A Stark Country
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, 1937, Pasadena catalogue pg. 104, edition probably 30-50. 11 x 11 7/8 in. Signed and titled in pencil. This is a superb impression printed on her typical fibrous Japanese paper. The margins are full. The condition is fine apart from a thin spot in the upper left corner of the margin away from the image. This large, majestic print is one of her finest works.
SOLD

October Splendor
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, 1930, Pasadena catalogue page 100, edition probably 30-50. 9 1/2 x 8 1/8 in. Signed and titled in pencil. This is a fine impression with vibrant colors printed on Japanese paper. The margins are full. The condition is very good other than for some stray printing ink in the water at right and some of the same in the left margin.
SOLD

Incoming Fog
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, probably 1930-31., edition unknown. 10 x 10 7/8 in. Signed and titled in pencil. This is a superb impression printed on her typical, fibrous wove paper. The margins are full and the condition is fine. This stellar work is illustrated on page 83 of Behold the Day, The Color Block Prints of Frances Gearhart, published by the Pasadena Museum of California Art, edited by Susan Futterman. The prints were made primarily from linoleum blocks but the artist liked to call them "block prints".
$8,500

Mount Hood
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, undated (circa 1930), edition unknown. 6 1/8 x 4 in. Signed and titled in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is very good apart from three hinges at the top edge of the sheet. Gearhart often referred to her prints as simply "block prints" and they were mostly printed from linoleum blocks as opposed to wood. Furthermore, the inks are oil-based and not watercolor. The editions are generally unknown but the prints are less common than one might think, especially the earlier work.
$5,000

Rain Tomorrow
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, circa 1930-31, edition probably 30-50. 10 1/8 x 11 in. Signed and titled in pencil. This is a superb, luminous impression with full margins. The condition is excellent. This gorgeous print is illustrated on page 64 of Frances H. Gearhart; Color Block Prints in Wichita 1922-1937 (2019) by Roger Genser.
SOLD

November Textures
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, 1933, Pasadena catalogue page 96; edition unknown. 10 x 11 3/8 in. Signed and titled in pencil. This is a superb impression with fresh colors. The margins are full and the condition is fine. This print is the cover illustration for the first major retrospective of Gearhart's work. "Behold the Day, the Color Block Prints of Frances Gearhart" was published in conjunction with the 2009-2010 exhibition at the Pasadena Museum of Art. Authors include Susan Futterman, Victoria Dailey and Nancy Green.
SOLD

Herein to Meditate
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, circa 1933, from a small edition. 10 1/8 x 10 in. Signed and titled in pencil. This is a superb impression printed on a light cream, fibrous Japanese paper. The margins are full and the condition is fine. (There's tiny paper repair in the upper left margin corner where the original hinge is.) This exceptional print is illustrated on page 67 of Frances H. Gearhart, Color Block Prints in Wichita, 1922-1937 by Roger Genser, Wichita Art Museum, 2019. The bold blue color provided by the trees in the foreground make this a potent, expressionist style print and it's more daring than many of her images. (This print was exhibited in the 1933 Wichita Block Print Exhibition which suggests to us a possible date for the print.)
$8,000

Little Sierra Lake
FRANCES GEARHART
American, (1869-1959)
Block print printed in colors, circa 1930, from a small edition. 8 1/8 x 4 1/8 in. Signed and titled in pencil. This is a superb impression printed on fibrous Japanese paper. The margins are full and the condition is excellent. This fine work is typical of the vertical formatting Gearhart used in many of her prints. Trees surround a well lit, inviting image in the distance.
$4,800

In the Garden (from Let's Play)
FRANCES GEARHART
American, (1869-1959)
Linoleum cut printed in colors, 1927-1929, edition unknown. 8 x 7 in. Signed in pencil, "The Gearharts" and titled in pencil. This is a fine impression printed on japanese paper. The margins are full. The condition is also fine apart from subtle horizontal wrinkling along the lower margin, well away from the image. This endearing work is one of the best prints in this series. The project called "Let's Play" is the work of the three Gearhart sisters; Frances, May and Edna. (Edna wrote the verses that accompany the prints.) Always intended to be published as a book, the unfinished manuscript remained with the Gearharts all of their lives. In 1930, all of the "Let's Play" prints were exhibited in Hingham, MA at Frances' dealer, the Print Corner. The blocks, prints and manuscript were eventually sold to Lloyd Cotson for the Cotson Children's Collection which was established at Princeton University in 1997. We are offering, along with this print, a copy of the first and only edition of "Let's Play" published in 2009 by the Book Club of California, edited by Victoria Dailey and Susan Futterman.
$2,500

Vernal Falls, Yosemite
FRANZ GERITZ
American, (1895-1945)
Woodcut printed in colors, 1936, edition unknown. 12 x 8 1/2 in. Signed in pencil. This is a fine impression with rich colors. The margins are narrow but substantial enough. There's a tiny pinhole or paper imperfection in the waterfall which is hard to see at normal viewing distance. Geritz was born in Budapest and came to the US in 1909. He was a California artist and specialzed in woodcuts primarily.
SOLD

Grizzily Giant, Mariposa Grove
FRANZ GERITZ
American, (1895-1945)
Woodcut or linoleum cut, 1936, unknown. 12 1/4 x 8 5/8 in. Signed, dated and titled in pencil. Here we have a fine impression of this large work. The margins are probably full. The condition is very good apart from a small spot of foxing to the left of the image and backing along the top edge verso from earlier hinging. There's a small hole in the paper on the left margin away from the image.
SOLD

The Haunt of the Jay
WILLIAM GILES
British, (1872-1939)
Woodcut printed in colors with additional use of zinc relief plates, undated but probably about 1930, edition unknown but probably only 30 impressions. 11 1/2 x 16 5/8 in. Signed in the image with the artist's monogram. Signed and numbered in pencil. This is a superb impression of this very rare print. The margins are wide and the condition is very good overall. There's faint mottling or foxing in the margins but this is minor. This large work is an extraordinary example of the artist's design sense as well as his creativity as a color printmaker. "His first experiments using zinc plates for relief printing date from 1902 and by 1920 he had developed a novel technique using multiple zinc plates coated with shellac. Each zinc plate was inked to print a single colour from the raised areas of its etched surface and no 'key block' was used."(MC, London, 2011) This large work rarely appears on the market and the colors are exceptionally fresh and vibrant.
SOLD

The Graveyard
WILLIAM GILES
British, (1872-1939)
Woodcut with metal relief etching, 1910-20, edition possibly 50. 9 5/8 x 20 in. Signed in the block, lower left. Signed and numbered in pencil. This a very fine impression of this uncommon print. The condition is very good apart from two paper tape hinges on the top margin. Minor rippling along the top of the sheet. Full margins. Technically, Giles was amazing. He did a few pure woodcuts but he also eventually introduced zinc plate relief printing and they are difficult to tell apart. Both techniques are evident in many prints. He was inspired by Frank Morley Fletcher and William Blake. He became president of the Society of Graver Printers in Colour in the mid 1920's.
SOLD

Sic Transit Gloria Mundi (Thus Passes the Glory of the World)
WILLIAM GILES
British, (1872-1939)
Woodcut and relief print from zinc plates printed in colors, circa 1925, edition 100. 13 1/8 x 17 5/8 in. Signed with the artist's monogram, lower right. Signed and numbered in pencil. This is a fine impression with fresh colors. The margins are full and the condition is excellent. "President of the Society of Graver Printers in Colour, William Giles was one of the most important innovators in original colour printmaking in Britain during the first three decades of the twentieth-century. Having begun with the traditional colour woodcut method, he experimented widely, first with aquatint and then with relief printing from zinc plates in an attempt to produce pure, even areas of colour. He developed a novel range of inks ranging from watercolour mixed with rice paste, to powered colour dissolved in volatile oil, in order to achieve an ever greater range and depth of colour throughout his prints." (See Michael Campbell's detailed and informative explanation of Giles's technique described in depth on his website entry for the artist; www.campbell-fine-art.com). This is arguably the artist's most famous print.
SOLD

When Winter Wanes
WILLIAM GILES
British, (1872-1939)
Relief etching printed from multiple zinc plates, circa 1923, edition probly 100. 11 1/8 x 13 3/8 in. Signed in the plate with the red monogram "WG." Signed in pencil and numbered "34." This is a fine impression of this exemplary work. The condition is very good apart from a residue of an old adhesive along the edges of the sheet, verso, from an early mount. The margins appear to be full. This print is illustrated on the cover of Fine Prints of the Year; A Complete Illustrated Index 1923-1938 (Wofsy, 2006). It was published by P & D Colnaghi, London, who represented the artist for many years. William Giles was elected president of the Society of Graver Printers in Colour in the mid-1920’s, succeeding Theodore Roussel who had been made its first president upon the foundation of the Society in 1909.
SOLD

Manhattan Backyards
HENDRIK GLINTENKAMP
American, (1887-1946)
Wood engraving, 1932, edition 50. 7 x 5 in. Initialed and dated in the block, lower right. Signed and numbered in pencil. This is a fine impression with full margins. The condition is also fine other than for a faint, soft vertical crease in the right margin edge. Glintenkamp studied at the National Academy of Design from 1903-06 and he was employed by the NYC WPA program.
$900

Dandelion
WILLIAM GREENGRASS
British, (1896-1970)
Linocut printed in colors, 1936, edition 50. 10 x 8 1/8 in. Signed, dated, titled and numbered in pencil. This is a fine impression with wide margins. Old tape hinges at the four corners and top and bottom, verso, not affecting the image. Also, two small cello hinges at the top corners, recto. Greengrass enrolled at the Grosvenor School of Modern Art in 1930 and he studied with Claude Flight. He was a curator at the Victoria & Albert Museum in London.
SOLD

Convolvulus
WILLIAM GREENGRASS
British, (1896-1970)
Linocut printed in colors, 1937, edition 30. 9 3/4 x 10 1/4 in. Unsigned. This is a fine impression printed on thin Japanese paper. The margins are full. The condition is excellent. Greengrass enrolled at the Grosvenor School of Modern Art in 1930 and he studied with Claude Flight. He was a curator at the Victoria & Albert Museum in London. This print is illustrated on page 173 in Rhythms of Modern Life, British Prints 1914-1939 (2008) by Cliff Ackley, et al.
$4,500

October in Santa Fe
NORMA BASSETT HALL
American, (1890-1957)
Woodcut printed in colors, 1948, Patterson 86, edition probably 100. 9 7/8 x 8 in. Initialed in the block with the artist's monogram. Signed and titled in pencil. This is a superb impression with full margins. The condition is fine. This outstanding southwestern image was published by the American Color Print Society in 1948. The artist used seven blocks to complete the image.
SOLD

Marigolds
NORMA BASSETT HALL
American, (1890-1957)
Woodcut printed in colors, 1929, Patterson 41, edition 60. 8 x 6 15/16 in. Initialed in the block with the artist's monogram. Signed, numbered and titled in pencil. This is a fine impression with fresh colors. The paper is a thin Japanese. The condition is very good apart from a small tear and associated wrinkle in the lower right corner margin and the print is attached to a support sheet at the two top corners. This was certainly done early on. (There's an extremely faint suggestion of toning within an early mat opening.) According to the catalogue, this edition was probably never completed.
SOLD