Mutter mit Kind (Mother and Child)
WILHELM LAAGE
German, (1868-1930)
Woodcut printed in colors, 1908, Hagenlocher 83 (ii/II), edition unknown. 13 3/4 x 10 1/16 in. Initialed and dated in the block. Signed, dated and dedicated in pencil. This is a superb impression printed on cream VAN GELDER watermarked paper. The margins are full. The condition is fine apart from just a faint suggestion of light toning within an earlier mat opening. Laage was born in Hamburg and began his printmaking career in 1896. He lived in Paris for many months beginning in 1900 and participated in exhibitions in Vienna and Dresden. He became friendly with Kandinsky, Hans Neumann and Karl Hofer as they exhibited together. Gustave Schiefler published the first catalogue of his woodcuts in 1912 and an article was written about Laage by ER Weiss for Ver Sacrum. Laage is best know for his woodcuts and they range from decidedly expressionist in style to a more realistic approach tinged with stoicism, as seen here. This large, impressive woodcut is one of his most captivating works.
$1,800

The Dark Pitcher (Der Dungle Krug)
WILHELM LAAGE
German, (1868-1930)
Woodcut printed in colors, 1917, Hagenlocher 271 (IIIb), edition unknown. 15 7/8 x 19 3/4 in. Initialed and dated on the block, lower left. This is a fine impression of the final, published state with the printed text below," Verlag der Gesellschaft für Vervielfältingene Kunst, Wien." The margins are full. The colors are fresh. Apart from some slight rippling along the top edge, the condition is fine. This is a large and exceptional print by Laage and early, pre-publication proofs are hard to find.
$2,000

Modernist City Scene
ALEX LALLEMAND
Belgian, (1892-1963)
Linocut (or woodcut), 1920s-1930s, edition probably about 50. 10 5/8 x 5 7/8 in. Signed in pencil and inscribed "epreuve d'artiste." This is a fine impression with full margins. The condition is also fine. Lallemand, working in Brussels, produced many of these modernist blockprints focusing on imaginary urban scenes.
$600

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

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

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.
$3,800

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

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

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

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.
$3,500

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

Along Side
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut printed in colors, undated (circa 1920), small edition. 9 x 7 in. Signed and titled n pencil. This is a fine, rich impression with full margins. The paper is a thick, fibrous wove sheet and the condition is fine. (There's a subtle suggestion of foxing in the upper right margin, outside if the image.) 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).
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

The Home Port
TOD LINDENMUTH
American, (1885-1976)
Linoleum cut printed in colors, circa 1920, small edition. 8 x 6 in. Signed and titled in pencil. Here we have a very good impression printed on a fibrous, white wove paper. The condition is good and there are subtle spots of foxing showing in the full margins but they do not affect the image. Lindenmuth was included in Janet Flint's landmark exhibition, Provincetown Printers, A Woodcut Tradition (1983). He's also included in David Acton's 1990 catalogue, A Spectrum of Innovation; Color in American Printmaking 1890-1960.
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

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