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

Le Pont d'Avignon
PHILIP G. NEEDELL
British, (1886-1974)
Color woodcut, 1925, edition 60. 9 1/4 x 13 7/8 in. Signed and titled in pencil. A fine impression with substantial but possibly trimmed margins.
$600

North Sea Fishermen
BJO NORDFELDT
American, (1878-1955)
Woodcut printed in colors, 1906, Donovan 11, edition unknown. 9 x15 in. Signed, dated and numbered "52" in ink in the upper left corner of the image. This is a fine impression on Japanese paper of this large, dynamic print. The condition is fine with the typical small margins on all sides. Like virtually all of Nordfelfdt's prints, color variations exist and this one is especially good looking. The influence of Japanese prints is here clearly evident. The catalogue states this is the Swedish coast off Kulaberg.
SOLD

The Bridge
BJO NORDFELDT
American, (1878-1955)
Woodcut printed in colors, 1906, Donovan/Brown 8; edition unknown. 8 1/8 x 10 1/4 in. Signed, dated and numbered "No. 117" in pencil. This is a fine impression with narrow margins to just around the borderline, so typical of this print. The condition is also fine. (There's a tiny speck of foxing at the borderline, upper right and a very subtle soft crease in the lower left corner of the image.) This lovely print appears in multiple color variations which is a concept Nordfeldt mastered with great effect. He was an experimenter. While spending time in Paris studying French woodcuts he became aware of Japanese Ukiyo-e prints which inspired him throughout his career. Furthermore, he studied with Frank Morley Fletcher while in England. Nordfeldt was living in Chicago in 1906 and this work was likely inspired by his time in Sweden where he was born. Impressions of this print are located in the Metropolitan Museum of Art, The Minneapolis Institute of Art and the Smithsonian American Art Museum.
$7,000

Still Life
JEANNE BIERUMA OOSTING
Dutch, (1898-1994)
Woodcut printed in colors, undated (probably done during the 1940s-1950s), edition 100. 15 3/4 x 8 3/8 in. Initialed in the block, lower right. Signed and numbered in pencil. This is a superb impression printed on japan paper. The margins are full and the condition is excellent. Oosting excelled in printmaking, painting, book design and glass work. She was a member of the Pulchri Studio, Arti et Amicitiae and the Association for Craft and Art industry (VANK).
$700

In the Studio (Im Atelier)
EMIL ORLIK
Czech, (1870-1932)
Woodcut printed in colors, 1899, edition 100. 5 1/4 x 6 1/16 in. Signed in pencil. This is a fine, fresh impression printed on thin japan paper. The margins are full. The condition is fine apart from slight light toning showing within an early mat opening. This print is page 26 from the rare portfolio, Kleine Holzschnitte, published by Verlag Neue Kunsthandlung, 1920, Berlin. There were thirty-four prints in total. The prints were mounted at the top corners on a support sheet as we have here. Orlik was born in Prague and later studied at the Munich Academy. He traveled to Japan in 1900 and spent several months studying the traditional art of the Japanese woodcut.
SOLD

Garden Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, intended edition of 100. 10 1/4 x 7 1/4 in. Signed in pencil in the lower right corner of the image. Signed, titled and numbered in pencil just below the image. This is a fine impression with fresh colors. The print is trimmed to the image by the artist as is so often the case with this print (and others). The condition is fine apart from traces of an old adhesive on the verso edges from an early mount. The intense work involved in rubbing the colors into the back of 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.
$5,500

Windblown Trees
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1920, Bakker 56a, edition unknown. 7 x 9 3/4 in. Signed in pencil, lower right, within the image. This is a superb, vibrant impression of this well known image. The print is trimmed along the edge of the image (by the artist) and attached at the top to a black paper support sheet which extends slightly beyond the print (also done by the artist). In addition, the print and black paper are mounted at the top edge to a sturdy, tan matboard-like support. This is the original presentation as prepared by Patterson and we've seen this approach before. The condition is excellent. As viewed on page 20 of the Bakker retrospective catalogue from 1989, there's an oil study for this image as well as a charcoal and white pastel drawing.
SOLD

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.
$6,000

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. $ 5,500 for the pair.)
$5,500

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. $ 5,500 for the pair.)
$5,500

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