Woodblocks, Etchings, etc.

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

Depicts a seemingly cold winter day. Barren trees line up - the trunks obscuring most of the barn in the background on the left side of the etching and drypoint and the farm house on the right.
Armin C. Hansen, N.A.
"Belgian Farm"
1923

Depicts a seemingly cold winter day. Barren trees line up - the trunks obscuring most of the barn in the background on the left side of the etching and drypoint and the farm house on the right.
Armin C. Hansen, N.A.
"Belgian Farm"
1923

Armin C. Hansen, N.A. - "Fishermen on the Dock" - Monterey - Black & white dry brush - 8" x 10 1/2" - Signed with initials lower right
Armin C. Hansen, N.A.
"Fishermen on the Dock" - Monterey

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.
NEW
Armin C. Hansen, N.A.
"Sardine Barge"
1922

In this small etching Hansen depicts two or three fishermen on the pier which occupies the left side of the etching. The remainder shows the water and the nets hoping for a large catch for the day.
Armin C. Hansen, N.A.
"The Little Pier"
1924

Armin C. Hansen, N.A. - "The Mate" - Drypoint - 4" x 3" - Plate: Initialed and dated, lower left: A H '30 <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Gallery labels on reverse: <br>Maxwell Galleries, SF; Laky Gallery, Carmel, California <br> <br>Illustrated: 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 120, page 133. <br> <br>Hansen focused on the Monterey fishing industry. His depictions of the fishermen brought not only a visibility to their livelihood, but elevated them as worthy of artistic expression.
NEW
Armin C. Hansen, N.A.
"The Mate"
1930

Pedro J. de Lemos - "Alley - New Orleans" - Pastel - 10" x 7.5"
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>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: April 30 - September 28, 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 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 - "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 - "Monforte de Lemos, Spain" - Pastel - 12.5" x 10" - Titled, signed and dated lower left
Pedro J. de Lemos
"Monforte de Lemos, Spain"
1934

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 in pencil lower left <br>Signed in pencil lower right
Pedro J. de Lemos
"Sleepy Heads"

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

The sculpted cypress tree clinging to the side of a cliff. The bright white of the trunk and braking waves is overlaid with the key block's outlines, which are in turn softened by the subsequent application of the russet background; large patches of reddi
Pedro J. de Lemos
"The Cliff Dweller"

Pedro J. de Lemos - "The Golden Hour" - Color block print - 10.25" x 5.25"
Pedro J. de Lemos
"The Golden Hour"

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

This drypoint was executed from drawings inspired by her trip to Mexico in 1936. She has captured grazing time on a cold and bleak day for 6 or 7 goats trying to find food on a hillside. At the top of the hill are two barren trees rooted in the ground - w
Jeannette Maxfield Lewis
"Cabrero"
1936

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>Illustrated on page 17 of exhibition catalogue: Jeannette Maxfield Lewis: A Centennial Celebration: MPMA/1994.
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" - Drypoint - 5 7/8" x 6 7/8" - Plate: Signed and dated upper left <br>Titled in pencil lower left <br>Signed in pencil lower right <br>Edition: 51 <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #63 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"
1934

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 - "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 - "To Market, To Market" - Etching - 2 1/2" x 3" - Plate: Signed lower right <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #188 in Catalogue Raisonne: The Complete Etchings by Anthony R. White
Jeannette Maxfield Lewis
"To Market, To Market"
1958

Joseph Jacinto Mora - "Carmel-By-The-Sea" - 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> <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. <br> <br>PROVENANCE: <br>Ex-Collection of Mrs. Betty Hoag McGlynn, California art historian and late daughter-in-law of early California artist, Thomas A. McGlynn (1878-1966). <br> <br>EXHIBITED/PUBLICATION: <br>Jo Mora - Artist and Writer/Monterey Museum of Art, 1998 <br>Jo Mora: Spokesman for the Old West - Abstracted from an essay by Betty Hoag McGlynn.
Joseph Jacinto Mora
"Carmel-By-The-Sea"
1942

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> <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 - "Evolution of a Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - Copyright 1933 Jo Mora Lower right image <br>Published 1941; 1947; 1952; Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora Lower center image <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of a Cowboy"
c. 1941

Joseph Jacinto Mora - "Evolution of the Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - Copyright: 1933 Jo Mora - Lower right image <br>Published: 1941 - Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora - Lower center image <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of the Cowboy"
1941

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

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 - "The Seventeen Mile Drive" - Color lithograph - 30 1/2" x 22 1/2" - Copyright: 1927 The Del Monte Properties Co. lower right margin <br>Published: 1927 The Del Monte Properties Co. <br>Signature: "This Map by Jo Mora" lower left image <br> <br>This is the second map that Jo drew, and the first printing. This second map was also commissioned by the Del Monte Properties Company to advertise the 17-Mile area and its tourist attractions. The copyright was done after the first printing and like the Monterey Peninsula map, the copyright did not show up until the second printing in 1928-29.
Joseph Jacinto Mora
"The Seventeen Mile Drive"
1927

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 - "Cypress" - Etching - 5 3/4" x 3 3/4" - Plate: Monogram lower left <br>Titled lower left in pencil <br>Signed lower right in pencil
Paul Whitman
"Cypress"

Paul Whitman - "Fisherman's Wharf" - Etching - 6" x 4.75" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Directly from the estate of Paul Whitman <br> <br>Whitman would by intention prefer to challenge his considerable dawing skills by producing intricate scenes of piers and wharves.
Paul Whitman
"Fisherman's Wharf"
1927

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 - "Monterey Bay" - Etching - 4 1/2" x 7 3/4" - Plate: Initialed and dated lower right <br>Titled lower left in pencil <br>Signed lower right in pencil
Paul Whitman
"Monterey Bay"
1928

Paul Whitman - "Morning Calm" - Etching - 6" x 8 7/8" - Directly from the estate of Paul Whitman <br>With 'Letter of Authenticity and Provenance'
Paul Whitman
"Morning Calm"
1930

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"

Paul Whitman - "Pier's End" - Etching - 4" x 6" - Plate: Paul Whitman '27 lower right <br>Artist Proof lower bottom <br>Titled lower left; signed lower right <br>Directly from the estate of Paul Whitman
Paul Whitman
"Pier's End"
1927