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

Cod Fishing
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1949-50, BPL 613, edition 50. 9 1/2 in. in diameter. Signed, titled and numbered in pencil. This is a very good impression printed on thin Japan paper. The margins are full. Very good condition apart from a trace of an old adhesive along the outer left margin edge, verso. This is one of Leighton's twelve woodcut designs for New England industries which were also made into Wedgewood plates.
SOLD

To the Milking: July
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, BPL 218, edition 60. 8 x 9 7/8 in. Signed, titled and numbered in pencil. Here we have a fine, early impression printed on thin cream Japanese paper. The margins are full. The condition is fine other then for a tiny hinge remnant on the lower right corner of the sheet, recto. There's a tiny speck in the sky area which appears to be inherent to the paper. This print is from the Farmer's year series and from the British edition of 30 signed in Roman numerals.
SOLD

Lambing: January
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, BPL 216, edition 60. 8 1/16 x 10 3/8 in. Signed, titled, numbered and inscribed "second state" in pencil. This is a fine, early impression printed on thin cream Japanese paper. The margins are full. The condition is fine. This print is from the celebrated Farmer's Year series with one print representing each month.
$3,500

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.
SOLD

Apple Picking: September
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, Boston Public Library 209, edition 60. 8 5/8 x 11 7/8 in. Signed, numbered and titled in pencil. This is a fine early impression from the British edition of 30, numbered in Roman numerals. (30 impressions for the American market were numbered in Arabic.) Printed on a fine cream Japanese paper, the margins are full. The condition is very good apart from slight toning within an earlier mat opening. This stellar image is from the Farmer's Year series. A later edition was printed in 1978.
SOLD

Lopping: February
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, Boston Public Library 210, edition 60. 8 x 9 7/8 in. Signed, titled and numbered in pencil. This is a fine, early impression printed on thin Japanese paper. The margins are full and the condition is fine apart from slight light toning within an earlier mat opening. There were thirty impression for the British edition (in Roman numerals, as here) and thirty for the American edition (numbered in Arabic.) For some reason the artist numbered this one from an edition of twenty and not thirty.
SOLD

The Net Menders
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, Boston Public Library 247, edition 200. 6 1/8 x 7 5/8 in. Signed, dated, numbered and titled in pencil. This is a fine, rich impression printed on thin cream wove paper. The margins are full and the condition is very good. (There are the usual three glue spots on the top from when the print was attached to the folder it was issued in.) Specifically, this lovely work was published by the Woodcut Society of Kansas City in 1933 and this folder accompanies the print. It contains an introduction by Martin Hardie.
SOLD

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.
$2,200

Puffing Billies
MARTIN LEWIS
American, (1881-1962)
Etching and sand ground, 1916, McCarron 20, edition 15. 13 x 9 3/4 in. Signed in pencil. This is a superb, atmospheric impression with full margins. The condition is fine. (There's a minor smudge on the right margin.) This dynamic, early work depicts New York harbor and the subject of tugboats turns up in other Lewis prints (see McCarron 2,21,28 & 38.) Provenance: Kennedy Galleries, NY (with their label).
SOLD

Building a Babylon, Tudor City, N.Y.
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1929, McCarron 76, edition 84. 12 3/4 x 7 7/8 in. Signed in pencil, lower right. This is a superb, luminous impression with full margins. The condition is excellent. Tudor City was completed in 1928 as a middle class housing project and became a historic district in 1988. The location is 40th to 43rd Street between 1st and 2nd Avenues. As McCarron aptly states on page 140 of the catalogue raisonné, "The dripping stains on the embankment were possibly influenced by another print, Charles Meryon's 'La Morgue, Paris,' of 1854. Lewis included Meryon among the etchers he admired..."
$8,000

Wet Saturday
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1929, McCaron 81, edition 72. 9 7/8 x 10 1/2 in. Signed in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The paper is a fine cream laid and the condition is excellent.
SOLD

Rain on Murray Hill
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1928, McCarron 75, edition 110. 7 7/8 x 11 7/8 in. Signed in the plate. Signed in pencil, lower right. This is a fine impression with full margins. The paper is a medium weight off white wove with an acorn leaf watermark. The condition is fine. This exemplary work depicts a scene just a few blocks from the artist's studio at 145 East 34th Street in New York. Impressions are cited in twelve museum collections.
SOLD

Cronies
MARTIN LEWIS
American, (1881-1962)
Aquatint, 1932, McCarron 96, edition 60 including three trial proofs. 9 3/8 x 10 7/8 in. Signed in the plate, lower left. Signed in pencil, lower right and also inscribed, "first trial proof." This is a rich, dark impression of an UNRECORDED FIRST STATE. This impression is before considerable work (lightening) on the clothes of the figures at left, and before multiple changes (lightening) on the right between the tire tracks and also further to the right side. The margins are full and the condition is excellent. This print was done while Lewis was living in rural Connecticut.
SOLD

Under the Street Lamp
MARTIN LEWIS
American, (1881-1962)
Etching, 1928, McCarron 70, edition 83. 14 7/8 x 9 3/8 in. Signed in the plate, lower right. Signed in pencil. This is a superb impression printed on white laid paper with full margins. The condition is excellent. From the collection of Patricia Lewis with her stamp on the bottom edge of the sheet, verso.
SOLD

Quarter of Nine, Saturday's Children
MARTIN LEWIS
American, (1881-1962)
Drypoint, 1929, McCarron 78, edition 107. 9 7/8 x 12 7/8 in. Signed in the plate, lower left. Signed in pencil, lower right. Also inscribed by the artist,"watakashi no E." This is a superb impression printed on off white laid paper. The margins are full and the condition is excellent. Provenance: Kennedy Galleries (with their label). The scene is 34th Street at Park Avenue, New york.
SOLD

The Passing Freight, Danbury
MARTIN LEWIS
American, (1881-1962)
Drypoint and sand ground, 1934, McCarron 108, edition 47. 8 7/8 x 14 7/8 in. Signed in pencil. This is a superb impression with full margins. The condition is excellent. A locomotive also appears his lithograph, Veterans, from 1935. Hopper and especially Marsh were also interested in the train as subject matter. Provenance: Kennedy Galleries, NY.
SOLD