Source: http://www.williampcarlfineprints.com/artist/benton/thomas_hart/
Timestamp: 2019-04-20 22:56:54+00:00

Document:
Lithograph, 1937, Fath 15, edition 250. 10 x 14 1/4 in. Signed on the stone and signed in pencil. This is a fine impression with full margins. The condition is excellent. This early work was based on a drawing done in the Ozarks. A painting of this subject also exists.
Lithograph, 1941, Fath 45, edition 250. 10 x 13 in. Signed on the stone and signed in pencil, lower right. This is a fine impression in fine condition. The margins are full. The original AAA label accompanies this impression and it lists the title as "Arkansas Evening." A similar painting called "Nebraska Evening" was made in 1940.
Lithograph, 1939, Fath 27, edition 250. 9 5/8 x 12 in. Signed on the stone, lower left. Signed in pencil, lower right. This is a fine impression with full margins. The original paper hinges are at the top corners and there's a small break in the lower left margin, well away from the image. This exceptional print relates to a painting now in St. Louis. The image was based on a visit to eastern Tennessee in 1928.
Lithograph, 1938, Fath 22, edition 250. 9 x 10 3/4 in. Signed on the stone and signed in pencil lower right. A fine impression in fine condition with full margins.
Lithograph, 1938, Fath 21, edition 250. 10 1/4 x 12 3/4 in. Signed in pencil, lower right. This fine impression is in fine condition. The margins appear to be full. An outstanding work.
Lithograph, 1945, Fath 68, edition 250. 10 x 12 5/8 in. Signed on the stone, lower left. Signed in pencil, lower right. This is a fine impression with wide and possibly full margins. The condition is excellent. The scene depicted is on Martha's Vineyard, MA, and this engaging print relates to a painting as well as a drawing, the latter produced during the 1920s.
Lithograph, 1938, Fath 18, edition 250. 9 3/8 x 12 1/2 in. Signed on the stone and signed in pencil, lower right. Here we have a fine impression with full margins. The condition is also fine. This print was based on a painting done in 1927. In addition, there's a related drawing which Benton drew from a train window while he was traveling in Nebraska.
Lithograph, 1951, Fath 172, edition 300. 9 x 13 3/4 in. Signed in pencil. A fine impression in very good condition. Full margins. Remains of old tape stains at corners of sheet, verso, and along the bottom edge, verso. The scene depicted here by Benton is on Martha's Vineyard, MA.
Lithograph, 1943, Fath 57, edition 250. 8 5/8 x 13 1/8 in. Signed on the stone, lower left corner. Signed in pencil, lower right. This is a fine impression with wide margins. The condition is fine other than for extremely faint toning from an early mat opening. Related to a drawing and painting, this dramatic night scene depicts a North Carolina subject. The shed is where tobacco is dried.
Lithograph, 1941 , Fath 44, edition 250. 10 x 12 1/8 in. Signed on the stone and signed in pencil. This is a fine impression with full margins. The condition is excellent.
Lithograph, 1949, Fath 73; edition 300. 9 x 12 3/8 in. Signed on the stone and signed in pencil. This is a fine impression with full margins. The condition is excellent. This print was a study for a painting called "Wednesday Evening". The painting is in Springfield, Missouri at the Museum of Fine Arts. This is an uncommon print.
Lithograph, 1939, Fath 32, edition 250. 14 1/8 x 9 3/8 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression with full margins. The condition is excellent. The small, original hinges are at the top corners and we have the AAA label which came with the print as issued.
Lithograph, 1948, Fath 72, edition 250. 9 3/8 x 13 3/4 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression in fine condition. The margins are wide. This endearing print depicts an Ozark boy on his way to school or to find work. A painting exists of the same subject.
Lithograph, 1948, Fath 71, edition 250. 9 5/8 x 13 7/8 in. Signed on the stone, lower right. Signed in pencil. This is a fine impression in fine condition. The margins are wide. The scene depicted was in western Nebraska. A painting of this subject done in tempera on paper exists.
Lithograph, 1944, Fath 62, edition 250. 9 3/4 x 13 1/4 in. Signed in pencil, lower right. Here we have a fine impression in fine, untouched condition. The margins are full. (The original AAA hinges still remain at the top corners.) This lovely work depicts a scene in northwest Missouri. A drawing dates from 1940 and a painting also preceded the lithograph.
Lithograph, 1941, Fath 47, edition 250. 11 1/2 x 8 7/8 in. Signed on the stone and signed in pencil. This is a fine impression in very good condition. The margins are full. (There is minor adhesive residue at top edge of sheet, barely discernible.) The print is based on a 1928 drawing. The scene is a meetinghouse in West Virginia.
Lithograph, 1939, Fath 31, edition 250. 8 3/4 x 10 7/8 in. Signed on the stone and signed in pencil, lower right. This is a fine impression in very good condition. The margins have been trimmed to about 1" on all sides. This appealing work relates to a painting and the scene depicted is somewhere in Missouri. This is the only winter scene depicted among Benton's many lithographs.
Lithograph, 1941, Fath 48, edition 250. 9 3/8 x 13 3/4 in. Signed in pencil, lower right. This is a fine impression in fine condition. The margins are excellent with a deckle edge showing on the top and bottom and they are 1 1/2 inches on the sides. This important print relates to several preparatory drawings and the painting is now located in the Swope Art Museum in Indiana. Other Benton lithographs are currently available and we invite your inquiry.
Lithograph, 1952, Fath 77, edition 300. 10 7/8 x 13 7/8 in. Signed and dated on the stone, lower left. Signed in pencil. This is a fine impression printed on white wove paper. The margins are wide and probably full and the condition is excellent. This scene depicts the Texas panhandle and it's the only print of Texas done by Benton. This exceptional work was based on a drawing from 1944 and was commissioned and circulated by Southern Methodist University.

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