Armin C. Hansen, N.A. - "Anchorage" - Etching - 5" x 6 3/8" - Plate: Signed and dated, lower left: Armin Hansen '21 <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Illustrated: 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 37, page 49.
Armin C. Hansen, N.A.
"Anchorage"
1921

Armin C. Hansen, N.A. - "Cowboy Sport" - Rodeo scenes were not new for Hansen. He began painting them in 1913, after a friend took him to see the Salinas rodeo. However, it was not until 1930 that Hansen began producing and exhibiting more paintings of the Salinas rodeo in an effort to diversify his offerings. <br> <br> <br>1. This is the original partial preliminary pencil sketch for the drypoint, 4" x 7". Initialed A.H. lower right. <br>Acquired directly from the estate of Armin C. Hansen <br>Estate Stamp on reverse <br> <br>2. Original finished graphite drawing for the drypoint, 5" x 7". <br>Signed, located and dated lower right: Armin Hansen, Salinas - 1930 <br>Acquired directly from the estate of Armin C. Hansen <br> <br>3. Original drypoint, 5" x7" <br>Plate: Initialed, dated, located lower right: A.H. '30. Salinas. <br>Titled lower left in pencil; signed lower right in pencil. <br>Illustrated in 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 111, page 121. <br> <br>The original partial preliminary pencil sketch, the original finished graphite drawing and the finished drypoint for Cowboy Sport will be sold as a complete suite – an ultimate rarity for any serious collector of Armin Hansen.
Armin C. Hansen, N.A.
"Cowboy Sport"

Armin C. Hansen, N.A. - "Fishermen on the Dock" - Drybrush painting on paper - 8" x 10 1/2" - Signed with initials lower right <br> <br> <br>From The Estate Collection of early California art historian, Betty Hoag McGlynn, the late daughter-in-law of early California artist, Thomas A. McGlynn.
Armin C. Hansen, N.A.
"Fishermen on the Dock"

Hansen creates a quiet early morning on the ocean with one fishing boat and one rowboat along side. In the distant background are the docks and piers.
Armin C. Hansen, N.A.
"Morning"
1926

Armin C. Hansen, N.A. - "Sardine Barge" - Etching - 12 7/8" x 14 5/8" - Plate: Signed & dated, lower left: Armin Hansen '22. <br>Titled in pencil lower left; signed in pencil lower right. <br> <br>In: 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne by Anthony R. White/1986; plate #43, pages 54, 55. <br> <br>THIS IS HANSEN'S SIGNATURE ETCHING - AND ICONIC COMPOSITION. <br>HIS GOLD MEDAL WINNER IN 1923 AT THE LA INTERNATIONAL EXHIBITION BY THE LOS ANGELES CHAMBER OF COMMERCE FOR BEST PRINT IN EXHIBIT. <br> <br>From the sales that Hansen received from this one print, he was able to build a home for his new bride and their expected son.
Armin C. Hansen, N.A.
"Sardine Barge"
1922

Pedro J. de Lemos - "Memorial Court" - Screenprint of etching - 6 1/4" x 4 3/4" - Printed title and signature
Pedro J. de Lemos
"Memorial Court"

Pedro J. de Lemos - "Sleepy Heads" - Color block print - 8" x 11" - Titled lower left <br>Signed lower right <br> <br>Edwards/page 61 <br>The extraordinary compositions and brash colors in Lemos' "The Green Cove" (pl.30a), "Sleepy Heads" (pl.31a), and "The Sunset Mountain" (pl.32b) anticipate the psychedelic world of 1960s Pop Art. How many of his contemporaries were this inventive?
Pedro J. de Lemos
"Sleepy Heads"

Pedro J. de Lemos - "Spanish-Morrocan Church…" - Mixed media - 8.75" x 6.5" - Signed and dated lower left <br>Titled on original backing
Pedro J. de Lemos
"Spanish-Morrocan Church…"
1940

Pedro J. de Lemos - "Storm Trees" - Wood engraving - 8 3/4" x 7 1/2" - Plate: Signed with Pedro Lemos cartouche lower right <br>Titled in pencil lower left <br>Signed in pencil lower right
Pedro J. de Lemos
"Storm Trees"

Pedro J. de Lemos - "Tall Trees" - Aquatint - 10.75" x 7.4" - Titled lower left <br>Signed lower right
NEW
Pedro J. de Lemos
"Tall Trees"

Pedro J. de Lemos - "The Old Adobes" - Wood Engraving - 7.5" x 9.5" - Titled lower left <br>Signed lower right
NEW
Pedro J. de Lemos
"The Old Adobes"

This early 1920s color block print is dominated by four horizontal bands reminiscent of the contemplative registers of Mark Rothko. Here the eye ascends from the darkly cool mauve of the receding foreground through the belt of earth into a spectrum domina
Pedro J. de Lemos
"The Path to the Sea"

Pedro J. de Lemos - "The Sunset Mountain" - Color lithograph - 9 1/2" x 10" - Titled lower left <br>Signed lower right <br> <br>This painting is a view of Lake Merritt. Following his art training, Lemos established a studio overlooking Lake Merritt near Berkeley in the foothills above Oakland which is on the east bay. He soon after he began teaching at UC. <br> <br>Lake Merritt is a lake located in a large tidal lagoon basin in the center of Oakland, California, just east of Downtown. It is named after Samuel Merritt, Oakland's mayor in 1867–1869, who had the lagoon dammed turning the tidal lagoon into a salt water lake. It is surrounded by parkland and city neighborhoods. <br> <br>Edwards/page 61 <br>The extraordinary compositions and brash colors in Lemos' "The Green Cove" (pl.30a), "Sleepy Heads" (pl.31a), and "The Sunset Mountain" (pl.32b) anticipate the psychedelic world of 1960s Pop Art. How many of his contemporaries were this inventive?
Pedro J. de Lemos
"The Sunset Mountain"

Pedro J. de Lemos - "Top o' The Hill" - Color block print - 8 1/2" x 12" - "Top o' The Hill" - 1934 <br>Color block print, 8 1/2" x 12" <br>Titled in pencil lower left <br>Signed and dated in pencil lower right <br>1/3 <br> <br>"Lemos's prints also reflect the style and vocabulary of the Arts and Crafts movement. In 'Top O' the Hill', as in many works in this manner, the design of the bold, linear key block is contained by a heavy border line. The synoptic simplicity of design, the use of silhouettes and outlines, and the decorative flourishes are also characteristic of the style." <br>A Spectrum of Innovation - Color in American Printmaking- 1890-1960 by David Acton, page 94. <br> <br> <br>"The key block in 'Top o' The Hill' is far more dominant with heavy outlines, shadows, and foliage, but the printing of colors over the black mitigates this intensity, as with the orange-tan, which converts the shadows in the foreground into a distinct tonality." <br>Edwards/2015, page 70.
Pedro J. de Lemos
"Top o' The Hill"
1934

Pedro J. de Lemos - "Waiting for the Breeze" - Color block print - 8.25" x 7.75" - Titled and signed in pencil. <br> <br>Exhibited: Lasting Impressions - Pedro de Lemos - <br>Monterey Museum of Art/04/30/15 to 09/28/15. <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945. Plate 29b, page 101. <br> <br>Exhibited: Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017. <br> <br>This color block print is one of a very few by Pedro de Lemos, and which he exhibited in 1915 at the California Society of Etchers Fourth Annual. <br> (Edwards/page 107). <br> <br>Edward's page 8… <br>The dominant yellow tonality in the dockside scene "Waiting for the Breeze" is masterfully articulated with outlines of swirling clouds and waves that serve as dramatic counterpoints to a pair of static sailboats at the pier.
Pedro J. de Lemos
"Waiting for the Breeze"

The artist chooses pastel in shades of purple and bluish green as the medium to portray the Walls of Lugo - an old Roman capitol - he dipicts the guardsman's house which also had a stairway down to city streets.
Pedro J. de Lemos
"Walls of Lugo"

Pedro J. de Lemos - "Wind Swept Oaks" - Drypoint - 4" x 6 3/4" - Titled lower left <br>Signed lower right
Pedro J. de Lemos
"Wind Swept Oaks"

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 - "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.
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

Joseph Jacinto Mora - "Carmel-By-The-Sea" Past and Present - Color lithograph - 18 3/8" x 24 1/4" - Copyright: 1942 Jo Mora Publications - <br>Monterey, California lower right image <br>Published: 1942 Jo Mora Publications <br>Signature: Made by Jo Mora lower right image <br>Exhibited: <br>CARMEL MISSION MUSEUM <br>Retrospective exhibition: <br>The Carmel Mission in Art: <br>-1786-2008- <br>June 1, to November 30, 2008 <br>In the Mora Chapel Gallery <br> <br>NOTE: Jo made this map for the people of Carmel with a general history and current (1942) events, activities, and local people. Jo was also quite a dog lover and he included some of the town's dogs, gifted with personality, including his own dog Mike Mora. An unknown quantity of these maps had an advertising line added to the lower right margin in blue ink "50c with mailing tube - Jo Mora Publications, Monterey, Ca." was added for stores and places of business that had them on display.
Joseph Jacinto Mora
"Carmel-By-The-Sea" Past and Present
1942

Joseph Jacinto Mora - "Indians of North America" - - Color lithograph - 30" x 22 3/4" - Copyright: 1936 - The Jo Mora Maps, Carmel, California lower center image <br>Published: 1942 - Jo Mora Publications, Monterey, California lower right margin <br>Published: 1950 - Jo Mora Publications, Monterey, California lower right <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: The original cartes were dedicated to Lorenzo Hubbell (Nakai Tao) Jo's pal and trader from the Navajo Reservation. An interesting point about the Indian items, drawn on each side of the cartes were items owned by Jo which he collected while living in Mokiland from 1904 through 1906. The cartes were printed by Arthur Fey in San Francisco on uncoated paper. <br> <br>In 1950 Arthur Fey again printed this carte but this time decided to print it on semi-glossy paper which was popular then and helped keep these wonderful colors longer. This printing was chosen for the 1998 Monterey Museum of Art catalogue for the tribute show to Jo Mora.
Joseph Jacinto Mora
"Indians of North America" -
1950

Joseph Jacinto Mora - "Yosemite" - Color lithograph - 21 3/4" x 16 7/8" - Copyright: 1996 Yosemite Association lower right margin <br>Published: 1996 Yosemite Association <br> <br>This map was available from the Yosemite Association and they came with a short history of the map. A short quote from the paper follows. "This reprint of Jo Mora's cartoon-style map of Yosemite Valley is made from the original artwork in the museum. The poster illustrates many historical features of the valley which no longer exist but were left as originally done in 1931. The art from which this poster is rendered is quite faded but through the use of the computer technology the color approaches its earlier appearance."
Joseph Jacinto Mora
"Yosemite"
1996

Paul Whitman - "Fuller's Blind" - Stone lithograph - 11" x 15" - Titled lower left; signed lower right <br>Edition; 70/100 <br>Directly from the estate of Paul Whitman <br>Personal Collection of Paula and Terry Trotter
Paul Whitman
"Fuller's Blind"

Paul Whitman - "Picking Up" - Stone lithograph - 11" x 14" - Titled lower left; signed lower right <br>Edition: 25/100 bottom left <br>Directly from the estate of Paul Whitman
Paul Whitman
"Picking Up"