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).
SOLD

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

Diploma for the International Exhibition of Book and Related Trades
CAREL ADOLPH LION CACHET
Dutch, (1864-1945)
Woodcut, 1892 (this impression from the 1919 edition), edition unknown. 14 1/4 25 1/2 in. Signed in printed block letters in the lower right, just below the image. This is a fine impression on thin Japan paper. Full margins. (All of these impressions have three vertical crease marks from having been folded.) This impression was issued as a loose supplement in the wood engraving issue of Wendingen. Early impressions from 1892 are exceedingly rare and few were printed. The text is printed in Dutch, Greek, Italian and Hindi. This remarkable print is illustrated and discussed at length in Van Gogh to Mondrian, Dutch Works on paper (2000), page 48.
SOLD

The Shop Window
ISABEL DE BOHUN LOCKYER
British, (1895-1980)
Linocut printed in colors, 1930, edition 50. 8 1/8 x 6 3/4 in. Signed, titled, numbered and dated in pencil. This is a superb impression printed on Japanese paper. The margins are full and the condition is fine. (There's some stray printing ink in the outer right margin.) Lockyer was not associated with the Grosvenor School even though she was a very talented linocut artist in her own right. She was friendly with Claude Flight who invited her to exhibit some of her prints at his annual linocut exhibitions in the 1930s. She was largely independent and often exhibited with the Society of Painter-Gravers in Colour from 1925 to 1938. The Shop Window is one of her finest works.
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

Seated Man before a Stove (Zittende Man voor Potkachel)
LOU LOEBER
Dutch, (1894-1983)
Linoleum cut, circa 1926, edition 75. 11 7/8 x 9 3/4 in. Initialed in the block, lower right. Signed and numbered in pencil. This is a fine impression printed on thin Japanese paper. The margins are full and the condition is fine. This stellar Dutch modernist image exemplifies De Stijl aesthetics and it's one of Loeber's best prints. This print is illustrated on page 36 of "Gedroomd Papier, Tekeningen en Prenten 1850-1935" by Ton Geerts (2010). Louise Marie 'Lou' Loeber studied at the Rijksacademie in Amsterdam from 1915-1918. Mondrian was a big influence along the way as was Bart van der Leck (who became a neighbor of hers in Blaricum.) In 1931, she married the artist Dirk Koning (1888-1978) whose work was somewhat similiar. Loeber's early prints are rare.
SOLD

Central Park
LOUIS LOZOWICK
American, (1893-1973)
Woodcut printed in colors, 1940, Flint 174, edition 15. 9 1/16 x 5 1/2 in. Signed and dated in pencil. This is a fine impression of this veryy rare print. The paper is a thin light cream wove and the margins are most likely full. The condition is excellent. Lozowick produced very few color woodcuts and the Flint catalogue lists six in total. They were all produced in 1940. This charming scene shows a child on a sled and a couple in the distance.
$1,500

A gathering of Mice
BETTINA "PETER BOY" LUM
American, (1911-1983)
Woodcut printed in colors, 1920, edition unknown (this impression inscribed # 6 in pencil.) 8 1/4 x 4 1/8 in. Signed and numbered in pencil with a hard to read date as mentioned above. This is a fine impression of this rare print. The margins are modest and the condition is fine. Bettina was born in Minneapolis and was the daughter of Bertha Lum. She was called "Peter Boy." She was married in 1938 to a British diplomat named Sir Colin Crowe and Crowe was added to her name. Her work is in the collection of the Fine Arts Museums of San Francisco and has been exhibited at other US museums.
SOLD

Composition
KAREL MAES
Belgian, (1900-1974)
Linocut, 1921, Museum Felix de Boeck pg. 200; from a small edition. 5 1/2 x 6 5/8 in. Initialed and dated in the block, lower right. This is a fine impression printed on thin cream colored paper. The margins are wide and probably full as issued. The condition is fine. This is a superb example of Belgian avant garde printmaking. There's a stamp on the verso which says "De Distel, Emiel Maeyens, Antwerpen." De Distel (The Thistle) is is the name of a shop in Antwerp where Émile Maeyens sold artists supplies for students at the Antwerp Academy of Fine Arts. It was also in this shop that the avant garde art circle, "Kring Moderne Kunst" ('Circle of Modern Art'), gathered from its founding on September 14, 1918. Maeyens regularly advertised in in the modernist periodical "Het Overzicht" in which Karel Maes and Josef Peeters published their prints. Maeyens collected and sold proofs when they could be located. Maes is one of the preeminent Belgian modernists and was closely associated with Jozef Peeters, Pierre-Louis Flouquet, Rene Magritte and Victor Servranckx, among others. This work is from his best period and his paintings of this era also focus on geometric abstraction. Most of his linoleum cuts were published in journals in the 1920s in black and white only. From 1922 onward, Maes began to design furniture, carpets, and posters. There's also the collectors stamp of Emile Maeyens in blue in the lower left corner (Lugt 4178). This print was ultimately published in Herleving, year 3, No. 2 (Nov 1922). (There's a colored pencil signature "Karel Maes" on the verso but we are uncertain about the authenticity of it.)
$1,800

Ecce Homo
FRANS MASEREEL
Belgian, (1889-1972)
Woodcut, 1927, Vorms / von der Gabelentz 49, edition 22. 15 3/4 x 11 5/8 in. Initialed and dated in the block. Signed, dated, titled and numbered in pencil. This is a superb impression of this rare early work, printed on cream wove paper. The margins are full. The condition is excellent apart from minor handling marks in the outer margins only. (The printed surface is pristine.) Masereel was one of the preeminent Belgian expressionist printmakers. He was prolific and most of his prints were small and published in books. Large, early, pencil signed works such as this are very hard to find today.
$2,000

Spring Umbrellas
KATHARINE HOOD MCCORMICK
American, (1882-1960)
White line woodcut printed in colors, probably 1946-1947, edition unknown. 14 x 11 3/8 in. Initialed in the block, lower right. Signed and titled in pencil. This is a fine impression of this very rare print. The paper is a cream fibrous Japanese and the margins are full. The condition is fine apart from a wrinkle in the upper right corner of the sheet and remains of old tape on the verso along the top edge in three places. McCormick was one of the original Provincetown printers and her work was included in Janet Flint's seminal catalogue, "Provincetown Printers: A Woodcut Tradition." (1983). McCormick was a Philadelphia artist, studied at the Pennsylvania Academy of Fine Arts and was treasurer of the American Color Print Society. She was a regular visitor to Provincetown and became a frequent correspondent of Blanche Lazzell. Lazzell advised her to use colors freely and rely on inspiration at the time of printing. McCormick wrote, "It is not a paying business as far as price is concerned. I do them (blockprints) because I like to." There are six woodcuts by McCormick in the collection of the Philadelphia Museum of Art including this one.
SOLD

Fruit
DOROTHY MCENTEE
American, (1902-1990)
Woodcut printed in colors, circa 1940, edition 15. 8 1/16 x 10 in. Signed, titled and inscribed, 15 proofs/trial proof. Here we have a fine impression printed on a thin cream Japanese paper. The margins are full and the condition is very good. (There's a trace of an old mat line from an earlier mount.) McEntree lived and worked in New York.
$450

Merry-go-Round
MILDRED MCMILLEN
American, (1884-circa 1940)
Woodcut, 1914, small edition. .9 1/4 x 10 3/4 in. Signed and dated on the original support sheet, lower right. A brilliant impression on wove paper mounted to a support sheet (as is always the case). The print is trimmed along the borderline. The condition is fine. This stunning, early print was done the year that the artist moved from France to Provincetown, MA with her dear friend, Ada Gilmore. This print is a French subject which was certainly conceived of before she moved back to the United States. Her work was entirely printed in black and white. This is a very rare print.
ON HOLD

Bird of Prey
RODERICK MEAD
American, (1900-1971)
Wood engraving, 1950, Mead 53, Woodcut Society 38; edition 150. 8 x 9 7/8 in. Initialed in the block, lower right. Signed in pencil. This is a stellar impression printed on smooth wove paper. The margins are full and the condition is fine. This is the 38th Presentation print of the Woodcut Society and comes with the original folder. Mead studied at Yale and the Art Students League. He also was a student of S.W. Hayter.
$500

Don Juan
FOKKO MEES
Dutch, (1887-1968)
Wood engraving, 1930s, edition 30. 7 1/4 x 5 1/8 in. Signed in the block and signed and titled in pencil. A fine impression in fine condition with full margins. A very American-like image by Mees. He excelled in blockprints in both large and small formats.
$500

Bleeker Street Follies
LEO MEISSNER
American, (1895-1977)
Woodcut (linoleum cut?), 1927, edition 30. 10 1/8 x 12 1/2 in. Initialed in the block, lower right. Signed, dated, numbered and titled in pencil. This is a superb impression with probably the full margins. The condition is fine. This festive night scene depicts this well known street in Greenwich Village. This block print is not common.
SOLD

Jeter Spivey's Place
LEO MEISSNER
American, (1895-1977)
Wood engraving, 1940s, edition 50. 8 x 11 in. Signed, numbered and titled in pencil. Here we have a fine impression with full margins. The condition is excellent. Impressions of this pastoral work are found in the Blanton Museum of Art and the Memphis Brooks Museum of Art.
SOLD

Sahuaro, Arizona
LEO MEISSNER
American, (1895-1977)
Wood engraving, undated , edition 60. 7 7/8 x 9 5/8 in. Signed, titled and numbered in pencil. This is a fine, luminous impression with full margins. The condition is also fine. (There are two small paper hinges on the top margin.) Meissner created other works based on trips to Arizona.
SOLD

Farmers Playing Cards (Boerenkaartspelers)
HENDRIK JOHAN MELGERS
Dutch, (1899-1973)
Woodcut, circa 1940, edition unknown. 7 7/8 x 11 3/4 in. Signed and titled in pencil. This is a fine, rich impression printed on a light gray wove paper. The margins are full and the condition is fine apart from some light foxing along the top edge of the sheet. Melgers was born in Groningen where he lived and worked until 1933. He studied at the Academy Minerva and from 1933 on he was in Amsterdam. He was skilled as a woodcut artist as well as a painter. Melgers is loosely associated with "de Ploeg" and this print is illustrated on page 176 of De Ploeg 1918-1930 by Adriaan Venema (1978).
$800

Before the Mirror
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Woodcut, circa 1899, Van Es H015 11 x 6 1/8 in. Initialed in the block, lower right. This is a fine impression of this very rare, early print. The margins are trimmed to the borderline (by the artist) and the sheet is attached at the four corners to a support sheet. There's a small stain below her right arm which is subtle. Va Es cites only eight impressions are accounted for. Ex-collection: Philip J (with his collectors mark, not in Lugt, showing just below the image on the support sheet. His large collection of modern Dutch prints was auctioned at Bubb Kuyper in December 2000,Part II, this being lot 1297.) Ex-collection: W.F. Veldhuysen, a former chairman of the M.C. Escher Foundation in the Netherlands.
SOLD