The Old Print Gallery Showcase- October 2014

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VOLUME XXXVII, NUMBER 3 OCTOBER 2014

1. THE NOBLE GAME OF THE SWAN. William Darton. Published London by WilliamDarton; 58, Holborn Hill. Copper plate engraving, c. 1821. Game-board with nineteencompartments, including the British Museum (#3), all beautifully arranged on the body of aswan. Applied label on verso: "The most approved modern maps, plans, and charts of everydescription, from the best authorities. Constantly on sale at William Darton's, Map, Print andChart Warehouse, 58 Holburn Hill, London. - They may be had in Sheets, Cases for thePocket, or on Canvass with Rollers." Lacks slip case and instructions. Segmented into ninesections. Overall 15 3/4 x 19 5/8" (400 x 498 mm). Good condition. #84432.1 $2,250.

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Published by: The Old Print Gallery Phone: 202-965-1818Editor: Laura Graham Fax: 202-965-1869Website: OldPrintGallery.com Email: [email protected]

In partnership with THE OLD PRINT SHOP in New York City

1220 31st Street NW, Washington, DC 20007

Items are offered subject to prior sale. All are original prints in good to finecondition except as noted. Any major faults or restorations are carefully noted.Prices are net. Insured shipping is at additional cost. We extend five-day returnprivileges. Sales tax applies to Washington, D.C. and New York orders. “The OldPrint Gallery” and “The Old Print Gallery Showcase” are exclusive, federallyprotected trademarks and their use without permission is expressly prohibited.

2. AUTUMN ROAD SANTA FE. Norma Bassett Hall. Color woodblock, 1928. Signed in pencil bythe artist. Image size 6 1/2 x 8 1/2" (165 x 216 mm). Good condition. 81235.1 $3,800.

Hours: Tuesday - Saturday 10 am - 5:30

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3. SUNDOWN - STONINGTON,MAINE. Lawrence N. Wilbur. Woodengraving, 1955. Edition 40. Signed andtitled in pencil. Signed in plate. Imagesize 5 1/8 x 6" (130 x 155 mm). Verygood condition. #20596.2 $250.

4. PEARS. Luigi Rist. Color woodblock,1948. Edition 150. Titled in pencil.Signed in plate. Inscribed "150 Edition."Image size 8 7/8 x 7 1/16" (226 x 181 mm).Very good condition. #71229.1 $3,000.

5. VINTAGE TIME IN A PODERE ONA SMALL FARM AT MONTE FIANO,NEAR FLORENCE. Published in TheGraphic, London. Wood engraving, Oct. 6,1900. Image size 13 x 17 7/8" (330 x 455mm). Good condition with modern hand-color save small loss affecting one title let-ter; backed with Japan. #63987.1 $245.

Our fall catalog begins with a striking game board pro-duced in London in 1821, The Noble Game of theSwan. Game boards have evolved for thousands of yearsthroughout civilization, bringing people together, andchallenging the strategy and mental acuity of players byproviding the definitive matrix for competition. Thisone is a particularly charming and intriguing work of art.

On the subject of matrices, we are focusing on the roleof wood in printmaking. Featured in our gallerythrough November 15th is , an exhibit ofwork by early 20th century American printmakers usingwood as the matrix for their art. We offer fine examplesof woodcuts and wood engravings by artists such asClare Leighton, Gustave Baumann, Luigi Rist, Law-rence Wilbur and Norma Bassett Hall.

Going further back in history, we also show examples of16th century woodcut maps, portraits from a scarce18th century volume covering the discovery and explora-tion of America, and wood engravings from 19th centu-ry illustrated newspapers.

Starting with a significant Fry-Jefferson VA map, ourassortment of maps concentrates on America in the18th century. We also present some beautiful Currier& Ives scenes, a well-known William Sidney Mountlithograph and natural history works by 19th centurymasters, John James Audubon and John Gould.

Visit our website:www.oldprintgallery.com

Here you will find information about gallery eventsas well as a huge selection of maps and prints.

Read our blog atwww.oldprintgallery.wordpress.com

and find us on facebook atwww.facebook.com/oldprintgallery

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6. TERRA SANCTA. XXII NOVA TABULA.Sebastian Munster. Published by Sebastian Mun-ster. Basel. Woodcut, c. 1545. A fine early map ofThe Holy Land from Munster's Cosmographica. Itwas originally issued in 1532. Shows south orient-ed at the top (erroneously marked "Occidens" orwest). Place names listing old and 'modern' namesare depicted upper right in a large cartouche.Vignettes depict shepherds, flora, fauna and topo-graphical features. This was also the first map toshow the Christian symbol of the snake on a crossfrom Exodus and Stations 32 – 41 of the Exodusare indicated. The Prophetess Debbora is shownon Mount Thabor. Latin text on verso. Image size10 x 13 1/2" (256 x 341 mm). Very good condi-tion. Black & white. Laor, Eran, Maps of the HolyLand 617. #81365.1 $875.

7. TABU ASIAE MINORIS. (Turkey.) MartinWaldseemuller. Published by Laurent Fries,Strassburg. Woodblock, 1525. This map ap-peared in a 1525 Strasbourg edition of Ptolemy'sGeographia. This map has a number of earlymanuscript additions including several newplace names in Turkey and several mountainranges in Syria. A scarce example of early wood-block cartography. Image size 10 1/2 x 15" (265x 382 mm). Fair to good condition. Several areasof repairs, including paper replacement alongcenterfold and sheet edges. #48318.1 $1,250.

8. AMERICUSVESPUTIUS. Pub-lished by Johann Mi-chael Funcken, Erfurt.Woodcut, 1723. EarlyGerman woodcut por-trait of the Italian ex-plorer who gave hisname to the NewWorld. From Neu-Eross-netes Amphitheatrum.Image size 12 1/8 x 7"

(310 x 180 mm). Fine condition. #49405.1 $450.

10. COLUMBUS, DER ERSTEERFINDER VON AMERICA.Published by Johann MichaelFuncken, Erfurt. Woodcut, 1723.Inventively drawn and graphicallystrong early German woodcut, withrelated text. From Neu-ErossnetesAmphitheatrum. This marvelous fulllength portrait of Christopher Co-lumbus looking at a globe and hold-ing a book and dividers is the titlepage to the third part of a workissued in 5 parts, from 1722 to1728. A very rare print. Image size6 1/2 x 7" (170 x 178 mm). Goodcondition. #73719.1 $450.

9. FEFERDINANDUSMAGELLANES. Pub-lished by Johann Mi-chael Funcken, Erfurt.Woodcut, 1723. EarlyGerman woodcut por-trait of Ferdinand Magel-lan, circumnavigator ofthe globe. From Neu-Erossnetes Amphitheatrum.Image size 12 1/4 x 7

1/8" (310 x 180 mm). Fine condition. #49406.1 $450.

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11. SNAP THE WHIP. Winslow Homer. Harper's Weekly, New York. Wood engraving, 1873.Generally considered to be Homer's finest wood engraving, it is even considered superior to the oilpainting of the same subject by many critics, including Barbara Gelman. "Neither critics nor those whovalue fine work can ignore the wood engravings that Homer produced in 1873 and 1874," she writes."These are the greats, the culmination of nearly twenty years of draftsmanship...." The Wood Engravingsof Winslow Homer, xiii. Black and white. Image 13 9/16 x 20 11/16" (344 x 524 mm) plus title. Goodcondition save centerfold repair; backed with Japan. Pl. 68. The Graphic Art of Winslow Homer by LloydGoodrich. Museum of Graphic Art. 1968. #9531.9 $1,750.

12. SHIP-BUILDING, GLOUCES-TER HARBOR. Winslow Homer.Published by Harper's Weekly, NewYork. Wood engraving, 1873. Imagesize 9 1/4 X 13 7/8" (236 x 358 mm).Good Condition. #24097.10 $500.

13. A BIVOUAC FIRE ON THEPOTOMAC. Winslow Homer. Pub-lished by Harper's Weekly, New York.Wood engraving, Dec. 21, 1861. Im-age size 13 3/4 x 20 1/4" (350 x 514mm). Fine condition. Backed withJapan. #49513.1 $350.

www.oldprintgallery.comemail: [email protected]

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RARE VERSION of the FREFFERSON MAP of VIRGINIA

15. NOVISSIMA TABULA REGIONIS LUDOVICIANAE GALLICE DICTAE LA LOUISIANE.Christoph Weigel. Copper plate engraving, 1734. This map is derived from Del'isle's map, which wasthe first printed map to establish the name Texas, "Mission de Los Teyas etablie in 1716." The routesof explorers De Soto, Cavelier, Tonty, Moscoso, and Denis are shown. The cartouche shows two neatlyattired gentlemen negotiating over a large chest of gold coins. A very fine example of the map. Imagesize 12 1/2 16 3/8" (316 x 416 mm). Good condition save for some splitting along folds. Professionallyconserved. Original hand-coloring. #29873.1 $2,500.

14. A MAP OF THE MOST INHABITED PART OF VIRGINIA CONTAINING THE WHOLEPROVINCE OF MARYLAND WITH PART OF PENSILVANIA, NEW JERSEY AND NORTHCAROLINA. Drawn by Joshua Fry & Peter Jefferson in 1775. Printed for Robt. Sayer at No. 53 in FleetStreet. Copper plate engraving, 1775, c. 1777. This important map of Virginia was commissioned bythe English Lords of Trade, who in 1750 required each colony to conduct a comprehensive survey.Joshua Fry, a mathematician, and Peter Jefferson, a surveyor and father of Thomas Jefferson, wereappointed to execute the commission. The resulting map is highly detailed, giving roads, ferry crossings,settlements, and names of many of the rivers and creeks. It is also the first map to depict the generalconfiguration of the Appalachian and Allegheny mountain ranges. The cartouche depicts an image ofthe Virginia tobacco trade. The map was first issued in 1751. Other editions were done in 1755 onwardthrough 1794. This particular map is from the 1775 edition and likely appeared in Thomas Jefferys' "TheAmerican Atlas. An unusual and apparently unrecorded variant state between the six and seventh states.(See "Degrees of Latitude"). Sixth state has the 1775 date in the title and Robert Sayer and Tho. Jefferysimprint. Seventh state is noted with an imprint of Sayer & Bennett. This example only notes, "Printedfor Robt. Sayer at No. 53 in Fleet Street." The reference for Jefferys has been burnished out. Four-sheetmap, joined into two sheets. Overall size, if joined, 31 x 48 1/4" plus margins. Good condition. Originaloutline color. Early twentieth-century coloring on cartouche. #81224.1 $32,000.

www.oldprintgallery.com202-965-1818

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16. NORTH AMERICA DRAWN FROM THE LATEST & BEST AUTHORITIES. ThomasKitchin. Copper plate engraving, c. 1770. Engraved for Guthries New Geographical Grammar. PublishedLondon. In the aftermath of the French and Indian War (1756-1763), England and its Americancolonies started disagreeing on future growth. Quickly increasing in population, and needing more landfor settlement, various colonies claimed the right to extend their boundaries as far west as the MississippiRiver. In the Pacific Northwest, the Straits of Juan de Fuca open up to a huge, but undefined, WesternSea. The River of the West conjecturally flows from Pikes Lake in the Intermountain West. New Albionand the Snowy Mountains are prominently shown, but the western region is mostly left open to theimagination. Image size 13 3/8 x 14 1/4" (340 x 364 mm). Good condition save for some toning andsplitting along center vertical crease. #84902.1 $575.

17. PARTIE DU MEXIQUE OUDE LA NOUVLE. ESPAGNEOU SE TROUVE L'AUDCE. DEGUADALAJARA, NOUVEAUMEXIQUE, NOUVELLE NA-VARRE, CALIFORNIE &c.Gilles Robert de Vaugondy. Pub-lished Paris. Copper engraving,1749. From Sanson's Atlas Por-tatif. One of the few maps of thisperiod to focus on Baja California,Texas and the Southwest. The en-tire map is dotted with placenames, including Albuquerqueand Santa Fe. Among the riversshown are the Colorado and RioGrande (Rio del Norte). Imagesize 6 3/8 x 7 3/4". Fine conditionwith original outline color.#81933.1 $550.

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18. A MAP OF AMERICA. ACCORD-ING TO YE NEWEST AND MOST EX-ACT OBSERVATION. Hermann Moll.Copper engraving, c. 1745. This strikingmap of the Americas depicts California asa large island. The bold inking and Moll'sclear English lettering draw interest to rep-resentations of Baron Lahontan's mythicalR. Longue and the Mississippi River valley.Santa Fe is named, as are many colonies onthe Atlantic coast. From Thomas Salmon'sA Modern History of the Present State of AllNations. Second state. Image size 10 3/8 x7 1/4" (265 x 183 mm). Good conditionwith minor small stain in Pacific. Blackand white. Phillips, Maps, p. 108.McLaughlin, CA, 179-1. #81400.1 $695.

19. A NEW ANDGENERAL MAP OFTHE MIDDLE DO-MINIONS BELONG-ING TO THEUNITED STATES OFAMERICA, VIZ. VIR-GINIA, MARYLAND,THE DELAWARE-COUNTIES, PENN-SYLVANIA, NEWJERSEY &C... LewisEvans. Published byLaurie & Whittle, Lon-don. Engraving, hand-colored, c. 1794. Thismap is taken from LewisEvan's A General map ofthe Middle British Colo-

nies in America… published in 1755. Various cartographers did at least ten different issues/states orre-engravings of this map. This impression is Laurie & Whittle's re-issue of the Sayer & Bennett plateof 1776. In the Henry Stevens reference book on Lewis Evans he states that the only difference betweenthe earlier Sayer & Bennett map and this one is the removal of the headline title "The Seat of War" andthe addition of a dotted line throughout the lakes to show the boundary of Canada and the UnitedStates. Note the outline for the state of Vermont. The trompe-l'oeil inset at the top left is "A Sketch ofthe Upper Parts to show the Remainder of the Lakes". A wonderful map with some charming details.Image size 18 13/16 x 25 11/16" (476 x 652 mm). Good condition save for some repairs to lowercenterfold, including a tiny area of loss. Original hand coloring. #9707.1 $2,500.


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20. STEAMBOATSPASSING AT MID-NIGHT. ON LONG IS-LAND SOUND.Published by Currier &Ives 125 Nassau St. NewYork. Lithograph, hand-colored, undated. Imagesize 8 1/2 x 12 1/2" (216x 316mm). Fair condi-tion and color, with sev-eral long repaired tears;backed. As is. Conning-ham 5731. #2071.1$500.

21. CALIFORNIASCENERY. : SEALROCKS - POINT LO-BOS. Published by Cur-rier & Ives, 152 NassauSt. New York. Litho-graph, hand-colored, un-dated. Also comes withpublication line of "Pub-lished by Currier & Ives,125 Nassau St., NewYork." Small folio - im-age size 7 15/16 x 121/2". Good condition,original color slightlyfaded. #2200.1 $900.

22. VALLEY FALLS,VIRGINIA. Publishedby Currier & Ives, 152Nassau St. New York.Lithograph, hand-col-ored, undated. Smallfolio - image size 8 x 121/2" (202 x 317 mm).Good condition withoriginal color, save forrepaired tear in title mar-gin. Conningham 6355.#69492.1 $675.


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23. LANDSCAPE, FRUIT AND FLOWERS. Fanny F. Palmer. Published by Currier & Ives, 152Nassau St. New York. Two-color lithograph, hand-colored, 1862. Original Best Fifty Large Folio #48.New Best Fifty Large Folio #45. Large folio - image size 19 15/16 x 27 1/2" (505 x 699 mm). Goodcondition. Beautiful color. Conningham 3440. Gale 3710. #3296.2 $12,000.

24. THE POWEROF MUSIC! WilliamSidney Mount. Pub-lished by Goupil, Vib-ert & Co. 289Broadway, New York.Lithograph on chine-colle, 1848. Belowthe image: Painted byW. S. Mount. Leon-Noel fec. (on stoneby). Paris Goupil Vib-ert & Co. Editeurs.London E. Gambart& Co. Publishers. Tothe right of the title"This print is Respect-fully Dedicated toMrs. Gideon Lee byher most obedientServants - Goupil,Vibert & Co." A great 19th century American genre image. Image size 14 5/8 x 18 5/8" (370 x 472mm) plus title. Good condition save for some repaired tears in the outer margins. Lower portion ofdedication line trimmed. Original hand-coloring. #64.8 $6,000.

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202-965-1818

25. RUFFED GROUSE. : PHEASANTOR PARTRIDGE. Published by Currier& Ives 152 Nassau St. New York. Litho-graph, hand-colored, 1871. Small folio -image size 8 3/8 x 12 7/16" (213 x 317mm). Good condition and color, save forsome minor foxing in margins. Conning-ham 5248. Gale 5688. #34520.2 $475.

26. CORVUS CORAX, LINN. (Raven). John Gould and H.C. Richter. Published London.Lithograph, hand-colored, 1862-1873. From The Birds of Great Britain, 5 vols. Large folio. London1862-1873. 367 lithographs colored by hand, printed by Walter from drawings by Gould, Joseph Wolf,H.C. Richter and Hart, mostly lithographed by Richter and Hart. Paper size 21 1/4 x 14 1/2" (540 x368 mm). Includes page of informative text. Very good condition and color. Slight toning on edges.#86488.1 $750.

27. TAMIASTOWNSENDII,BACHMAN.TOWNSEND'SGROUND SQUIR-REL. (Plate XX). JohnJames Audubon. Litho-graphed, printed andcolored by J. T. Bowen,Philadelphia. Litho-graph, hand-colored,1843. From the imperi-al edition of ViviparousQuadrupeds of NorthAmerica. Drawn fromnature by J. J. Audubon.Paper size 21 1/4 x 273/8" (539 x 694 mm).Good condition and col-or. #22133.2 $750.

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28. PASSER DOMESTICUS, RAY. (Common or HouseSparrow). John Gould and H.C. Richter. PublishedLondon. Lithograph, hand-colored, 1862-1873. From TheBirds of Great Britain, 5 vols. Large folio. London 1862-1873. 367 lithographs colored by hand, printed by Walterfrom drawings by Gould, Joseph Wolf, H.C. Richter andHart, mostly lithographed by Richter and Hart. Walter &Cohen, Imp. Page of descriptive text included. Paper size21 1/4 x 14 1/2" (540 x 368 mm). Very good conditionand color. Mild toning on edges, faint spot on uppermargin. #86487.1 $425.

John Gould (1804-1881) was Great Britain’s finest ornitholog-ical artist. In nineteenth century Europe, his name was as wellknown as Audubon's was in North America. Gould traveledwidely and employed other artists to help create his lavish hand-colored lithographic folios. Nearly 3,000 lithographs were createdduring the span of his long career. His prints are prized for theirbeauty and fine color.

29. RACCOON. MALE. PROCYON LOTOR, CUVIER. Plate LXI. John James Audubon.Lithographed, printed & colored by J. T. Bowen, Philadelphia. Lithograph, hand-colored, 1842-49.From the imperial edition of Viviparous Quadrupeds of North America. Drawn from nature by J. J.Audubon. Paper size 21 1/4 x 27 1/2" (540 x 698 mm). Good condition and color. #42936.2 $20,000.

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Our Fall show, is running through November 15th. It highlights 20th century print-makers who excelled in woodcuts and wood engravings. One of the most ancient forms of printmak-ing, the woodcut was in decline in the 19th century, overlooked by printmakers as a solelyreproductive medium. Luckily, the 20th century saw a revived and energized artistic expression forwoodcuts and wood engravings. These new woodcut artists experimented heavily with technique, inways both innovative and nuanced.

Printmakers like Werner Drewes and Barbara Latham incorporated the grain of the woodblock direct-ly into the composition of their prints, surrendering to its complexities while highlighting its unique,undulating patterns. Others, including Gustave Baumann, Leo Frank, Norma Basset Hall and LuigiRist, experimented with new methods of ink and color application, resulting in stylized prints in abold, modern palate, as well as softer, luminous color prints inked onto thin Japanese paper.

To view all of the prints in the show, visit oldprintgallery.com.

30. GRAPES. Luigi Rist. Color woodblock, 1943. Edition 100. Titled in pencil. Signed in imagein pen. Image size 7 5/8 x 9 1/4" (187 x 237 mm). Good condition, save for faint previous matline. Williams 13. #78193.1 $2,750.


Email: [email protected]

Known for his unique and complex approach to printmaking, Luigi Rist (1888-1951) was a lifelong resident ofNewark, NJ and started his art career as a painter. At the age of 41, while in Brittany monitoring for painter SigurdSkou, he met Morris Blackburn, a Philadelphia painter who became a lifelong friend. The two visited an exhibit ofJapanese woodcuts in New York, where Rist became fascinated with the medium. By the age of 53 he had immersedhimself in exploring Japanese woodcut-making. Through experimentation, Rist developed his own tools and tech-niques, using multiple blocks and numerous layers of color to produce woodcuts in which still lifes become almostabstract forms, defined by the nuances and brilliance of color.

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31. IN THE HILLS O' BROWN. Gustave Baumann. Color woodcut, 1910.Edition unknown. Signed, titled and dated in pencil. Image size 9 1/8 x 131/8" (230 x 334 mm). Good condition, minor toning to sheet. #91.1 $4,000.

32. HEATHCLIFF IN THE SNOW.[WUTHERING HEIGHTS]. Clare Leigh-ton. Wood engraving, 1930. Edition 30.Signed and titled in pencil, inscribed "25/30."Image size 7 x 5 1/4" (177 x 133 mm). Verygood condition, save for remains of old hinges.#67023.1 $650.

33. BALCONY.(FROM "TRAV-ELING.") Anto-nio Frasconi.Color woodcut,1969. Edition 50.Signed and titledin pencil. In-scribed "28/50."Image size 6 9/16x 4 1/2" (167 x116 mm). Verygood condition.#67182.1 $600.

Gustave Baumann (1881-1971) was born in Magdeburg, Germany and moved with his family to the U.S. whenhe was 10. At 17 he was working for an engraving house while attending night classes at the Art Institute ofChicago. In 1904 he returned to Germany to study wood carving and woodblock printing in Munich. He returnedto the U.S. in 1908 to work as a graphic artist while producing color woodcuts. After spending time in the BrownCounty Art Colony in Indiana, developing his printmaking technique based on the European method of usingoil-based inks and printing on a large press, he settled in Santa Fe where he was known as a master of woodcuts andfor making marionettes. In this setting he captured landscapes, ancient Indian petroglyphs, scenes of Pueblo life andgardens until his death.

Born in Buenos Aires to Italian parents, Antonio Frasco-ni (1919-2013) was raised in Montevideo, Uruguay. Afan of Gustave Dore and Goya early in life, he visited anexhibition of impressionism and post-impressionists wherehis imagination was captured by artists such as Van Gogh,Cezanne, and particularly Paul Gauguin’s woodcuts.Moving to the U.S., he took a job as gardener and guardat Santa Barbara Museum of Art. He had his first showhere, followed by another at the Brooklyn Museum of Art.Among his accomplishments were becoming a GuggenheimFellow in 1952 and being a full member of the NationalAcademy of Design.

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34. LAMBING. Clare Leighton. Wood engraving, 1933. Edition 100. Signed and titled in pencil.Inscribed "24/30." Image size 8 x 10 3/8" (202 x 264 mm). Good condition. Top right corner of paperis missing and right side of paper (in margin) is slightly crumpled. BPL 22. #40884.2 $1,200.

35. GERANIUMS. Barbara Latham. Wood-cut. Edition unknown. Signed and titled inpencil. Image size 6 x 7 3/16". Very goodcondition. #70123.1 $800.

36. THE OLD SINK. Barbara Latham. Woodengraving, c. 1927. Edition unknown. Signedand titled in pencil. Inscribed "S Bush imp."Image size 9 x 7 3/16". Very good condition.#71166.1 $950.


Born in London to parents who were both authors, ClareLeighton (1898-1989) studied art at Brighton College ofArt and Slade School of Fine Art, and wood engravingunder Noel Rooke at the Central School of Arts andCrafts. After visiting the U.S. several times, Leightonimmigrated in 1945. Elected to the National Academyof Design in 1945 as an Associate, she became a fullmember in 1949. In her long career, Leighton wrote andillustrated many books praising the virtues of the rural life,while the world around her became increasingly technolog-ical, industrial, and urban.

Barbara Latham (1896-1989) was born in Walpole,Massachusetts and studied at the Norwich ConnecticutArt School, Pratt Institute in Brooklyn, and the ArtStudents League in Woodstock, New York. An adventur-ous spirit, she bicycled with a friend through Brittany togather material for illustrations. In 1925 she settled inTaos, New Mexico with her husband, artist HowardCook. Her art depicted southwest landscapes and genreviews of rural life, becoming more surrealistic after WWI.She is known for her illustrations in children’s books.

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37. PRECIPICE. Rockwell Kent. Wood engraving,1927. Edition 150. Signed in pencil. Image size 8 x 51/2" (203 x 140 mm). Very good condition. BurneJones 15. #23473.2 $3,800.

38. MOTHER AND CHILD. Alessandro Mastro-Valerio. Wood engraving, c. 1945. Edition c. 40.Estate signed, inscribed with artist's name and ini-tialed "G.V.P." the artist's daughter. Image size 5 x 57/8" (126 x 147 mm). Very good condition.#17629.1 $350.

Rockwell Kent (1882–1971) had a long andvaried career, notably as an artist, author andpolitical activist. Born in Tarrytown New York,he studied architecture at Columbia Universityand then art at Shinnecock Hills School underWilliam Merritt Chase. Art studies continued atthe New York School under Robert Henri andKenneth Hayes Miller and as an apprentice toAbbott Thayer in Dublin, New Hampshire.Advised by Henri to go to Monhegan Island,Maine to paint on his own, Kent was awed by thetimeless energy and contrasting forces of the natu-ral environment. From Maine, he went on to livein Newfoundland, Alaska, Greenland, and theAdirondacks. He explored the waters aroundTierra del Fuego in a small boat. Kent’s paint-ings and prints often portrayed the bleak andrugged aspects of nature, a reflection of his life inharsh climates. Reaching the pinnacle of hispopularity and critical acclaim in the 1930s,Kent stood out for his meticulous technique, hisclean, deliberate compositions and his symbolicimagery, often depicting humanity as a figure,struggling and heroic.

Born and educated in Italy, Alessandro Mas-tro-Valerio (1887-1953) was a highly regardedpainter when he moved to Chicago to establishhimself as a commercial artist, where he had abrother and uncle who edited an Italian newspa-per. He found a lucrative niche painting por-traits of the elite around Chicago. In 1919 hesettled in Ypsilanti, Michigan, where he foundthe quiet atmosphere of a small mid-westerntown appealing. He married and taught atEastern Michigan University. In 1930 he wasintroduced to printmaking and began experi-menting with drypoint, etching, softground andaquatint. In 1933 he visited an exhibit ofmezzotints at the Century of Progress Exhibitionin Chicago. Deciding this was the best medium-to yield the images he was seeking, he taughthimself mezzotint engraving, publishing his firstprints in 1934. His preferred subject was thefemale form and mezzotint enabled him to givehis figures rich depth and luminosity.


email: [email protected]

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39. FARM WITH FIGURES. [THE FARM WITH FIGURES, FARMHOUSE WITHFIGURES, WALKING.] Werner Drewes. Woodcut on Japanese paper, 1931. Edition 30.Signed and dated in pencil. Image size 8 3/8 x 11 3/4 (213 x 300 mm). Very goodcondition. #65337.1 $2,100.

40. ATHLETES. John J. A. Mur-phy. Wood engraving, c. 1930.Edition unknown. Signed in pen-cil. Image size 6 15/16 x 7 3/4"(176 x 197 mm). Very good condi-tion. #68847.1 $2,950.

Werner Drewes (1899-1985) was born in Canig, Germany. In 1921, he was admitted into the Bauhaus wherehe studied under artists such as Klee and Muche. Surviving financially by selling prints as postcards, he traveledthroughout Italy and Spain, studying under old masters including Velasque and El Greco. An important source ofinspiration, the vagabond life took him to the Americas and Asia. In 1930 he immigrated to the U.S., joining otherBauhaus artists in New York to form the core of the American Abstract Artists group. He taught at ColumbiaUniversity, and later, at Washington University in St. Louis. Retirement led him to Bucks County, Pennsylvania,where his art focused on abstract landscapes and still lifes. Milder in climate, Reston, Virginia became Drewes’ finalhome, where he continued to create and teach until the age of 85. His paintings and prints have shown at majormuseums throughout Europe and the United States.

John J.A. Murphy (1888–1967)was born in Boston. Known for hiswood engravings and as a book de-signer, he lived in New York and wasactive in London.


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41. BREAK OF DAY. (VERMONT). Asa Cheffetz.Published by Associated American Artists. Wood engrav-ing, c. 1944. Edition 250. Signed in pencil. Image size4 11/16 x 10" (119 x 254 mm) plus margins. Very goodcondition. #43330.1 $375.

42. WOMAN UNDER A TREE. ElizaDraper Gardiner. Woodblock, c. 1932.Edition small. Unsigned. Image size 6 x7". Good condition. #48714.1 $200.

43. COTTON CANDY AND CANDYAPPLES. Eliza Draper Gardiner. Wood-block, c. 1930. Unsigned. Image size 99/16 x 8 1/2". Very good condition.NAM B-12. #48751.1 $750.

Born in Buffalo, New York, Asa Cheffetz (1897–1965) livedand worked in Springfield, Massachusetts for most of his life.He studied with Philip Leslie Hale at the Boston Museum ofFine Arts, Ivan Gregorevitch, William Auerbach-Levy and atthe National Academy of Design. Cheffetz applied his talentand training to the mastery of wood engraving, a medium forwhich he is best known and in which he was largely self-taught.Most of his work is devoted to depicting rural New Englandlandscape. An “engraver’s engraver,” Cheffetz created imageswhich render light, shadow, and texture with meticulous atten-tion to detail and tonal gradation. Among his many accom-plishments are the design for the official bookplate of theLibrary of Congress, Fifty Prints of the Year, 1929 and 1934,Fine Prints of the Year, 1935, the Eyre Gold Medal at thePennsylvania Academy of Fine Arts in 1928, and the Interna-tional Exhibition of Prints at the Art Institute of Chicago in1929 and 1932.

Born in Providence, Rhode Island, Eliza Draper Gardiner(1871-1955) was a painter and printmaker who studied at theRhode Island School of Design and in Europe. Beginning in1908, she taught woodcut, watercolor, and drawing at RhodeIsland School of Design for 31 years. An adept lithographer,she worked with George Miller, producing a series of 10lithographs in 1934. She was active in the ProvincetownPrintmakers, a group of innovative artists who experimented incolor relief techniques. Memberships included ProvincetownArt Association, Print Makers Society of California, Provi-dence Watercolor Club, American Color Print Society, andPhiladelphia Woodcut Society. Her work was in landmarkexhibitions of color prints at the Detroit Institute of Arts in1919 and at the Brooklyn Museum in 1933. Gardiner’sspecialty was color woodcuts of children.

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44. LAGUNA SKYLINE. [NEW MEXICO.] Norma Bassett Hall. Colorwoodblock, c. 1931. Edition 30. Signed and titled in pencil. Inscribed "Ed. 30."Image size 9 3/8 x 12 1/2" (243 x 318 mm). Faint mat line. #81358.1 $4,200.

45. UNTITLED: FLOWER ARRANGE-MENT. Margaret J. Patterson. Color wood-cut, c. 1920. Unsigned. Image size 10 1/2 x7 1/2" (267 x 188 mm). Good condition savefor narrow margins. #25313.1 $5,000.

Norma Bassett Hall (1889–1957) was born in Oregon andstudied art at the Portland Art Association. After teaching forseveral years, she studied at the Chicago Art Institute, whereshe met Arthur Hall, whom she later married. The couplesettled in El Dorado, Kansas. It was during these early yearsthat Bassett Hall explored the artistic possibilities of woodblockprinting using opaque oil-based inks. While sketching andstudying in Europe, the Halls met noted etcher E.S. Lumsdenand his wife Mabel Royds, a woodblock printmaker. Roydstaught Bassett Hall the Japanese technique of block printingwith transparent, water-based inks. Returning to Kansas, theHalls renewed their friendships with local artists and started acooperative, The Prairie Printmakers. In 1950, they moved toAlcalade, New Mexico, where they opened an art school,Rancho del Rio. Here, Bassett Hall painted, produced multi-block prints, and learned the art of seriography, capturingsouthwest scenes in a simplified, representational style.

The daughter of a sea captain, Margaret Jordan Patterson(1867–1950) was born at sea off the coast of Indonesia. Shestudied art at Pratt Institute under Arthur Wesley Dow andcontinued her studies in Europe. She returned to Italy andFrance through her life. In Paris, she learned color woodcutprinting from American artist Ethel Mars. Creating her firstprint in 1911, Patterson originally used color woodcuts toreproduce her paintings. Eventually, watercolors served aspreliminary studies for her prints. She made exacting studies ofcolor before transferring the work to woodblock. Patterson oftenprinted with a lavender blue key block instead of the moretraditional black, which allowed muted tones to soften theoutlines between colors and give a more harmonious colorscheme. The Metropolitan Museum of Art, Victoria and AlbertMuseum, Cleveland Art Museum, and Oakland Art Museuminclude her work in their collections.

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46. HONEYSUCKLE. Mabel A. Royds. Wood-cut printed in color, 1935-38. Edition unknown.Image size 8 x 6 /12". Good condition. #522.2$650.

47. THE GOATHERD. Mabel A. Royds.Color woodcut, c. 1930. Edition unknown.Signed in red pencil. Image size 6 x 5 1/2".Very good condition. #17687.1 $500.

48. MAN LEADING A HORSE (UNTITLED). Leo Frank. Color woodcut, c.1925. Signed in pencil. Image Size 9 1/16 x 14". Good condition with originalcolor. Fleck in paper (from paper making process). #73637.1 $450.

Mabel Royds (1874–1941) grew up in Liverpool and studied art at the Slade School in London. She moved toCanada to teach at the Havergal College in Toronto, and then taught at Edinburgh College of Art upon returningto Britain. Influenced by Frank Morely Fletcher, she took up color woodcut printing. She married the Scottishetcher, Ernest Lumsden, in 1913, and together they traveled through Europe, the Middle East, and India. Herexperiences in India and Tibet inspired much of her work in the 1920s. Unable to afford the traditional pear woodboards commonly used for woodcuts, Royds purchased breadboards from Woolworths in order to create her works.She created 61 color woodblocks in total. Her work is in the collections of the British Museum and the Victoria andAlbert Museum in London.

Leo Frank (1884–1959) was an Austrian artist whose twin brother, Hans, was also a woodcut artist.

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49. OCEAN NIGHT 1. Emily Trueblood.Woodcut, 2012. Edition 30. Signed, titled,and dated in pencil. Inscribed 3/30." Imagesize 7 15/16 x 9 15/16" (202 x 256 mm). Verygood condition. #78528.5 $175.

50. CROSSROADS. Peter Gourfain. Wood-cut, 2003. Artist’s proof. Signed, titled, anddated in pencil. Inscribed "W.P." Image size 83/16 x 11" (206 x 260 mm). Very good condi-tion. #34832.1 $375.

51. LEAVES. Su-Li Hung. Woodcut, 1999.Edition 50. Signed, titled, and dated in pencil.Inscribed "1/50." Image size 11 1/4 x 11 1/2"(286 x 296 mm). Very good condition. #16212.$350.

Born in Alexandria, Virginia, Emily Trueblood(b. 1942) studied at Beloit College, AcademiaArtium in Spain, University of Wisconsin, PrattGraphics Center, and Art Students League. She isa member of the Society of American GraphicArtists, where she serves as a council member, Audu-bon Artists, National Arts Club, Salmagundi Club,Albany Print Club, and the National Association ofWomen Artists. A longtime resident of New York,

she has received many rewards and had one-person exhibits in New York and DC. Her work has been collected bythe Museum of Modern Art, Israel, Portland Museum of Art, New York Public Library, and the British Museum.

Peter Gourfain (b. 1934) lives and works in Brook-lyn, New York. He received his BFA from the ArtInstitute of Chicago and developed a career commit-ted to social justice expressed through prints, drawings,carvings, bronze, and ceramics. His work has beenincluded in the Whitney Biennial at the WhitneyMuseum, the Corcoran Bienial at the Corcoran inWashington, DC, the Museum of Modern Art, andat the National Academy of Fine Arts in NYC.Gourfain received the New York Foundation for theArts fellowship, a Guggenheim Fellowship, and aNew York State Council for the Arts Grant. He has

been a visiting artist at the University of California Davis, Penland School of Crafts, and Rhode Island School ofDesign, among others.

Su-Li Hung (b. 1947) was born in 1947 in Kaohsi-ung City, in Southern Taiwan. Graduating fromTaiwan University with a BA in Chinese Literature in1970, she then came to New York where she studiedprintmaking and oil painting at the Art StudentsLeague. Fulfilling her childhood ambition to be awriter and artist, Hung writes, paints, and createswoodcut prints. Galleries in the U.S., Europe, Tai-wan, and Japan have shown her work and she has wonseveral gold medals in printmaking. Hung’s work isincluded in the collections of British Museum, The

Cleveland Museum, The Fogg Museum in Cambridge, Massachusetts, and the Library of Congress Museum.

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52. ARTIST ON THE TRAIN OR THEARTIST’S SKETCHBOOK. IdahermaWilliams. Color woodcut, 1999. Edition30. Signed and titled in pencil and chop.In the collection of the Newark PublicLibrary. Inscribed "A.P. 2." Image size 1513/16 x 11 15/16" (401 x 303 mm). Verygood condition. #33071.2 $800.

53. ORCHID PLANT. Idaherma Williams.Woodblock print, 2004. Edition 30. Signedand titled in pencil. Inscribed "3/30." Im-age size 15 3/4 x 10 5/8" (400 x 295 mm).Very good condition. #35264.1 $400.

54. GOIN' DOWN WITH THE CASH.Peter Gourfain. Woodcut, 1998. Artist’sproof. Signed, dated, and titled in pencil.Inscribed "A.P." Image size 11 1/4 x 103/4" (280 x 275 mm). Very good condi-tion. #14956.3 $425.

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Idaherma Williams was born in NYC to parents of Hungarian and Russian background, and raised in Philadel-phia. Educated at the Philadelphia College of Art (now the University of the Arts), Williams settled in the Princetonarea, where she has been active in the American Color Print Society as a past president, and as an art educator inpublic schools. Meeting master printmaker Ansei Uchima at a session sponsored by the Printmaking Council of NewJersey in the 1970s was a major turning point in Williams’ art. She began using her watercolors as thematicinspiration for her woodblock prints and developed her own technique using oil-based inks, handmade Japanese paper,and the gentle pressure of a Japanese barren to imprint the images. This approach started winning prizes and madeprintmaking her main medium.

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55. HORSES. Paul Wenck. Woodcut, 1926. Signed in pencil. Dated in plate. Imagesize 8 13/16 x 6 15/16" (224 x 176 mm). Good condition. #2757.1 $750.

Paul Wenck (1892 - ?) was born in Berlin, Germany. In 1941, he resided in New Rochelle, New York. He studiedwith Hancke, Boese, Friederich, Herwarth, and Schaeffer while in Berlin. Memberships included DeutscherWerkbund, Berlin and the Artists Guild.

Documents

The Old Print Gallery Showcase- October 2014