Jeannette Maxfield Lewis (1894-1982)

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This is an etching by the artist depicting fishing boats at anchor where there is hardly any movement of the water but for the soft ripples caused by the slight motion of the fishing boats. The largest of the fishing boats dominates the center of the etch
Jeannette Maxfield Lewis
"At Anchor"
1945

A drypoint done in 1937. Throughout the composition is the undulating, shadowed water of the Monterey Bay near Cannery Row. On the right side the shacks are lined up. A softened edge is added to the hardened daily work-life of the weather-beaten fishermen
Jeannette Maxfield Lewis
"Bay Shore"
1937

Jeannette Maxfield Lewis - "Callas" - Etching - 10 1/4" x 9 7/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 21
Jeannette Maxfield Lewis
"Callas"
1959

This drypoint was executed from drawings inspired by her trip to Mexico in 1936. Here she has captured a typical day in the village. Activity includes a woman walking hope carrying a bucket in her left hand; a man relaxing against the stucco wall of a hou
Jeannette Maxfield Lewis
"Calleja en Mexico"
1936

Jeannette Maxfield Lewis - "Carmel Valley Farm" - Watercolor - 13 1/4" x 17" sight size - Signed lower right <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen.
Jeannette Maxfield Lewis
"Carmel Valley Farm"

Jeannette Maxfield Lewis - "Chitchat" - Etching - 2 7/8" x 1 3/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 14
Jeannette Maxfield Lewis
"Chitchat"
1963

Jeannette Maxfield Lewis - "Encounter" - Etching - 11 7/8" x 8 7/8" - Plate: Signed and dated lower right <br>Pencil signed and titled. Edition: 36 <br> <br> <br>Exhibition Catalogue: Jeannette Maxfield Lewis: A Centennial Celebration, Monterey Peninsula Museum of Art/1994. #196 in Catalogue Raisonne: 'The Complete Etchings' by Anthony R. White. Illustrated on page 17 of exhibition catalogue. <br> <br>Illustrated: 'Emerging from the Shadows'/A Survey of Women Artists Working in California, 1860-1960 Volume III, page 658; by Maurine St. Gaudens/2015.
Jeannette Maxfield Lewis
"Encounter"
1960

Jeannette Maxfield Lewis - "Field's Landing" - Etching - 7 5/8" x 9 3/4" - Signed and dated lower right in plate <br>Titled and signed in pencil <br>Edition: 16
Jeannette Maxfield Lewis
"Field's Landing"
1947

Jeannette Maxfield Lewis - "Fishermen's Taxies" - Drypoint - 8 7/8" x 11 7/8" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #99 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen. <br> <br>Jeannette Maxfield Lewis began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly.
Jeannette Maxfield Lewis
"Fishermen's Taxies"
1938

Jeannette Maxfield Lewis - "Fishermen's Wharf" - Drypoint - 4 7/8" x 6 7/8" - Signed and dated lower left. <br>Pencil titled and signed <br>Edition: 15 <br> <br> <br>In: Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #19 in Catalogue Raisonne: The Complete Etchings by Anthony R. White. <br> <br>Jeannette began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly. <br> <br>Her first exhibition of etchings took place at the Society of American Etchers 1932 Annual; she submitted four prints, and "Fisherman's Wharf" was accepted.
Jeannette Maxfield Lewis
"Fishermen's Wharf"
1932

Jeannette Maxfield Lewis - "Low Tide" - Drypoint - 5" x 7" - Plate: Signed and dated lower right <br>Titled lower left <br>Signed lower right <br>Edition: 31
Jeannette Maxfield Lewis
"Low Tide"
1933

Jeannette Maxfield Lewis - "Mexican Village" - Drypoint - 6" x 6 7/8"
Jeannette Maxfield Lewis
"Mexican Village"
1942

Jeannette Maxfield Lewis - "Old Women" - Etching - 10 3/4" x 13 3/4" - Plate: Signed and dated middle right <br>Titled and signed in pencil <br>Edition: 37 <br> <br>'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #164 (Catalogue Raisonne by White).
Jeannette Maxfield Lewis
"Old Women"
1954

Jeannette Maxfield Lewis - "Perugia" - Etching - 6 7/8" x 9 1/2" - Plate: Signed lower right <br>Titled and signed in pencil <br> <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #167 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br>PROVENANCE: <br>As relayed by previous owner: "It has been in my family for 70 years. My mother owned this etching and passed it on to me. My parents were neighbors and good friends of the Lewis' in Fresno, California." <br> <br>Perugia is the charming capital city of Umbria, the green and hilly region in the heart of Italy. This medieval city is still an under-the-radar Italian destination for many international travelers. Yet, Perugia has captivated countless visitors throughout the centuries.
Jeannette Maxfield Lewis
"Perugia"
1955

Jeannette Maxfield Lewis - "Storm A-Head" - Drypoint - 5" x 6 7/8" - Plate: Signed and dated lower left <br>Titled and signed in pencil <br>Edition: 25
Jeannette Maxfield Lewis
"Storm A-Head"
1933

Jeannette Maxfield Lewis - "Vegetable Gardens" - Drypoint - 5 1/4" x 7" - Plate: Signed lower left <br>Signed in pencil lower left <br>Titled in pencil lower right <br>Edition: 16 <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #101, page 45 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br> <br>Lewis attended the CSFA in San Francisco where she was greatly influenced by Gottardo Piazzoni. She studied with Hans Hofmann in NYC; and locally with Armin Hansen. <br> <br>Jeannette Maxfield Lewis began experimenting with printmaking under Armin Hansen in 1931, first with small drypoints, later moving into etching. She and her husband soon began a collaborative effort in the production of her prints; under the initial supervision of Hansen, Mr. Lewis became Jeannette's printer and chief critic. Working on-site continued to be an integral part of creating the etching or drypoint and Lewis' reputation in this medium grew rapidly.
NEW
Jeannette Maxfield Lewis
"Vegetable Gardens"
1939

Jeannette Maxfield Lewis - "Village Scene in Old Mexico" - Conte Crayon on paper - 18 3/4" x 24 1/2" sight size - Signed lower right <br> <br>Provenance: <br>As relayed by the previous owner... <br>"Jeannette Maxfield Lewis was my father's aunt. She lived a few blocks from him in Fresno. This conte crayon was a wedding gift to my parents and has remained in the possession of the family until sold to Trotter Galleries". <br> <br>A 1947-1948 trip to Mexico inspired prolific drawings, etchings, and paintings which were later shown in exhibitions both in Mexico and in California.
Jeannette Maxfield Lewis
"Village Scene in Old Mexico"
c. 1950