The Treasure Hunt: Part V

In our fifth installment in a series of small online exhibitions, the focus is on women printmakers. The role of women in the printmaking world was often largely overlooked, in part because the social circumstances of the time. However, there were a number of fine women artists who worked in printmaking and many of them made great inroads into the various techniques, often changing the face of the medium in her own way.  In the 21st century the landscape is changing and many of these Fine Artists are beginning to be shown, researched and given their due recognition.  This list highlights 25 of these artists.

In keeping with our goal, we’ve selected a wide sample of styles in order to open up our expansive inventory to the public.  There are often more examples of the artist’s works on the website if an image intrigues you.

Under each image we’ve provided a link to the work on our website where prices and more specific information is available. There, we also provide biographies and specific comments regarding the work when available.  If you have any questions, please contact us.

25 Prints by Women Artists

Dorr Bothwell: “Mallorca” 1951; color serigraph. $600

Dorr Bothwell (American.: 1902 – 2000): Mallorca, 1951; color serigraph; 13 x 9″ image size; 9/25; pencil signed, lower right. Bothwell’s use of screenprint to create complex abstract imagery was relatively rare for its time. In “Mallorca,” Bothwell, a world traveler, pulled ideas from her time spent living near the Mediterranean in the early 1950s to create this vivid print.

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Mildred Bryant Brooks: “Little Fugitives” circa 1935; etching. $600

Mildred Bryant Brooks (American: 1901 – 1995): Little Fugitives,  ca. 1935; etching; 9-3/4 x 9-3/4″ platemark; about 75 impressions; pencil signed, lower right. Brooks captures the elegant play of summer sun among maple branches during a child’s afternoon adventure.

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Helen Bruton: “Cass Street” circa 1930; block print. $600

Helen Bruton (American: 1898 – 1985): Cass Street, circa 1930; block print; 7-3/4 x 11″ image size; edition size not stated (presumed small); signed in pencil, lower right. Bruton’s many years of study in mosaic, sculpture and  graphic design are evident in this stylized Western scene.

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Frieda Dean: Untitled color relief print, 2005. $700

Frieda Dean (American: born 1950): (Untitled abstract), 2005; color relief print (monoprint); 22-1/2 x 30″ image size; signed in pencil, lower right. Dean’s bold, vibrant imagery is attained through a unique inking process that allows the ink to “sit” on the paper.

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Holly Downing: “It’s All Connected: threatened, endangered, disappearing” accordion-fold book; 2012. $700

Holly Downing (American: born 1948): It’s All Connected: threatened, endangered, disappearing, 2012; mezzotints in accordion-fold book with letterpress printing; 2-1/2 x 2-1/2″ platemarks; A/P; pencil signed. Downing recreates the patterns in ice flows, honeycomb, coral reef, sand, seaweed, water, and grass to find a common thread in nature’s delicate balance.

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Louise Gilbert: “The Fisherman”, circa 1955; color woodcut. $500

Louise Gilbert (American: 1913 – 2005): The Fisherman, circa 1955; color woodcut; 18 x 16-1/4″ image size; proof, from outside the edition of 20; pencil signed, lower right. Gilbert’s strong lines and Modernist composition are complimented by the movement of the visible wood grain.

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Francoise Gilot: “Rose of the Desert”, 1977; color lithograph. $750

Francoise Gilot (French: 1921 – 1986): Rose of the Desert, 1977; color lithograph; 22 x 30″ image size; B.A.T. proof from out the edition of 100; pencil signed, lower right. Gilot was adamant about being known as a painter first, and a lithographer second. However, as seen in this sunset-hued still life, her technical skill was keen, and blended well with her eye for color.

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Margo Humphry: “Pyramids for Lunch”, 1984; color lithograph. $1,200

Margo Humphrey (American: born 1942): Pyramids for Lunch, 1984; color lithograph; 22-1/2 x 28-1/4″ image size; 4/4 printer’s proofs; pencil signed on verso. “Pyramids for Lunch,” as with most of Humphrey’s work, is a narrative relating to her personal experiences made up of her own unique iconography.

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Ynez Johnston (American: born 1920) Chinatown, 1949; hard-ground etching; 8-13/16 x 6-15/16″ platemark; 8/10; pencil signed, lower right. Intricate textures give life to this city scene, which almost reads like a story of a day in the famous San Francisco enclave.

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Theodora Varnay Jones: “Landscape – XI”, 1986; etching and aquatint printed in colors. $500

Theodora Varnay Jones (American: born 1942): Landscape – XI, 1986; etching and aquatint, printed in colors; 14-3/4 x 17-13/16″ platemark; 2/5; pencil signed, lower right. Jones’ print evokes a universe within the everyday: a portion of a pebbled walkway.

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Gene Kloss: “Song of Creation”, 1949; drypoint. $4,000

Gene Kloss (American: 1903 – 1996): Song of Creation, 1949; drypoint; 11-15/16 x 14-7/8″ platemark; artist’s proof; pencil signed, lower right. The dramatic New Mexico landscape and the lives of its native inhabitants were strong threads in Kloss’s art. The dramatic contrasts of light and shadow, and the beauty of ceremony, play out in fantastic visual balance in “Song of Creation”.

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Kathe Kollwitz: “Schwangere Frau (Pregnant woman)”, 1910; etching and aquatint. $5,000

Käthe Kollwitz (German: 1867 – 1945):  Schwangere Frau (Pregnant Woman), 1910, printed 1918; etching and aquatint; 14-7/8 x 9-1/4″ platemark; proof 17/50; pencil signed. Kollwitz singular ability to capture the beauty and drama of ordinary people and situations made her a leader, albeit coincidentally, of the German Expressionist movement.

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Elizabeth Norton: “Orange Persian”, 1935; color linocut. $1,500

Elizabeth Norton (American: 1887 – 1985): Orange Persian, 1935; color linoleum cut; 8-3/8 x 6-3/4″ image size; 26/75; pencil signed, lower right. A lifelong love of animals made Norton a leader in animal portraiture in the printmaking world.

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Leona Pierce: “Metal Tag”, 1954; color woodcut. $700

Leona Pierce (American: 1921 – 2002) Metal Tag, 1954; color woodcut; 18-1/2 x 21-1/8″ image size; edition size not stated; pencil signed, lower right. Pierce captures the essence of childhood in a depiction of a game of metal tag in a city street.

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Mavis Pusey: “Sunset at Eight”, 1966; color lithograph. $2,000

Mavis Pusey (American: born 1928): Sunset at Eight, 1966; color lithograph; 16-3/4 x 20-1/4″ image size; artist’s proof; pencil signed. Pusey spoke of the connection between rhythm and tempo and the visual world. In “Sunset” she deftly illustrates her meaning with a vivid, jazzy composition.

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Elizabeth Quandt: “Alone on the Beach”, 1976; twp plate etching. $750

Elizabeth Quandt (American: 1922 – 1994): Alone on the Beach – Homage to Boudin, 1976; two plate etching; 5-5/8 x 13 (top), 3-1/2 x 13″ (bottom)” platemarks; artist’s proof; signed in pencil, lower right. Quandt borrows imagery from an admired artist and gives this composition her own twist, using two plates to create a feeling of solitude.

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Augusta Rathbone: “Glen Alpine, High Sierra”, circa 1930; etching and color aquatint. $1,200

Augusta Payne Rathbone (American: 1897 – 1990): Glen Alpine, High Sierra, ca. 1930; etching and color aquatint; 9-3/4 x 12-7/8″ platemark; artist’s proof; pencil signed, lower right. Far from home, Rathbone created this and other images of her native California’s broad, rocky eastern landscape while living in Paris.

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Deborah Remington: “Madison”, 1973; color lithograph. $3,500

Deborah Remington (American: 1930 – 2010): Madison, 1973; color lithograph; 28-3/4 x 26-1/2″ image size; VI/VII (Roman numeral edition); pencil signed, lower right. Remington and master printer Judith Solodkin expertly create smooth fields of color and form in a lithograph created at the experimental Tamarind Workshop.

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Norbertine Von Bresslern-Roth: “Kampf”, 1928; color linocut. $1,500

Norbertine Von Bresslern-Roth (Austrian: 1891 – 1978): Kampf, 1928; color linocut; 8-5/8 x 8-11/16″ image size; edition size not stated; pencil signed, lower right. Bresslern-Roth’s depiction of a battle between a lobster and octopus is visually striking, yet quietly, elegantly composed of muted tones and a focus on the movement of the underwater fighters.

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Judith Rothchild: “Le Nid”, 2005; mezzotint. $500

Judith Rothchild (American: born 1950): Le Nid, 2005; mezzotint; 7-13/16 x 11-5/8″ platemark; 4/50; pencil signed, lower right. Branches part to show three eggs nestled in the crook of a tree, illuminated by soft light and velvety black shadow. Rothchild’s print illustrates the extraordinary depth allowed by the slow, methodical process of mezzotint.

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Beth Van Hoesen: “Wendy”, 1985; drypoint with roulette. $1,200

Beth Van Hoesen (American: 1926 – 2010): Wendy, 1985; drypoint with roulette; 8 x 7-7/16″ platemark; 8/10; pencil signed, lower left. Van Hoesen’s “Wendy” cleverly utilizes the dog’s spot pattern as a means to give form to the dog herself. From a distance, it is an abstract composition; up close, it is an elegant portrait of a curious Dalmation.

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Elizabeth O’Neill Verner: “Low Country (South Carolina)”, circa 1939; etching. $3,000

Elizabeth O’Neill Verner (American; 1883 – 1979): Low Country (South Carolina),  ca. 1930; etching; 6-15/16 x 5-1/16″ platemark; 65/80; pencil signed, lower left. Verner became known for her prints and paintings of her home state of South Carolina, as shown here in the beautifully rendered oaks, laden with Spanish moss, framing a house and a woman tilling the earth.

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Ruth A. Wall: Untitled lithograph, 1952. $1,000

Ruth A. Wall (American: born 1917): Untitled (black and white), 1952; lithograph; 13-7/8 x 17-7/8″ image size; 2/5; pencil signed, lower right. Wall came to printmaking later in her life, pursuing art in her early 30s, and her approach to it was purely out of personal interest. This freedom of thought and expression is reflected in her stunning, energetic abstract expressionist lithograph.

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Sylvia Solocheck Walters: “Sunday Afternoon at Ballena Bay”, 2007; color woodcut. $1,100

Sylvia Solochek Walters (American: born 1938): Sunday Afternoon at Ballena Bay, 2007; color woodcut; 22 x 17-1/2″ image size; pencil signed, lower right. Walters layers imagery, some delicate, some bold, to create worlds within worlds in “Sunday Afternoon…”.

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June Claire Wayne: “Wave Nineteen Seventy”, 1970; color lithograph. $1,500

June Claire Wayne (American: 1918 – 2011): Wave Nineteen Seventy, 1970; color lithograph from one stone and one zinc plate; 29 x 17-3/4″ image and paper size; pencil signed, lower right. Wayne’s “Wave” is a wonderful example of her experimental work with litho stone, achieving texture and layers of color that opened new paths for Abstraction in the medium of lithography.

This concludes Part V of our Treasure Hunt.

About Annex Galleries

The Annex Galleries holds one of the largest original fine print inventories on the West Coast. With over 9,000 works, we specialize in (but are not limited to) original prints of the WPA era, Arts & Crafts movement, and Abstract Expressionism through the 1960's, with a focus on American and Californian artists both known and unknown. We have everything from Durer to Baumann to Picasso.
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4 Responses to The Treasure Hunt: Part V

  1. Denise Dengler says:

    Wow! impressive.

  2. Patsy says:

    So glad to enjoy these prints by women ! Merci beaucoup.

  3. seedtohealth says:

    for some reason I always thought Ynez was a man. Now I know, thanks!

  4. Fantastic prints; really great to see this wonderful work in one place.

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