Coast Cedars (2)
MARGARET PATTERSON
American, (1867-1950)
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

Anemones
MARGARET PATTERSON
American, (1867-1950)
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

In the High Hills
MARGARET PATTERSON
American, (1867-1950)
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.
SOLD

A Salt Creek, Cape Cod
MARGARET PATTERSON
American, (1867-1950)
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

The Mill at Rugen
MARGARET PATTERSON
American, (1867-1950)
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

Roses
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1920-25, Not listed in the two Bakker catalogues. From an intended edition of 100. 10 1/8 x 7 1/4 in. Signed, titled and numbered "39/100" on the verso. This is a stellar impression of this exceedingly rare print. The sheet is trimmed to the image by the artist. The condition is fine. We have never seen this print for sale before this impression came along and there are no auction prices listed for it in Art Price. We have found an impression in the Victoria and Albert Museum with a completely different palette. It was a gift from the artist in 1929. Ex-collection: Reba Williams, New York.
$5,000

The White Rose
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated (1920s), edition possibly 100. 7 5/8 x 7 in. Signed and titled in pencil. This is a fine, working proof with color annotations on the top and bottom margin. The margins are full. The condition is good apart from slight soiling and two stains in the margins, one on the top and the other along the bottom. This nice impression provides insight into the thinking of the artist as she developed her color pallette. She was pleased with this impression given the fact that she signed and titled it in pencil. From the collection of Reba White Williams, New York.
$3,800

Garden Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, from the intended edition of 100. 10 3/8 x 7 1/4 in. Signed in pencil, lower right within the image. This is a superb impression trimmed to the image by the artist. The condition is excellent. The intense work involved in rubbing the colors into 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. Ex-collection: Reba William, New York.
$5,000

Geometric Abstraction
JOZEF PEETERS
Belgian, (1895-1960)
Linocut on grey paper, 1921, edition unknown but certainly small. 7 7/8 x 6 3/4 in. Unsigned. This is a fine proof impression before the monogram in the lower left corner. The paper is a gray wove and the margins are somewhat irregular. The condition is fine. This compelling image was published in the set "Map met 6 Linos" (1921) by De Sikkel. Complete sets are exceedingly rare today and these proofs are before publication. This work epitomizes the Belgian avante-garde printmaking aesthetic of the 1920s which relies on bold geometric images often interspersed with typography and strong color combinations. Peeters, along with Edmond van Dooren, Floris Jespers, Victor Servranckx and others, defined a national movement which is also evidenced in their paintings and the occasional sculpture. Provenance: Flor Bex, former Director of the Museum of Contemporary art in Antwerp and a celebrated author on this subject.
$2,000

Geometric Abstraction
JOZEF PEETERS
Belgian, (1895-1960)
Linocut on blue paper, 1921, edition unknown but certainly small. 7 7/8 x 6 3/4 in. Unsigned. This is a fine proof impression before the monogram in the lower left corner. The paper is a blue wove and the margins are irregular. The condition is very good. This compelling image was published in the set "Map met 6 Linos" (1921) by De Sikkel. Complete sets are exceedingly rare today and these proofs are before publication. This work epitomizes the Belgian avante-garde printmaking aesthetic of the 1920s which relies on bold geometric images often interspersed with typography and strong color combinations. Peeters, along with Edmond van Dooren, Floris Jespers, Victor Severanckx and others, defined a national movement which is also evidenced in their paintings and occasional sculpture. Provenance: Flor Bex, former Director of the Museum of Contemporary Art in Antwerp and a celebrated author on this subject.
$2,000

Composition (Compositie)
JOZEF PEETERS
Belgian, (1895-1960)
Linoleum cut, 1921, Bex 231, edition unknown. 6 1/2 x 4 in. Initialed and dated in the block, lower right. Initialed and dated in pencil. This is a rare proof impression printed on thin wove paper. The margins are wide and probably full. The condition is excellent. This linocut was also published in Der Sturm (XVI/I). This work epitomizes the Belgian avante-garde printmaking aesthetic of the 1920s which relies on bold geometric images often interspersed with typography and strong color combinations. Peeters, along with Edmond van Dooren, Floris Jespers, Victor Servranckx and others, defined a national movement which is also evidenced in their paintings and the occasional sculpture. Ex-collection: Emile Maeyens (Lugt 4178) and Albert Stöcker (Lugt 3872). Émile Mayens was the owner of 'De Distel' [The Thistle], a business specializing in art supplies for students of the Academy of Fine Arts. It is in this store that the avant-garde artistic circle 'Kring Moderne Kunst' [Modern Art Circle] was based from its founding in 1918. In addition to Mayens, it included among its founding members Jozef Peeters (secretary), Edmond Van Dooren, Jos Léonard and Alfons Marchant. (TO BE SOLD WITH THE COMPANION PROOF IMPRESSION IN GOLD AND BLACK. $ 3,500 for the pair.)
SOLD

Composition (Compositie)
JOZEF PEETERS
Belgian, (1895-1960)
Linoleum cut, 1921, Bex 231, edition unknown. 6 1/2 x 4 in. Signed and dated in the block, lower right. This is a fine proof impression printed on thin wove paper; first printed in gold then in black. The margins are substantial and the condition is very good apart from minor handling creases. This linocut was also published in Der Sturm (XVI/I). (TO BE SOLD WITH THE PENCIL SIGNED PROOF IMPRESSION PRINTED IN BLACK INK. $ 3,500 for the pair.)
SOLD

Goosey, Goosey Gander
IDA MARIE PERRAULT
American, (1872-1929)
White line color woodcut, circa 1920, edition 100. 14 1/2 x 12 3/8 in. Signed, titled and numbered in pencil. Below the signature it reads, "Print by R.P." (This stands for Raoul Perrault, the artist's brother.) This is a fine impression with about one inch margins all around. Fine condition. Perrault studied at the Detroit School of Art and in Paris and Brussels. She probably learned the white line color woodcut process in Provincetown. She possibly knew Ada Gilmore and Hope Voorhees who were both from Michigan like Parrault and also worked in Provincetown. Her brother, Raoul, printed her blocks.
$2,500

Summer Night
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1931, Boulet 153; edition 200. 7 1/16 x 9 1/2 in. Signed in pencil, lower right. This is a fine impression with full margins. The condition is very good, overall, apart from a small tear and some scuffing in the left margin outside of the image. This print was published as #5 from the series "Ten Woodcuts."
SOLD

The Field Barn
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1925, Boulet MBL81, edition 100 9 x 10 in. Signed and dated in the block, lower right. Signed, titled and numbered in pencil. Here we have a fine, subtle, atmospheric impression printed on Japanese paper. The margins are substantial and probably full. The condition is fine. During a trip to England in 1924, Phillips spent time with William Giles and Yoshijiro Urushibara, two important practitioners of the color woodcut medium. Urushibara taught him much about the printing process and the various Japanese papers.
SOLD

The Stump
WALTER J. PHILLIPS
Canadian, (1884-1963)
Woodcut printed in colors, 1928, Boulet MBL 116, edition 300. 6 3/4 x 9 1/16 in. Signed in the block with his monogram, lower left. Signed and numbered in pencil. This is a fine impression printed on Goyu paper with modest but probably the full margins. The condition is fine apart from traces of old adhesive at the top of the sheet, verso, from an early mount. This lovely work was published as print four (of seven) in the portfolio called "The Canadian Scene".
$2,000

Red Chestnut, No. 1
JOHN PLATT
British, (1886-1967)
Woodcut, 1927, Chapman 14, total edition unknown. 15 1/4 x 8 3/4 in. Signed, numbered and titled in pencil. The is a fine impression in fine condition. The colors are fresh and the margins are full. The Chapman catalogue lists a projected edition of 68 yet the numbering here is 21/150. This is one of the Platt's finest prints and is hard to obtain today.
SOLD

The Port of St. Tropez
JOHN PLATT
British, (1886-1967)
Woodcut printed in colors, 1924, Chapman 12, projected edition of 100, with an additional printing of twenty inscribed in Roman numerals. 13 1/2 x 10 1/4 in. Signed in pencil. A superb impression with full margins. Fine condition.
$1,200

Red Chestnut No. 1
JOHN PLATT
British, (1886-1967)
Woodcut printed in colors, 1927, Chapman 14, total edition unknown 15 1/4 x 8 3/4 in. Signed titled and numbered in pencil. This is a fine impression with full margins. The condition is very good apart from a subtle wrinkle in the upper right corner just touching the image and a wrinkle and small paper loss in the lower left corner margin. This impression is from the "projected" edition of 68 but we have seen two other impressions now which are numbered from an edition of 150.
SOLD

The Giant Stride
JOHN PLATT
British, (1886-1967)
Woodcut printed in colors, 1918, Chapman 5; projected edition of 150 and the recorded edition was 120. 6 5/8 x 16 1/4 in. Dated in the block, top edge, center. Signed and titled in pencil. This is a superb impression with probably the full margins. The condition is excellent. The Giant Stride was exhibited in 1922 at the 3rd International Exposition in Los Angeles organized by the Printmakers Society of California. This print was awarded the Gold Medal for best print in any medium. The artist used his family members as models for the figures in the print.
SOLD