Pedro J. de Lemos (1882-1954)

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Pedro J. de Lemos - "Alley - New Orleans" - Pastel - 10" x 7.5" - Signed lower left <br>Titled lower right; dated on reverse
Pedro J. de Lemos
"Alley - New Orleans"
1913

Pedro J. de Lemos - "Chinatown Street" - Color lithograph - 4" x 4.5" - Titled lower left; signed lower right <br> <br> <br>Exhibited: <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: April 30 - September 28, 2015 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 32a, page 104.
Pedro J. de Lemos
"Chinatown Street"

Pedro J. de Lemos - "Dolores Mission" - Mezzotint and aquatint - 3.75" x 4.5" - Titled lower left; signed lower right <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: 2015; <br> <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 20a, page 73. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504. <br> <br> <br> <br>Titled lower left; signed lower right <br>Exhibited: MMA/2015; Stanford Art Gallery/2017; Illustrated: Pedro de Lemos/Lasting Impressions; plate 20a, page 73. Reproduced in School Arts Magazine/May 1919, p.504. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504.
Pedro J. de Lemos
"Dolores Mission"

Pedro J. de Lemos - "Driftwood" - Color block print - 7" x 8" - Titled lower left <br>Signed lower right <br> <br> <br>Exhibited: <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Exhibited: <br>Lasting Impressions - Pedro de Lemos/MMA from April 30, to September 28, 2015. <br> <br>Illustrated in book: <br>Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 <br>Plate 29a, page 101.
Pedro J. de Lemos
"Driftwood"

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 - "Old Custom House at Monterey" - Color block print - 6.75" x 9.25" - Titled lower left <br>Signed lower right <br> <br>Exhibited: <br>The Centennial Exhibition/Thomas Welton Stanford Art Gallery, Stanford University, October-December, 2017.
Pedro J. de Lemos
"Old Custom House at Monterey"

Pedro J. de Lemos - "Santa Barbara" - Graphite and charcoal drawing - 12.5" x 7.75" - Titled lower left <br>Signed and dated lower right <br> <br>Exhibited: <br>Monterey Museum of Art/2015: <br>'Lasting Impressions - Pedro de Lemos' <br> <br>Stanford Art Gallery/2017:' Lasting Impressions of Pedro de Lemos' - The Centennial Exhibition <br> <br>Illustrated in book: <br>Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 <br>Plate 5b, page 13.
Pedro J. de Lemos
"Santa Barbara"
1922

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"

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"