A Salt Creek, Cape Cod
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

Anemones
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

Anemones
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

Bleeding Heart
Woodcut printed in colors, circa 1925, Bakker 93, intended edition of 100 but far fewer were actually printed. 7 x 10 in. Signed and titled in pencil. This is a superb, crisp impression printed on the usual heavy, fibrous, creamy Japanese paper. The margins are full and the condition is fine. This print is not numbered but her prints occasionally turn up as such. This stellar impression has rich, fresh colors in the flowers and the lighter background inking is a nice departure from the heavy, intense inking of so many of her floral woodcuts.
SOLD

Bleeding Heart
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
Woodcut printed in colors, undated but probably about 1920., Bakker 58, edition 100. 7 1/4 x 10 1/4 in. Signed (twice), titled and numbered in pencil. This is a superb, luminous impression printed on sturdy, fibrous Japanese paper. The condition is fine. (The margins are modest along the top and sides but this was the intent of the artist who trimmed them.) 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

Coast Cedars (2)
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

Flanders Poppies
Woodcut printed in colors, undated (1920s), Bakker Retrospective 97 (1989), intended edition 100. 10 3/8 x 7 3/8 in. Signed in pencil within the image and signed and titled in pencil below the image. This is a superb impression of a very rare work. The condition is fine other than some creasing showing in the upper right corner margin and lower right corner margin, almost certainly from the printing process. The margins are irregular but probably full. The intended edition of this print is 100 but certainly far fewer were printed due to the complex and demanding nature of the printing process. This is an outstanding arts and crafts color woodcut.
SOLD

Flanders Poppies
Woodcut printed in colors, undated ( 1920s), Bakker Retrospective catalogue # 97, intended edition of 100. 10 3/8 x 7 3/8 in. Signed in pencil (twice); also numbered and titled in pencil. This is a superb impression with full margins. The colors are especially vibrant. The condition is excellent. The intended edition is one hundred impressions but far fewer were actually printed due to the complex and demanding nature of multiple block printing. This work, along with Patterson's "Summer Clouds," are exceptional American woodcuts in the arts and crafts tradition.
SOLD

Garden Flowers
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

Garden Flowers
Woodcut printed in colors, 1921, Bakker 90, intended edition of 100. 10 1/4 x 7 1/4 in. Signed in pencil in the lower right corner of the image. Signed, titled and numbered in pencil just below the image. This is a fine impression with fresh colors. The print is trimmed to the image by the artist as is so often the case with this print (and others). The condition is fine apart from traces of an old adhesive on the verso edges from an early mount. 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.
$5,500

Grandmothers's Flowers (Zinnias)
Woodcut printed in colors, 1921, Bakker 111, edition unknown. 10 1/8 x 7 1/4 in. Signed in pencil, lower right. This is a fine impression with fresh colors. The margins were trimmed by the artist to just outside the borderline. The condition is fine. There's a comparable impression of this uncommon print in the collection of the Metropolitan Museum of Art. That impression is dated 1921 in pencil. The Bakker retrospective catalogue only lists a gouache study for this print ("Zinnias in a Blue and White Striped Vase") and no impression of the woodcut itself. In addition, two different titles appear for this work; Grandmother's Flowers and also Zinnias.
SOLD

In the High Hills
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.
$6,000

Monhegan (Maine)
Woodcut printed in colors, circa 1920-23, edition 100. 7 1/4 x 10 3/8 in. Initialed in the block and signed, numbered and titled in pencil. This is a superb impression of this uncommon print. The condition is very good and the margins are probably full. (The top margin is narrow but it also has a deckle edge. This is the way it was printed.) This Hopperesque Maine image is illustrated on page 50 of The Imprint of Place, Maine Printmaking 1800-2005 (2006) by David Becker. Patterson did related oil and watercolor studies of Monhegan Island in the early 1920s. Given the rarity of this and many other Patterson woodcuts, it's highly unlikely that the entire editions were printed.
SOLD

Morning Glories
Woodcut printed in colors, 1920s, Bakker retrospective exhibition catalogue #102a, edition 100. 9 7/8 x 7 1/8 in. Signed in pencil. A superb impression in fine condition. Wide margins. A masterful American color woodcut with especially rich colors.
SOLD

Morning Glories
Woodcut printed in colors, circa 1925, Bakker retrospective catalogue #102a; intended edtion of 100. 9 7/8 x 7 1/8 in. Signed (twice) in pencil and also titled. This is a superb, luminous impression; the finest we have ever seen. The margins have been trimmed by the artist to about 1/4" on the top and sides and 1/2" on the bottom. The condition is excellent with the printed surface perfectly preserved. 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. 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

Poppies and Convolvolus
Woodcut printed in colors, circa 1925, Bakker retrospective # 95, intended edition of 100. 7 1/4 x 10 in. Signed in pencil in the image, lower left; signed, titled and numbered in pencil below the image. This is a fine impression with full margins. The condition is fine, as well, other than for two spots of darkening showing in the outer margins as a result of early hinges on the verso. The original price of $18 is written in the lower margin by the artist. She also listed her address as Trinity Court, Boston.
SOLD

Poppies and Convolvolus
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

Rose with Vine and Bud
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

Spring Flowers
Woodcut printed in colors, 1920s, Bakker 115a, intended edition of 100. 7 1/8 x 10 1/8 in. Initialed in pencil, titled and inscribed "to Helen with love," all just below the image. This is an exceptional impression with the colors especially vibrant. The margins are trimmed by the artist. The condition is fine. Patterson is best known for her arts & crafts style woodcuts and this is a stellar example.
SOLD

Summer Clouds
Woodcut printed in colors, 1918, Bakker Retrospective catalogue # 53a, intended edition of 100. 9 x 11 1/4 in. Signed, titled and numbered in pencil "1/100"). This is a superb impression printed on a fibrous Japanese paper. The margins are full and the condition is excellent. Done while she was living on Cape Cod, this masterful woodcut is, in our opinion, her finest work and can be considered the quintessential American arts and crafts woodcut. This impression is illustrated on page 40 of, Arthur Wesley Dow and American Arts and Crafts, by Nancy E. Green and Jessie Poesch, 1999, page 40. Furthermore, This impression was exhibited at the American Federation of the Arts in New York and the Cantor Center for Visual Arts at Stanford in conjunction with the catalogue. Provenance: Private collection, New York.
SOLD

Summer Flowers
Woodcut printed in colors, 1920s, Bakker 100a, intended edition of 100. 10 1/4 x 7 1/8 in. Signed in pencil in the image, lower right. Signed titled and numbered just below the image. 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 fine apart from a small strip of scotch tape on the verso edges, top and bottom. This does not affect the front of the sheet in any way. The paper is Patterson's typical sturdy, somewhat thick Japanese paper which is especially well-suited for intensely rubbing the colors onto the paper from the back of the sheet.
SOLD

Summer Flowers
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.
SOLD

Surf and Rocks
Woodcut printed in colors, 1915-20, Bakker 47, edition 100 (?) 7 3/8 x 10 5/8 in. Signed in pencil (twice), numbered and also titled by the artist. This is a fine impression of this very rare woodcut. The margins are trimmed (by the artist) on the top and sides and there's about 3/4" along the bottom. The print is attached to a sheet of sturdy black paper which was most likely done by the artist. The edge of the sheet shows about 1/8" around the print which adds a decorative design element. The Bakker retrospective catalogue from 1989 only lists a gouache study for the print and not the woodcut. This is the first time we've handled an impression of "Surf and Rocks" and it depicts the rocky New England coastline, possibly Maine.
SOLD

Swans
Woodcut printed in colors, circa 1920, edition unknown. 7 1/4 x 10 1/4 in. Signed in the image, lower right. This is a fine impression of a rare print. This work is not listed in Bakker's 1989 and 1990 retrospective catalogs on the artist. The sheet is trimmed to the borderline which is often the case with Patterson's woodcuts. Here we have an exemplary work.
SOLD

The Bouquet
Woodcut printed in colors, 1920s, Bakker Retrospective # 96, intended edition of 100. 10 1/8 x 7 1/4 in. Signed in pencil (twice); one in the image, lower left and also below, lower right. The print is also titled and numbered. This is an exceptional impression with rich, vibrant colors. The margins are full and the condition is excellent. This is the quintessential American arts and crafts floral color woodcut.
SOLD

The Mill at Rugen
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 Sands, Chatham (MA)
Woodcut printed in colors, probably 1918, small edition. 7 x 10 1/8 in. Signed in pencil, lower left, within the image. This is a superb, richly inked impression in very good condition. The sheet has been trimmed by the artist to just around the borderline. "The Sands, Chatham" is a rare Cape Cod view which usually appears unsigned for some reason. Furthermore, this impression is exceptional for the richness and careful buildup of colors. The natural beauty of the Cape Cod seashore is captured here with simplicity and subtle elegance.
SOLD

The Winding Road
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.
SOLD

Windblown Trees
Woodcut printed in colors, circa 1920, Bakker 56a, edition unknown. 7 x 9 3/4 in. Signed in pencil, lower right, within the image. This is a superb, vibrant impression of this well known image. The print is trimmed along the edge of the image (by the artist) and attached at the top to a black paper support sheet which extends slightly beyond the print (also done by the artist). In addition, the print and black paper are mounted at the top edge to a sturdy, tan matboard-like support. This is the original presentation as prepared by Patterson and we've seen this approach before. The condition is excellent. As viewed on page 20 of the Bakker retrospective catalogue from 1989, there's an oil study for this image as well as a charcoal and white pastel drawing.
SOLD