Haymaking: June
CLARE LEIGHTON
American, (1899-1989)
Wood engraving, 1933, BPL 212, edition 60. 8 1/16 x 10 in. Signed, titled and numbered in pencil. This is a fine, early impression printed on cream Japanese paper. The margins are full. The condition is fine other than for a modest old stain in the upper margin edge away from the image. This rich impression is from the Farmer's year series. It's numbered in Roman numerals therefore it's from the British edition of 30.
SOLD

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).
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.
$2,200

Paris under Snow, View from St.-Gervais (Paris sous la Niege, vu du Haut de St-Gervais)
AUGUSTE LEPERE
French, (1849-1918)
Wood engraving, 1890, Lotz-Brissonneau 230, edition unknown. 12 x 18 in. Signed in the block, lower right. Signed in pencil. This is a fine, rich impression printed on a large sheet of simili-Japan paper. The margins are full. The condition is fine apart from some wrinkling vertically along the right margin from handling. This is a tour de force of wood engraving and an outstanding example of Lepère's many skills. Impressions of this major print are found in the National Gallery, Princeton University Art Museum, and the Baltimore Museum of Art, among others.
SOLD

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

At the Sea (An der Zee)
PAUL LESCHORN
German, (1876-1971)
Woodcut printed on gray paper, circa 1915-20, edition unknown. 8 7/8 x 15 1/2 in. Signed and titled in pencil. Here we have a fine impression of this somber and finely executed print. The margins are full. The condition is very good apart from a soft crease in the upper margin well away from the image. There's a fine, informative story about the artist on the following blog called Modern Printmakers: Paul Leschorn: Master of Light. https://haji-b.blogspot.com/2011/01/paul-leschhorn-master-of-light.html
$1,000

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