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

Bleeding Heart
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 93, intended edition of 100. 10 x 7 in. Signed, titled and numbered in pencil. This is a fine impression with probably full margins. The condition is very good apart from and old strip of tape across the top edge of the sheet verso, and a couple of tiny pieces of the same on the bottom edge, verso.
SOLD

Coast Cedars (2)
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated but probably about 1920., Bakker 58, edition 100. 7 1/8 x 10 1/8 in. Signed, titled and numbered (1/100) in pencil. This exceptional, vibrant impression is printed on the typical study, fibrous wove paper. There's a small spot of blue ink on the right edge of the image, most likely from the printing process. The margins are full apart from three small, similar rectangular cutaway areas on three sides. What sets this print apart is the depiction of snow on the tree limbs and foreground reflecting Patterson's interest in depicting changing seasons. We are not sure why the number (2) is next to the title but it most likely refers to this being the second version of the print, i.e. winter. This exceptional arts and crafts image was probably done on Cape Cod, about the same time she produced such notable works as Summer Clouds, Windblown Trees and The Sands, Chatham.
SOLD

Anemones
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1920s, Bakker 99a, intended edition of 100. 9 7/8 x 7 in. Signed, titled and numbered in pencil. This is a fine fresh impression with rich colors. The margin are full and the condition is very good. (There are old hinges at the top corners and a thin layer of light tissue attached across the top edge of the sheet.) As is typical with Patterson's woodcuts, the paper is roughed up from the printing process primarily on the verso and also on the margins, recto, in a few spot. She favored a heavy, fibrous paper which helped her create an almost three dimensional effect with her images.
SOLD

In the High Hills
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 80a, intended edition of 100. 11 x 8 7/8 in. Signed, titled and numbered in pencil. This is a very fine impression of this compelling image. The margins are full and the condition is fine apart from a couple of minor printing creases, so typical of her work. This lovely impression is one of so many color variants seen in not only this print but in most of Patterson's oeuvre. She was an avid experimenter with color from one block to the next.
$5,000

A Salt Creek, Cape Cod
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1915-20, Bakker 57a, intended edition of 100. 9 x 7 in. Signed, titled and numbered in pencil "2/100". This is a fine impression of this extremely rare print. The margins are full. The condition is fine apart from three pieces of paper tape on the verso edges which were intended as hinges. This exceptional Cape Cod scene with the winding waterway reflects the enduring influence of Arthur Wesley Dow. (Patterson studied with Dow at the Pratt Institute in New York beginning in 1895.)
SOLD

The Mill at Rugen
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1910, Bakker 11a, small edition. 8 1/4 x 5 3/4 in. Unsigned. This rare, early work was done in Germany. This is a fine impression trimmed to just outside the borderline (by the artist). The condition is very good. This work is from the estate of the artist, via James Bakker when he was in Cambridge, MA (circa 1990.
SOLD

The White Rose
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated (1920s), edition possibly 100. 7 5/8 x 7 in. Signed and titled in pencil. This is a fine, working proof with color annotations on the top and bottom margin. The margins are full. The condition is good apart from slight soiling and two stains in the margins, one on the top and the other along the bottom. This nice impression provides insight into the thinking of the artist as she developed her color pallette. She was pleased with this impression given the fact that she signed and titled it in pencil. From the collection of Reba White Williams, New York.
$3,800

Street Scene, New England (probably Provincetown)
WILLIAM PAXTON
American, (1869-1941)
Etching, undated (1920s), proofs only. 4 7/8 x 5 7/8 in. Signed in pencil. This is a fine impression of a very rare print. The margins are apparently full and uncut. There's slight discoloration in the margins and there's crackling in the paper along the platemark. Paxton's etchings are all rare and he never printed editions, only proofs. I've seen this print only once before.
SOLD

Structural Iron
RALPH PEARSON
American, (1883-1958)
Etching, 1912-1913, edition unknown. 13 7/8 x 8 7/8 in. Signed in the plate and signed and titled in pencil. This is a fine, luminous impression in very good condition apart from slight toning within an earlier mat opening. The margins are full. This is plate #5 (of six) from Pearson's "Toilers of the City" series. This excellent series was based on his observations in Chicago during the early teens. The artist admired the work of Joseph Pennell and it shows, but Pearson, also the gifted etcher, was able to introduce a human presence into his city views which is lacking in the prints of Pennell. These early views of Chicago are not especially common and they are important precursors for the WPA era printmakers and their renditions of similar subjects. Pearson exhibited his prints at Marshall Field and Company in Chicago, among other places in the midwest. He also produced a series called "Picturesque Chicago" which is less well-known.
SOLD

Firemen
RALPH PEARSON
American, (1883-1958)
Etching, 1913, edition unknown. 11 7/8 x 7 7/8 in. Signed in the plate and signed in pencil, lower right. A fine impression in very good condition. The margins are full. This is plate No.6 from Pearson's celebrated "Toilers of the City" series. Based on his time in Chicago, these compelling prints are remarkable for their fine draughtsmanship and command of the medium. Prints of firemen are rare in 20th century American printmaking.
SOLD

The Asphalters
RALPH PEARSON
American, (1883-1958)
Etching, 1911, edition unknown. 10 3/4 x 7 7/8 in. Signed and dated in the plate, lower left. Signed and titled in pencil. This is fine impression printed with dramatic plate tone. The margins are full and the condition is excellent. This is plate # 2 from his Toilers of the City Series. This excellent series was based on his observations in Chicago during the early teens. The artist admired the work of Joseph Pennell and it shows, but Pearson, also the gifted etcher, was able to introduce a human presence into his city views which is lacking in the prints of Pennell. These early views of Chicago are not especially common and they are important precursors for the WPA era printmakers and their renditions of similar subjects. Pearson exhibited his prints at Marshall Field and Company in Chicago, among other places in the midwest. He also produced a series called "Picturesque Chicago" which is less well-known.
SOLD

House and Rock, Carmel Highlands
RALPH PEARSON
American, (1883-1958)
Etching, 1922, edition unknown. 11 x 9 in. Signed and dated in the plate on the left side. Signed and titled in pencil. This is a fine impression in fine condition. The margins are full. Pearson traveled all across America promoting etching and etchers by way of lectures and demonstrations at various art institutions. He was one of the early etchers in the Taos area having produced prints there in the teens and early 1920s. He did a small series of California prints and this one depicts the James House in Carmel which was designed by Greene and Greene.
SOLD

Pasadena Palms
RALPH PEARSON
American, (1883-1958)
Etching, 1925, edition unknown. 5 3/4 x 10 in. Signed and dated in the plate, lower right. Signed and titled in pencil. This is a fine impression printed on a cream wove paper. The margins are full. This is one of Pearson's few California etchings. There was an exhibition of his etchings in 1922 in Los Angeles at the Stendahl Galleries in the Ambassador Hotel. In addition, he won a silver medal at the Panama-Pacific Exposition.
SOLD

Taos Pueblo, New Mexico
RALPH PEARSON
American, (1883-1958)
Etching, 1920, edition unknown. 5 1/8 x 9 1/2 in. Signed and dated in the plate, lower left. Signed and titled in pencil and with "#15" and also below in pencil "second state." This is a fine, luminous impression printed on light cream wove paper. The margins are substantial and this is probably the full sheet as issued. Excellent condition. Pearson was one of the earliest printmakers working in New Mexico. He arrived in Taos in 1915 and by 1918 he held an exhibition of some of these prints at the Museum of Fine Arts in Santa Fe. This is a very rare print and is clearly one of the best that he produced there. He was a member of and exhibited with Chicago Society of Etchers, the Art Students League of Chicago, the New York Society of Etchers, the California Art Club, the California Society of Etchers, and the Brooklyn Society of Etchers. His work is represented in the collections of the Art Institute of Chicago, the Fine Arts Museum of San Francisco, the Library of Congress, and the Smithsonian American Art Museum.
SOLD

Standard Oil Building (New York)
JOSEPH PENNELL
American, (1857-1926)
Etching, 1923, Wuerth 817, edition probably 50. 12 1/8 x 9 1/8 in. Signed in pencil. This is a fine, dramatic impression printed on old laid paper. The margin are full and the condition is very good. (There's a subtle irregular stain in the left margin which could have been there when he printed the impression.) There are ink smudges in the margins from the printing process, so very typical of Pennell's working method. The Standard Oil Building is at 26 Broadway in the financial district.
SOLD

Flower Market and Butter Tower, Rouen
JOSEPH PENNELL
American, (1857-1926)
Etching, 1907, Wuerth 463, edition probably 75. 11 x 8 1/2 in. Signed in pencil. This is a fine impression printed on antique laid paper. The margins are full and the condition is fine. (There's a small strip of white paper tape across the top margin edge.) The Butter Tower (Tour de Beurre) is one of the lofty towers that comprise Rouen Cathedral. Constructed in a flamboyant late gothic style, the foundation stone for this tower was laid in 1485.
$600

The Unbelievable City
JOSEPH PENNELL
American, (1857-1926)
Etching, 1908, Wuerth 498, edition probably 50. 8 3/8 x 10 7/8 in. Signed in pencil, lower right. This is a fine impression printed on cream Japanese paper. The margins are full. The condition is fine other than for very faint toning within an early mat opening. This view of lower Manhattan is from Governor's Island. The Singer Tower is the most prominent building depicted.
SOLD

Sunset, from Williamsburg Bridge
JOSEPH PENNELL
American, (1857-1926)
Etching, 1915, Wuerth 674, edition probably about 100. 8 1/2 x 11 in. Signed in pencil. This is a fine impression in fine condition. The margins are narrow on the top and sides but this is likely the full sheet as printed. The condition is fine. Seen on the left side we have the Woolworth Building and the Singer Tower. The smokestacks on the right are part of sugar refineries and other factories on Kent Avenue in Williamsburg.
SOLD

Caissons on Vesey Street (New York)
JOSEPH PENNELL
American, (1857-1926)
Etching, 1924, Wuerth 854, edition probably 75. 13 3/4 x 9 1/8 in. Signed in pencil. This is a fine, dark impression printed on antique paid paper. The margins are full although the sheet edge runs close to the platemark in the lower left corner. The condition is good and there's a skillful repaired break in the upper left corner of the image.
SOLD