Honey Buzzard
SAMUEL JESSURUN DE MESQUITA
Dutch, (1868-1944)
Woodcut (counterproof), 1918, Van Es H 086, only 7 known impressions. 17 5/8 x 13 1/4 in. Signed in pencil in the image lower right. Signed below is pencil as well. This is a superb impression printed on very thin Japanese paper, mounted professionally on another such sheet. The condition in fine and the margins are apparently full and untrimmed. This large dynamic print has a decorative quality to it depicting most likely the trees and leaves behind the bird. This is the first time we've ever offered this print for sale. Ex-collection: W.F. Veldhuysen, a former chairman of the M.C. Escher Foundation in the Netherlands. The Dutch word for honey buzzard is "Wespendief."
SOLD

Arata's Scheme
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1992, edition 75. 211/4 x 17 1/4 in. Signed, numbered and titled in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine. The artist began studying with Lasansky at the University of Iowa in 1965. In 1969, he moved to Paris and joined S.W. Hayter at his Atelier 17. He was working there from 1970 to 1973. He has taught at the University of Wisconsin in Madison, Carleton College, the College of the Holy Cross and others. Since 1985, he's been living and working in France where he continues to explore the reduction woodcut technique with great success.
$650

Uccello's Ring
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1994, edition 80. 16 7/8 x 20 3/4 in. Signed, numbered and titled in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine.
$650

Venezia
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1998, edition 80. 16 7/8 x 20 7/8 in. Signed, titled and dated in pencil. This is a fine impression printed on Misumi Japanese paper. The margins are full and the condition is fine. The artist describes his work in the reduction woodcut medium as follows, "Color reduction printing is a gradual process of removing already printed areas of color; these zones will remain in their desired color and keep their intensity. The transition from warm colors to cool colors is made by printing multiple layers of opaque white ink (considered as a blockout). The entire edition is printed after each change of color nuance and when the process comes to an end, the printing surface has virtually disappeared to the point of becoming totally unusable."
$650

Candide
JIM MONSON
American, (b. 1943)
Woodcut printed in colors, 1999, edition 75. 16 7/8 x 20 7/8 in. Signed, titled and dated in pencil. Here we have a fine impression with full margins. The condition is also fine.
$650

The Witches Fire
ROBERT J. ENRAGHT MOONY
Irish, (1879-1946)
Woodcut printed in colors, 1925, small edition. 8 1/4 x 10 1/2 in. Signed, dated, titled and numbered "6" in pencil from an unknown edition. This is a superb impression with full but typically narrow margins. The condition is very good other than thin paper attached on all sides around the margin edges which we feel has been there from early on. Moony produced wonderful color woodcuts which relate to children's tales set in picturesque landscapes. More research needs to be done on this fascinating artist.
SOLD

An Old Story
ROBERT J. ENRAGHT MOONY
Irish, (1879-1946)
Woodcut printed in colors, 1925, edition unknown but certainly small. 8 x 9 1/2 in. Signed, dated, titled in pencil. This is a fine impression with dynamic, rich colors. The margins are modest but this is the full sheet as printed. The condition is fine. This impression is numbered "9" in pencil. This delightful print by this Irish artist has a distinctive arts and crafts flavor. His work often depicts these picturesque fairy tale settings with children at play. He was born in Doone, Althlone, and studied at Kingsley College, Devon. In Paris he studied with Jean-Paul Laurens and Benjamin Constant.
SOLD

Evening Light
D.N. MORGAN
British, (active 1920s-1930s)
Linocut printed in colors, 1931, edition 75. 8 3/4 x 12 1/8 in. Signed, numbered, titled and dated in pencil. This is a fine, luminous impression printed on thin Japanese paper. The margins are full. The condition is fine apart from minor handling wrinkles in the wide margins. Morgan exhibited with the Colour Woodcut Society and served in the British army.
SOLD

Spring Rhapsody
CONRAD & CAVENDISH MORTON
British, (active 1930s-1950s)
Woodcut printed in colors, circa 1934, edition unknown. 13 3/4 x 20 in. Signed in pencil by both artists, lower right. This is a fine, luminous impression with fresh colors. The paper is a sturdy Japanese and the margins are full. Apart from mild toning in the margins, the condition is very good overall. Like the brothers Detmold, the Cavendish twins both worked on their prints. They were largely self-taught and their work was shown and published by Colnaghi in London. They were born in 1911.
$1,400

Rain
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, 1930s, edition 50. 8 x 6 in. Signed, numbered and titled in pencil. This is a fine, atmospheric impression printed on Japanese paper. The margins are full and the condition is fine. (There's a subtle wrinkle in the lower right corner margin well away from the image.) Murphy was a student and teacher at the Rhode Island School of Design. She exhibited with the Boston Art Club, the Society of American Etchers, the Philadelphia Print Club and the National Academy of Design.
$750

Silhouette
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, circa 1940, edition unknown (this impression inscribed 8 x 6 in. Signed and titled in pencil. It's a fine impression on Japanese paper. The condition is fine and the margins are full. (The left margin is very narrow but it's still the full sheet, untrimmed.) Murphy studied at the Rhode Island School of Design with Eliza Gardiner and she eventually taught there herself from 1928-1946.
SOLD

In the Shadows
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, 1921, Cole Gallery catalogue # 56, not listed in the Québec catalogue: edition unknown. 6 1/4 x 7 3/4 in. Signed in pencil. This is a fine impression in fine condition. The margins are full and the condition is excellent. Murphy's distinctive woodcuts are not so common today. The last known exhibition of his works was at the Musée National des Beaux-arts du Québec in 1997. When he was active he exhibited at the Keppel Gallery in New York and in London at the Leicester Gallery. He was married to the artist Cecil Buller.
SOLD

Paternity
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, 1923, Québec catalogue # 59, Cole Gallery catalogue # 122; edition unknown. 9 1/2 x 4 in. Signed in pencil. This is a fine impression of this rare print. The condition is fine and the margins are full. (There's just a faint, very subtle suggestion of foxing here and there in the margins.) Murphy's distinctive woodcuts are not so common today. The last known exhibition of his works was at the Musée National des Beaux-arts du Quebec in 1997. When he was active he exhibited at the Keppel Gallery in New York and in London at the Leicester Gallery. He was married to the artist Cecil Buller and her work was also included in the Quebec exhibition.
$1,400

Fish Pier
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors, 1930s, edition unknown. 7 7/8 x 6 in. Signed, titled and numbered "2" in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is fine apart from a small spot of stray printers ink just to the right of the image. Her maiden name was Wilkins and some of her prints are signed with the addition of her husbands last name, Murphy. She studied with Eliza Gardiner at the Rhode Island School of Design and later taught there.
$1,250

Sprinters
JOHN J. A. MURPHY
American, (1888-1968)
Woodcut, circa 1924-31, Cole 155, edition less than 75. 11 1/8 x 13 in. Signed in pencil. This is a superb impression with full margins. The condition is fine apart from reside of two small hinges at the top of the sheet, far away from the image. Murphy's woodcuts are quite distinctive and this is considered by many to be his finest work. Sylvan Cole Gallery held an important retrospective of Murphy's work in 1990. The artist exhibited with the Leicester Gallery, London, while he was alive as well as with Frederick Keppel in New York. This print is illustrated on page 102 of Master Prints of Five Centuries; The Alan and Marianne Schwartz Collection (1991). Murphy was born in Boston and studied at the Museum school. He also studied in London with Noel Rooke and exhibited his work there at the Leicester Gallery. He was married to fellow artist, Cecil Buller.
SOLD

A Bouquest of Gladiolus
GLADYS WILKINS MURPHY
American, (1907-1985)
Woodcut printed in colors (linoleum cut?), circa 1930, edition 50. 11 3/4 x 10 1/8 in. Signed, titled and numbered ("1/50") in pencil. This is a superb, richly inked impression with full margins. The condition is fine overall apart from slight discoloration here and there in the margins only. Murphy studied with Eliza Gardiner and taught printmaking at the Rhode Island School of Design from 1928 until 1946. Before she was married, she signed here prints without "Murphy." This impression is signed, "Gladys W. Murphy." Ex-collection: Reba Williams, New York.
$1,800

Spring
ANGELE E. MYRER
American, (1896-1970)
White line woodcut printed in colors, 1958, small edition. 11 1/4 x 12 1/4 in. Signed, titled and dated in pencil. This is a fine impression of this rare and exceptional American modernist woodcut. The margins are full showing tack holes on the right edge of the sheet. This was done to keep the sheet in proper registration throughout the printing process. The condition is fine apart from old paper tape along the top edge and a faint suggestion of a mat line in the outer margins. Myrer studied with Karl Knaths in Washington, DC from 1940-44. There she met Ferol Warthen and Angèle spent her summers in Provincetown. After her husband died in 1949, she moved to Provincetown and the two artists studied with Blanche Lazzell. They had adjoining studios at 77 Commercial Street in Provincetown's West End. Myrer was a regular exhibitor at the Provincetown Art Association from 1938 to 1958.
$8,000

Louisburg Square, Beacon Hill, Boston
THOMAS NASON
American, (1889-1971)
Wood engraving, 1930, Boston Public Library 119, edition 70. 7 x 8 in. Signed in pencil. A fine impression of this uncommon print. Very good condition.
SOLD

Haystacks
THOMAS NASON
American, (1889-1971)
Wood engraving, 1949, Boston Public Library 462, AAA 1117; edition 250. 6 3/8 x 8 7/8 in. Signed and dated in pencil. This is a very fine impression printed on thin wove paper. The margins are full and the condition is excellent. Here we have a fine example of Nason's work in the wood engraving medium.
SOLD

The Gambrel-Roofed Barn
THOMAS NASON
American, (1889-1971)
Chiaroscuro wood engraving, 1947, Boston Public Library 393; edition 90. 5 5/8 x 10 1/8 in. Signed, dated and numbered in pencil. This is a superb impression printed on thin cream Japan paper. The margins are full and the condition is fine. For this outstanding and somewhat experimental print, Nason found it difficult to obtain boxwood blocks so he printed a tint with a copper plate. The black was printed from a woodblock and the olive was printed from the copper plate.
SOLD