Three Kids and a Horse
PAUL LANDACRE
American, (1893-1963)
Wood engraving, 1943, Wien 246, Zeitlin & Ver Brugge 93; edition 100. 7 1/2 x 10 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine. Here we have a nice example of his work in the wood engraving medium.
SOLD

Children's Carnival
PAUL LANDACRE
American, (1893-1963)
Wood engraving, 1946, Wien 275, edition 265. 8 1/2 x 12 in. Signed and titled in pencil. This is a fine impression printed on thin japan paper. The margins are full and the condition is excellent. Impressions of this very appealing print are in the National Gallery in Washington, DC as well at the Smithsonian American Art Museum.
SOLD

Anna
PAUL LANDACRE
American, (1893-1963)
Wood engraving, 1937, Wien 201, Zeitlen & Ver Brugge 84; edition 60. 9 x 4 1/2 in. Signed, titled and numbered in pencil. Here we have a superb impression printed on thin Japanese paper. The margins appear to be full and the condition is excellent. This print was selected for exhibition at the Venice Biennale, 1938.
$2,850

Exhibition Announcement
BLANCHE LAZZELL
American, (1878-1936)
Woodcut printed in colors, circa 1930, Shapiro/MFA 52, edition unknown. (image) 7 1/2 x 3 3/4 in. (sheet) 10 1/2 x 5 5/8 in. Initialed in the block, lower left. This is a fine impression of this very rare print. The paper is a thin Japanese and the margins are full. The condition is fine apart from a small, barely visible 1/2" tear at the top edge at left and another tiny split at the bottom. This endearing Provincetown image captures the essence of what was happening in this New England artists community during the 1920s and 1930s. The sheet was first printed (or applied by hand) with this vibrant background color and then the image and text were printed, possibly from two separate blocks. This charming print is illustrated on page one of "From Paris to Provincetown: Blanche Lazzell and the Color Woodcut (2002).
$4,500

Ariadne
SYDNEY LEE
British, (1866-1949)
Woodcut printed in colors, circa 1904, Meyrick 28, edition 50. 9 5/8 x 8 7/8 in. Initialed in the block, lower left. Signed in pencil. This is a fine impression of this rare print. The margins are substantial and this appears to be the full sheet as printed. The condition is fine apart from some discoloration in the lower right corner in the margin only. The catalogue illustrates six color variations of this captivating image. Meyrick states," Ariadne, daughter of King Minos of Crete, fell in love with Thesus, who had traveled to Crete to kill the Minotour. When she gave him a sword and thread to guide him through the Labyrinth, he promised to marry her. After he killed the beast they sailed for Athens, but on the way Thesus abandoned Ariadne on Naxos."
$2,500

Landing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1931, Boston PublicLibrary 195, edition 130. 8 3/8 x 12 1/2 in. Signed and numbered in pencil. This is a fine impression printed on cream Japanese paper. The margins are full and the condition is excellent. This work is among Leighton's best known works called the Lumber Camp series. Six images were done in an edition of 30 for the UK and 100 for the US. These prints were based on her trip to the Laurentian Mountains in Quebec, Canada.
SOLD

Limbing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1931, BPL 191,edition 130. 8 5/8 x 12 in. Signed, titled and numbered in pencil. This is a fine, rich impression printed on Japanese paper. The margins are full. This work is numbered from the American edition of 100. There was an additional edition of 30 for the British market. This print is from the Lumber Camp series which was based on a trip to the Laurentian Mountains in Quebec, Canada.
$3,800

Blackbird on Nest
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1935, Boston Public Library 267, edition 30. 7 x 4 3/4 in. Signed, numbered and titled in pencil. This is a fine rich impression printed on japan paper. The margins are full and the condition is fine. (There are a couple of minor soft wrinkles in the outer margins.) This stellar print was created for the book, Four Hedges, which was published in London in 1935.
SOLD

Clam Diggers, Cape Cod
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1946, Boston Public Library 599, Stuhlman/Mint Museum 97; edition 250. 7 x 7 7/8 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is excellent apart from two small old hinges at the top corners. This lovely print was published by the Woodcut Society of Alexandria, VA in 1946. The print is still in the original presentation folder with a forward by the artist.
SOLD

The Net Menders
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1948 , BPL 615, edition 300. 6 1/2 x 4 3/4 in. Signed, titled and numbered in pencil. Here we have a fine impression printed on thin Japanese paper. The margins appear to be full. The condition is fine apart from modest old hinges on the corners, verso. This print was commissioned by the Marblehead Arts Association. However, the catalogue entry for the print is incorrect as it states an edition of only 50. (There's another print by Leighton which bears the same title. That one was done in 1933 and was published by the Woodcut Society of Kansas City in an edition of 200.) (See BPL 247).
$1,000

Waiting for the Breeze
PEDRO JOSEPH DE LEMOS
American, (1882-1954)
Woodcut printed in colors, 1925, Edwards 29b, edition unknown. 8 1/4 x 7 3/4 in. Signed and titled in pencil. This is a fine, luminous impression printed on Japanese paper. The margins are wide and probably full. The condition is very good apart from a soft wrinkle in the lower right corner of the margin. Lemos' work is illustrated and discussed in A Spectrum of Innovation, Color in American Printmaking 1890-1940, by David Acton (1990), see pages 94-95. A leading exponent of the the California arts and crafts movement, Lemos had a major retrospective at the Monterey Museum of Art in 2015 accompanied by a catalogue by Robert W. Edwards.
$3,000

Paris under Snow, View from St.-Gervais (Paris sous la Niege, vu du Haut de St-Gervais)
AUGUSTE LEPERE
French, (1849-1918)
Wood engraving, 1890, Lotz-Brissonneau 230, edition unknown. 12 x 18 in. Signed in the block, lower right. Signed in pencil. This is a fine, rich impression printed on a large sheet of simili-Japan paper. The margins are full. The condition is fine apart from some wrinkling vertically along the right margin from handling. This is a tour de force of wood engraving and an outstanding example of Lepère's many skills. Impressions of this major print are found in the National Gallery, Princeton University Art Museum, and the Baltimore Museum of Art, among others.
SOLD

La Cathédrale de Rouen
AUGUSTE LEPERE
French, (1849-1918)
Wood engraving, 1888, Lotz-Brissonneau 177 (iii/III), edition 50. 20 x 12 1/2 in. Signed and titled in the block, lower right. ("Rouen...A. Lepere del. sc.") Signed and numbered in pencil. This is a superb impression printed on a very thin Japanese paper. The margins are wide and the condition is fine. This masterpiece of wood engraving is one of Lepere's finest cathedral studies. A similar impression, also from the edition of 50, is in the Art Institute of Chicago.
SOLD

Manta's Wharf (Provincetown)
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut, circa 1920, edition unknown. 13 3/4 x 10 3/4 in. Signed and titled in pencil. This is a superb impression of this extremely rare and masterful print. The margins are full and the condition is fine. Lindenmuth is one of the original members of the Provincetown Printers and one of the earliest artists to work almost exclusively in the linoleum cut medium. Manta's Wharf was built in the mid 19th century off of Commercial Street. It was badly damaged in a 1917 storm and was gone by 1929. This is arguably Lindenmuth's finest print and it's extremely rare. (The print is beautifully framed to museum standards.)
SOLD

Cathedral Spires
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut, undated (circa 1920-25?), edition unknown. 12 3/4 x 10 1/2 in. Signed and titled in pencil. This is a stellar impression of this extremely rare and stunning print. The margins are full and the condition is fine. Lindenmuth was one of the original members of the Provincetown printers group and he specialized in scenes of boats and fishermen in the Cape Cod area. He was employed by the WPA during the 1930s. Cathedral Spires are located in Custer State Park in the Black Hills of South Dakota. Birger Sandzen produced a very similar block print of this subject in 1922.
$1,000

Fog Bound
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut printed in colors, circa 1920, small edition. 14 1/8 x 11 1/8 in. Signed and titled in pencil. Here we have a fine impression of this large, exemplary work. The margins are modest but sustantial enough and the condition is excellent. Lindenmuth studied in New York with Robert Henri and later in Provincetown with Ambrose Webster and George Elmer Browne. He first exhibited his prints in Provincetown in 1915 and later. Lindenmuth was included in Janet Flint's landmark exhibition, Provincetown Printers; A Woodcut Tradition (1983). He is also represented in A Spectrum of Innovation; Color in American Printmaking 1890-1960, by David Acton (1990).
$2,700

Repose
LIONEL LINDSAY
Australian, (1874-1961)
Wood engraving, 1937-38, edition 200. 8 7/8 x 5 7/8 in. Signed in the block, lower right. Signed and numbered in pencil. This is a fine, rich impression printed on a thin white wove paper. The margins are full. The condition is fine other than for soft rippling in the margins most likely from the printing process. This lovely print was published by the Woodcut Society of Kansas City in 1938. Along with the print, we have the original presentation folder with an essay by the artist. Lindsay states that the peacocks were drawn at the gardens of the Villa Wurtz in Rome, Italy.
SOLD

The Shop Window
ISABEL DE BOHUN LOCKYER
British, (1895-1980)
Linocut printed in colors, 1930, edition 50. 8 1/8 x 6 3/4 in. Signed, titled, numbered and dated in pencil. This is a superb impression printed on Japanese paper. The margins are full and the condition is fine. (There's some stray printing ink in the outer right margin.) Lockyer was not associated with the Grosvenor School even though she was a very talented linocut artist in her own right. She was friendly with Claude Flight who invited her to exhibit some of her prints at his annual linocut exhibitions in the 1930s. She was largely independent and often exhibited with the Society of Painter-Gravers in Colour from 1925 to 1938. The Shop Window is one of her finest works.
SOLD

Reading I (Lezende I)
LOU LOEBER
Dutch, (1894-1983)
Linocut, 1930, edition 100. 5 7/8 x 4 3/4 in. Signed, dated and numbered in pencil. Titled below probably by another hand. Here we have a fine, dark impression printed on a fibrous Japanese paper. The margins are full and the condition is fine. (There's a soft crease across the top margin well away from the image.) Loeber attended the State Academy of Fine Arts (Rijksakademie) in Amsterdam from 1915-1918 but left early as she considered it too conservative. Her work was inspired by Piet Mondrian, Theo van Doesburg and Bart van der Leck. Essentially, she found her spiritual home with the Dutch De Stijl group. She married the artist Dirk Koning in 1931. She produced another, slightly larger version of this same subject.
SOLD

Central Park
LOUIS LOZOWICK
American, (1893-1973)
Woodcut printed in colors, 1940, Flint 174, edition 15. 9 1/16 x 5 1/2 in. Signed and dated in pencil. This is a fine impression of this veryy rare print. The paper is a thin light cream wove and the margins are most likely full. The condition is excellent. Lozowick produced very few color woodcuts and the Flint catalogue lists six in total. They were all produced in 1940. This charming scene shows a child on a sled and a couple in the distance.
$1,850