate that these sheets still exist for us to savor. #collectprints

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Marcel Duchamp, Certificat de Lecture, from Il Reale Assoluto (Degree in Reading, from The Absolute Reality), 1964. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Cary Leibowitz, Worldwide Co-Head of Editions, Deputy Chairman, Americas

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I love this lithograph. Hang it on your wall to show that you are not only allowed to read, but also to look and think about what you want to read and think whenever you feel like it.

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Maybe it's an over-60 thing.

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Certificat de Lecture, or a "Certificate of Reading," a "Degree in Reading."

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(Made about 40 years after Mr. Duchamp “wasn’t making art” for a book of poetry by Arturo Schwarz.)

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Sometimes, an artist not making art is art history in the making.

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The certificate serves as an "inalienable and non-transferable" document — I have earned this certificate to prove I have a seat at the cool kids' table!

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Get me a bigger bucket list!

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But I am tired and can only think about so much per minute, hour, day, month, year, decade.

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Hang it on your wall to show that you are not only allowed to read, but also to look and think about what you want to read and think whenever you feel like it. Sorry, I said that already.

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Jasper Johns, Skin with O'Hara Poem, 1963-65. Editions & Works on Paper New York.

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Sarah Browne, Specialist, Head of Sale

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A poem to honor Frank and Jasper:

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Jasper Johns presses himself

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into the surface

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not drawing, not describing

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just leaving

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proof of contact

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hands, face

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not drawn, not described

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but transferred

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like a thought you didn’t quite finish

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the paper stays precise

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cool, measured

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a presence

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a moment of contact

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that’s already gone

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and still it lingers

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somewhere between touch and image

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as if the act of making

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hasn’t quite let go

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Howard Hodgkin, Venice, Afternoon, from Venetian Views, 1995. Editions & Works on Paper New York.

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Jason Osborne, Specialist

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Howard Hodgkin mostly painted at a modest scale, though there were exceptions. Think paintings-you-could carry-on-the-subway type scale. I find it strange and unpredictable that, with the less immediate medium of printmaking, he often chose to go so big. As seen here in his 1995 etching Venice Afternoon, from Venetian Views, which measures just over 66 x 77 inches. This is one of a set of four Venetian views, which are presumably abstract interpretations of the landscape, light, and vibe of Venice in the Morning, Afternoon, Evening, and Night. What I love most about them is that they have an immediate and beautiful sense of a specific place that belies the difficult poetic labor and repetition that went into their production.

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Joan Miró, Saccades: one plate, 1962. MODERNISM: Editions & Works on Paper.

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Audrey Bastian, Cataloguer

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I’ve heard people bemoan that prints are flat, but isn’t that the point? The paper passes through the press and is merged with the plate. But prints aren’t just flat; they started with dimension, in the printshop with heavy ink rollers, deep-etched lines, and acid baths. Maybe on account of my knack for looking closely, a trusty loupe (magnifier), and its 4x5-inch scale, this little Miró is full of depth. The yellow ink was printed last, and with the help of magnification, I see all its freckles sitting atop the surface, radiating against the black ground. The yellow ink oozes out of the plate's contained borders, like hands reaching out from two dimensions, telling you this is a Miró, come and look closer!

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\nDavid Hockney, Man Looking for His Glasses, April 1986, 1986. Editions & Works on Paper New York.

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Elizabeth Hoskins, Associate Researcher

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I relate to this poor guy, as I, too, have spent many a morning in frantic search of a pair of glasses that seem to effortlessly blend in with their surroundings. Hockney perfectly captures the awkwardness that comes from this pursuit: supremely hunched over, neck craned in all sorts of directions, feeling cartoonish and barely human as you pad around in relative blindness, hoping for a hit. To know Hockney goes through this same struggle with his iconic round specs brings me great comfort... even though his frames are a lot cooler than mine, if one of the greatest artists of our time can forego the contacts or Lasik that would put an end to the ever-maddening glasses hunt, so can I!

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\nMarcel Duchamp, Première Lumière (First Light), 1959. DUCHAMP & COMPANY, Curated by Francis M. Naumann, New York.

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Vivienne Lange, Sale Manager

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I might be the biggest fan of one of the smallest works in the sale (the image itself is only 2 3/4 x 3 7/8 in!). Duchamp was renowned for his humorous use of wordplay, and this work is no exception. The etching served a practical purpose of replying to a submission request from Duchamp’s friend and collaborator, Pierre-André Benoit, for inclusion in his publication Première Lumière (First Light). Despite its petite proportions, the message packs a punch: a resounding NON (no, en français), though still fundamentally acting as a submission itself — a cheeky contradiction. I might just take some inspiration for my own responses... you must agree, non?

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\nCharles Burchfield, Study for Wallpaper in Black and White, 1922-28. MODERNISM: Editions & Works on Paper.

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Eliza Whalen, Intern

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In this 21st century world of minimalist kitchens and greige living rooms, Charles Burchfield reaches out his hand and mercifully lifts us into wallpaper heaven with this study. Between 1921 and 1929, Burchfield worked for M. H. Birge & Sons Company as a wallpaper designer; in a later interview, he claimed the incentive for taking the job was that he had "fallen in love" and needed steady work to support a future family. This piece was illustrated between 1922 — when Burchfield married his wife, and 1928 — when she became pregnant with their fifth child. Emblematic of a key period in his creative career before he was able to embrace painting full-time, I find Study for Wallpaper in Black and White to be a masterpiece in its own right.

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27

Charles Burchfield

Study for Wallpaper in Black and White

Further Details

Full-Cataloguing

Charles Burchfield