Woodcuts

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Spring Rhapsody -  MORTON

Spring Rhapsody
CONRAD & CAVENDISH MORTON
British, (active 1930s-1950s)
Woodcut printed in colors, circa 1934, edition unknown. 13 3/4 x 20 in. Signed in pencil by both artists, lower right. This is a fine, luminous impression with fresh colors. The paper is a sturdy Japanese and the margins are full. Apart from mild toning in the margins, the condition is very good overall. Like the brothers Detmold, the Cavendish twins both worked on their prints. They were largely self-taught and their work was shown and published by Colnaghi in London. They were born in 1911.
$1,400

Rain -  MURPHY

Rain
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, 1930s, edition 50. 8 x 6 in. Signed, numbered and titled in pencil. This is a fine, atmospheric impression printed on Japanese paper. The margins are full and the condition is fine. (There's a subtle wrinkle in the lower right corner margin well away from the image.) Murphy was a student and teacher at the Rhode Island School of Design. She exhibited with the Boston Art Club, the Society of American Etchers, the Philadelphia Print Club and the National Academy of Design.
$750

Silhouette -  MURPHY

Silhouette
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, circa 1940, edition unknown (this impression inscribed 8 x 6 in. Signed and titled in pencil. It's a fine impression on Japanese paper. The condition is fine and the margins are full. (The left margin is very narrow but it's still the full sheet, untrimmed.) Murphy studied at the Rhode Island School of Design with Eliza Gardiner and she eventually taught there herself from 1928-1946.
SOLD

In the Shadows -  MURPHY

In the Shadows
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, 1921, Cole Gallery catalogue # 56, not listed in the Québec catalogue: edition unknown. 6 1/4 x 7 3/4 in. Signed in pencil. This is a fine impression in fine condition. The margins are full and the condition is excellent. Murphy's distinctive woodcuts are not so common today. The last known exhibition of his works was at the Musée National des Beaux-arts du Québec in 1997. When he was active he exhibited at the Keppel Gallery in New York and in London at the Leicester Gallery. He was married to the artist Cecil Buller.
$800

Paternity -  MURPHY

Paternity
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, 1923, Québec catalogue # 59, Cole Gallery catalogue # 122; edition unknown. 9 1/2 x 4 in. Signed in pencil. This is a fine impression of this rare print. The condition is fine and the margins are full. (There's just a faint, very subtle suggestion of foxing here and there in the margins.) Murphy's distinctive woodcuts are not so common today. The last known exhibition of his works was at the Musée National des Beaux-arts du Quebec in 1997. When he was active he exhibited at the Keppel Gallery in New York and in London at the Leicester Gallery. He was married to the artist Cecil Buller and her work was also included in the Quebec exhibition.
$950

Louisburg Square, Beacon Hill, Boston -  NASON

Louisburg Square, Beacon Hill, Boston
THOMAS NASON
American, (1889-1971)
Wood engraving, 1930, Boston Public Library 119, edition 70. 7 x 8 in. Signed in pencil. A fine impression of this uncommon print. Very good condition.
SOLD

Le Pont d'Avignon -  NEEDELL

Le Pont d'Avignon
PHILIP G. NEEDELL
British, (1886-1974)
Color woodcut, 1925, edition 60. 9 1/4 x 13 7/8 in. Signed and titled in pencil. A fine impression with substantial but possibly trimmed margins.
$600

Alpine Mountain Scene -  NEUMANN

Alpine Mountain Scene
HANS NEUMANN
German, (1873-1957)
Woodcut printed in colors, circa 1910-20, edition unknown. 9 1/4 x 12 1/8 in. Signed in pencil and also inscribed "Munchen" and "aquarellhanddruck." This is a fine impression printed on fibrous Japanese paper. The margins are substantial and the condition is very good. Neumann was a gifted artist and excelled at these subtle, poetic and well-crafted woodcut images. There is no proper catalogue raisonne of Neumann's prints and, in fact, there is surprisingly little in published material to help us document his work. His prints do turn up in America which suggests he may have had a dealer here at some point, probably when he was active in the early years of the 20th century. Furthermore, his editions were certainly not large given the overall scarcity of his prints.
$900

Garden Flowers -  PATTERSON

Garden Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, intended edition of probably 100. 10 1/4 x 7 1/4 in. Signed in pencil within the image, lower left. Signed and titled in pencil just below the image. This is a very fine impression with vibrant colors. The margins measure about 1/2" around but this is most likely the full sheet as printed. There's also a subtle wrinkle from the printing process which can be seen in the background at left and it extends somewhat into the image. The condition is very good apart from two small strips of scotch tape on the top and bottom edges verso. This is not visible from the front. The intense work involved in rubbing the colors into the back of the sheet from the blocks is perfectly demonstrated here. The end result is almost sculptural. Due to the labor intensive nature of printing just one impression, and given the scarcity of her prints, we doubt that the full editions were ever printed.
SOLD

Anemones -  PATTERSON

Anemones
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated (1920s), Bakker 99a, intended edition of 100. 9 7/8 x 7 in. Signed and titled in pencil. This is a fine, luminous impression printed on a fibrous, off white Japanese paper. The margins are full. The condition is quite good. This is a rare, annotated proof before the formal edition. The artist has made pencil annotations in the margins referencing difference colors for possible changes, ie. "black," "white," "dark green," etc. This is the completed image, but as is so often the case with arts and crafts era woodcut artists, they are always thinking about the next impression and how they might make color adjustments. We have never seen a Patterson print like this and consider it a unique opportunity.
SOLD

The Winding Road -  PATTERSON

The Winding Road
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated (circa 1912-14), Bakker 29, edition unknown. 7 x 9 1/2 in. Unsigned. This is a fine impression of this uncommon, early work. The margins are narrow and certainly trimmed as such by the artist. The condition is fine. (This impression is originally from the estate of the artist.) This delightful, arts and crafts image is certainly a European scene; we know that Patterson did travel to France, Holland and Belgium before WWI.
$2,800

Rose with Vine and Bud -  PATTERSON

Rose with Vine and Bud
MARGARET PATTERSON
American, (1867-1950)
Woodcut, 1947, Bakker Retrospective catalogue 112b, small edition. 6 1/4 x 4 3/8 in. Signed and dated in pencil. This is a superb impression of this very rare work. The margins are trimmed to the borderline (by the artist). The condition is fine apart from a small ink smudge in the blank area at left, probably which occurred during the course of the printing process. This endearing work is Patterson's last recorded woodcut and this impression is illustrated on page 36 of the Bakker catalogue.
SOLD

Summer Flowers -  PATTERSON

Summer Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1920s, Bakker 100a, intended edition of 100. 10 1/4 x 7 1/8 in. Signed, titled and numbered in pencil. This is a superb, luminous impression of this rare print. The margins measure about 1/2" all around but this is most likely the full, untrimmed sheet as printed. The condition is excellent. The paper is Patterson's typical sturdy, thick Japanese paper which is especially well-suited for intensely rubbing the colors onto the paper from the back of the sheet.
$6,500

Poppies and Convolvolus -  PATTERSON

Poppies and Convolvolus
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1920s, Bakker retrospective catalogue # 95, intended edition of 100. 7 1/4 x 10 in. Signed, titled and numbered in pencil. This is a superb, luminous impression with notably fresh colors. The margins are full and the condition is fine. Certainly, the finest impressions of Patterson's woodcuts display a remarkable three-dimensionality. The intense work involved in rubbing the colors into the blocks is perfectly demonstrated here and the end result is almost sculptural. Due to the labor intensive nature of printing just one impression, and given the scarcity of her prints, we doubt that the full editions were ever printed.
SOLD

Geometric Abstraction  -  PEETERS

Geometric Abstraction
JOZEF PEETERS
Belgian, (1895-1960)
Linocut on grey paper, 1921, edition unknown but certainly small. 7 7/8 x 6 3/4 in. Unsigned. This is a fine proof impression before the monogram in the lower left corner. The paper is a gray wove and the margins are somewhat irregular. The condition is fine. This compelling image was published in the set "Map met 6 Linos" (1921) by De Sikkel. Complete sets are exceedingly rare today and these proofs are before publication. This work epitomizes the Belgian avante-garde printmaking aesthetic of the 1920s which relies on bold geometric images often interspersed with typography and strong color combinations. Peeters, along with Edmond van Dooren, Floris Jespers, Victor Servranckx and others, defined a national movement which is also evidenced in their paintings and the occasional sculpture. Provenance: Flor Bex, former Director of the Museum of Contemporary art in Antwerp and a celebrated author on this subject.
$2,500

Geometric Abstraction -  PEETERS

Geometric Abstraction
JOZEF PEETERS
Belgian, (1895-1960)
Linocut on blue paper, 1921, edition unknown but certainly small. 7 7/8 x 6 3/4 in. Unsigned. This is a fine proof impression before the monogram in the lower left corner. The paper is a blue wove and the margins are irregular. The condition is very good. This compelling image was published in the set "Map met 6 Linos" (1921) by De Sikkel. Complete sets are exceedingly rare today and these proofs are before publication. This work epitomizes the Belgian avante-garde printmaking aesthetic of the 1920s which relies on bold geometric images often interspersed with typography and strong color combinations. Peeters, along with Edmond van Dooren, Floris Jespers, Victor Severanckx and others, defined a national movement which is also evidenced in their paintings and occasional sculpture. Provenance: Flor Bex, former Director of the Museum of Contemporary Art in Antwerp and a celebrated author on this subject.
$2,500

Summer Night -  PHILLIPS

Summer Night
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1931, Boulet 153; edition 200. 7 1/16 x 9 1/2 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is very good, overall, apart from a small tear and some scuffing in the left margin outside of the image. This print was published as #5 from the series "Ten Woodcuts."
$2,500

The Field Barn -  PHILLIPS

The Field Barn
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1925, Boulet MBL81, edition 100 9 x 10 in. Signed and dated in the block, lower right. Signed, titled and numbered in pencil. Here we have a fine, subtle, atmospheric impression printed on Japanese paper. The margins are substantial and probably full. The condition is fine. During a trip to England in 1924, Phillips spent time with William Giles and Yoshijiro Urushibara, two important practitioners of the color woodcut medium. Urushibara taught him much about the printing process and the various Japanese papers.
$2,000

The Stump -  PHILLIPS

The Stump
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1928, Boulet MBL 116, edition 300. 6 3/4 x 9 1/16 in. Signed in the block with his monogram, lower left. Signed and numbered in pencil. This is a fine impression printed on Goyu paper with modest but probably the full margins. The condition is fine apart from traces of old adhesive at the top of the sheet, verso, from an early mount. This lovely work was published as print four (of seven) in the portfolio called "The Canadian Scene".
$2,200

Red Chestnut, No. 1 -  PLATT

Red Chestnut, No. 1
JOHN PLATT
British, (1886-1967)
Woodcut, 1927, Chapman 14, total edition unknown. 15 1/4 x 8 3/4 in. Signed, numbered and titled in pencil. The is a fine impression in fine condition. The colors are fresh and the margins are full. The Chapman catalogue lists a projected edition of 68 yet the numbering here is 21/150. This is one of the Platt's finest prints and is hard to obtain today.
SOLD

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