Magpie
ALLEN W. SEABY
British, (1867-1953)
Woodcut printed in colors, circa 1900-1905, edition probably 50-100. 9 1/4 x 8 3/4 in. Initialed in the block with the artist's monogram. Signed and numbered in pencil. This is a very good impression printed on white laid paper. The margins are modest but this is most likely the full sheet as printed. The condition is fine. (There's a small trace of stray printer's ink below the image.) This impression compares favorably to the one in the Victoria & Albert Museum in London. An impression of "Magpie" was exhibited as No. 633 in 1906 in the Sixth Exhibition of the International Society of Sculptors, Painters and Gravers.
SOLD

Three Swans
ALLEN W. SEABY
British, (1867-1953)
Woodcut printed in colors, circa 1925, edition possibly 100. 8 1/8 x 13 1/8 in. Initialed in the block with the artist's monogram, lower right. Signed in pencil. This is a superb impression with modest margins. This is probably the full sheet as printed. The condition is fine apart from paper tape along the edges of the sheet, verso. The most important contribution to date about the artist is a catalogue by Martin Andrews and Robert Gilmore, Allen W. Seaby, Art and Nature (2014) Two Rivers Press.
$1,250

Saint-Paul- de-Vence
ALLEN W. SEABY
British, (1867-1953)
Woodcut printed in colors, undated, probably 1920s, Edition unknown. 7 1/2 x 12 1/4 in. Initialed in the block, lower left. Signed in pencil. This is a fine impression of this uncommon print. The margins are full and the condition is fine. (There's some stray printer's ink here and there in the outer margins.) St Paul-de-Vence is a medieval town in the Provence-Aples-Côte d'Azur region of Southern France. It's near Nice. We are aware of a pencil study for this charming print.
$1,000

The River
ALLEN W. SEABY
British, (1867-1953)
Woodcut printed in colors, undated (probably 1900-1914), edition 150. 5 15/16 x 7 1/2 in. Signed, titled and numbered in pencil. Here we have a fine impression with probably the full margins. The condition is fine. (There's a very small wrinkle in the lower margin, center, just to the image. This is very minor.) Given the dating for Seaby's two Swans, we will suggest ca. 1900-1914.
$1,000

Ponies
ALLEN W. SEABY
British, (1867-1953)
Woodcut printed in colors, 1930s, edition 100. 5 7/8 x 7 7/8 in. Signed and numbered in pencil. This is a fine impression with exceptional colors. The margins are modest but this is probably what the artist intended. Fine condition. Seaby spent time in Dartmoor which is in southern Devon, South West England. There's a similar woodcut by the artist illustrated on page 55 of Allen Seaby, Art and Nature by Martin Andrews and Rober Gilmor (2014).
SOLD

Christmas Rose
WUANITA SMITH
American, (1866-1959)
White line woodcut printed in colors, undated (probably 19, small edition. 12 x 6 1/2 in. Signed and titled in pencil. A fine impression in fine condition. Full margins; with the tack holes on the right side of the paper where attached to the woodblock for printing. This Philadelphia area artist produced several exceptional block prints done in the tradition of the Provincetown printers.
$900

Vertical Arrangement
CHARLES W. SMITH
American , (1893-1987)
Woodcut (or linoleum cut) printed in colors, circa 1940, edition unknown. 11 7/8 x 8 3/4 in. Signed, titled and inscribed in pencil, "no number." This is a fine impression of this rare work. The margins are full and the condition is fine. Smith was born in Virgina and eventually taught printmaking at Bennington College in Vermont and then from 1947-63, at the University of Virginia. This experimental printmaker produced traditional blockprints and turned to abstraction later in his career. His modernist blockprints are exceptional.
SOLD

Young Owls
WUANITA SMITH
American, (1866-1959)
White line woodcut with additional hand coloring and embossing, circa 1925-50, edition unknown. 10 7/8 x 7 1/4 in. Signed and titled in pencil. Here we have a fine impression with full margins. The colors are fresh. The condition is fine apart from a few subtle wrinkles in the lower margin from the printing process. Born in Philadelphia, Smith studied at the Drexel Institute and the Pennsylvania Academy of Fine Arts and later at the Art Students League in New York. She was a founding member of the American Color print Society along with Mary Mullineux. She exhibited in Provincetown in the 1920s and 1930s and maintained a studio in Nantucket during this era. Smith's work is included in Provincetown Printers, A Woodcut Tradition by Janet Flint (1983), page 46.
SOLD

Leaning Chimneys
WILLIAM E. SMITH
African American, (1913-1997)
Linoleum cut, 1939, edition unknown. 9 x 10 7/8 in. Signed, dated and titled in pencil. This is a fine, rich impression of this rare early work. The margins are full and the condition is fine. In the early 1930s, Smith met the founders of the Karamu School in Cleveland and he became actively involved studying painting and printmaking. Originally known as the Playhouse Settlement, Karamu stressed excellence and Smith ultimately taught there until 1940. He showed his work at the Cleveland Artists Exhibitions at the Cleveland Museum of Art. He was one of the Karamu Artists, Incorporated which also included Hughie Lee-Smith and Charles Sallee. After World War II he studied at the Cleveland School of Art and in 1950 he moved to Los Angeles. This is a fine example of his work in linoleum cuts, for which he is best known.
SOLD

Sailboat
HERMANN STAMMESHAUS
Dutch, (1918-1985)
Woodcut, 1960, edition 25. 13 x 12 3/8 in. Signed and titled in pencil.
SOLD

Ships at Anchor
HERMANN STAMMESHAUS
Dutch, (1918-1985)
Woodcut printed on Japanese paper, 1959, edition 30. 14 1/4 x 13 3/4 in. Signed, dated and titled in pencil. A fine impression. Full margins. Some staining in the outer margins but overall quite fine. He was a member of "De Brug."
SOLD

Goatfell No. 2
HELEN G. STEVENSON
British, (active 1920s-1930s)
Woodcut printed in colors, circa 1925, edition unknown. 9 x 7 in. Signed and titled in pencil. This is a fine, rich impression of this uncommon print. The Margins are full and the condition is excellent. Helen G. Stevenson, Scottish painter and printmaker, was a student of Frank Morley Fletcher at Edinburgh College of Art, exhibiting with the Society of Graver Printers in Color between 1924-35 and with the California Society of Printmakers, in the 1920’s. She became an art teacher at St. Andrews Cottage School in Edinburgh upon graduation. Her works are in the collections of the Victoria and Albert and the British Museum (see: Garton, "British Printmakers 1855-1955), page 69.
SOLD

Goatfell, No.2
HELEN G. STEVENSON
British, (active 1920s-1930s)
Woodcut printed in colors, probably 1925-1930, edition unknown but probably small. 9 x 7 in. Signed and titled in pencil. Here we have a superb impression with the full margins. The condition is very good other than for slight light toning within an earlier mat opening. Helen G. Stevenson, Scottish painter and printmaker, was a student of Frank Morley Fletcher at Edinburgh College of Art, exhibiting with the Society of Graver Printers in Color between 1924-35 and with the California Society of Printmakers, in the 1920’s. She became an art teacher at St. Andrews Cottage School in Edinburgh upon graduation. Her works are in the collections of the Victoria and Albert and the British Museum (see: Garton, "British Printmakers 1855-1955), page 69. Goatfell is a mountain on the Isle of Arran, Scotland. It's the highest point on the island.
SOLD

God Comes Down to Inspect His Creations
CHARLES F. SURENDORF
American, (1906-1979)
Linoleum cut, 1940s, edition 15. 9 x 12 in. Signed, titled and numbered in pencil. A fine impression printed in rich, black in on thin Japanese paper. The margins are full and the condition is also fine. This unusual and engaging print is a kind of comic book expressionist image; very serious stuff but with an element of zaniness. Surendorf was a California artist and was active in the Bay area as a block print artist and painter.
SOLD

Rapport de Chaque Chose avec son Essence (From the COMPLETE SET of three prints)
LEOPOLD SURVAGE
French, (1879-1968)
Linoleum cuts (or possibly woodcuts), 1935, edition 20. 10 3/4 x 7 7/8 in. Each print is signed, dated and numbered in pencil. Each in initialed in the block, lower right. They are superb impressions in fine condition with full margins. (Plate I has some rippling in the outer margins.) These surrealist style works are numbered I-III, II-III and III-III. Survage was a French painter and printmaker and studied at the Moscow School of Painting, Sculpture and Architecture. (He was of Russian-Finnish descent.) He was friendly with Alexander Archipenko, Albert Gleizes and Amadeo Modigliani. He also produced stage, tapestry and textile designs. He was influenced by André Masson in the 1930s. These potent works are rare as a set. We've seen them before individually and also numbered differently, suggesting additional small editions were printed. Survage was inducted into France's Légion d'Honneur in 1963.
SOLD

Aspidistra
JOHN TANDY
British, (1905-1982)
Wood engraving, circa 1928, edition 50. 6 x 3 1/2 in. Initialed in the block, lower left. Signed, numbered and titled in pencil below the image. This is a fine impression on cream colored Japanese paper. The margins are full. The condition is quite good apart from an old tape hinge at the top of the sheet, recto. This rare, early work was from a series called "Abstract Designs" (1-8) and the set was first exhibited at the Cottars Studio Gallery, London, in 1928.
SOLD

Untitled (mirrored worshippers)
MAX THALMANN
German, (1890-1945)
Woodcut, 1923-24, Henkel 2011, no. 16.1-10, edition 250. 19 3/4 x 14 5/8 in. Initialed in the block and signed in pencil, lower right. This is a fine impression printed on white wove paper. The margins are full with a deckle edge showing on all sides. This is a fine work by this underrated German expressionist printmaker and draughtsman. He produced three prominent woodcut portfolios; the Cathedral Series, the Passion, and the America Series. A large collection of his work in at Loyola Marymount University, Los Angeles. This print is from Der Dom (the Cathedral Series).
SOLD

Evening in Venice (Abend vor Venedig)
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors, 1910-11, Merx 172F, edition unknown. 11 3/4 x 19 3/4 in. Signed and dated in the block, upper right. Signed and dated in pencil, lower right. Here we have a superb, luminous impression of this large work. The margins are narrow but untrimmed, with a deckle edge showing on three sides. This is a stellar example of his work.
SOLD

Lilies (Lilien)
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors, 1917, Merx 296F, edition unknown. 16 3/4 x 13 7/8 in. Signed in the upper right with the artist's printed monogram. Signed in pencil below the image. This is a fine impression of this large work printed on thick Japanese paper. The margins are wide and the condition is very good. Thiemann produced a remarkable group of floral woodcuts along with his better-known arts and crafts style scenic landscapes and European town scenes. He produced over four hundred woodcuts most in very small editions.
$1,750

Chrysanthemums
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors with embossing (gauffrage), 1934, Merx 423F, edition unknown. 18 1/2 x 13 1/2 in. Signed and titled in pencil. Inscribed "original Farbholzschnitt, Handdruck". This is an exceptionally vibrant impression of this important print and the embossing is crisp and well preserved. (We also see the artist used white gouache to highlight the tips of some of the blossoms to emphasize the three dimensionality of the overall design.) The paper is a sturdy Japan and the margins are full. The sheet is in fine condition. The Merx catalogue lists two variations on this image, both done in reverse. (see pages 87-88; illustrations 63 & 64.) The influence of Japanese printmaking is clearly evident.
$4,000