The Annex Galleries acquires new inventory weekly and we have a link for these Recent Acquisitions on the left side of our Home Page under “What’s New.” We are spotlighting twenty-five recent acquisitions that were produced in a variety of media, including aquatint, charcoal, collagraph, color intaglio, color woodcut, drypoint, engraving, etching, ink, intaglio, pastel, silkscreen and watercolor. The imagery is as diverse as the media and includes abstract, figurative, wild life, landscape, and architectural compositions. We hope you enjoy the breadth of both media and imagery and that you might discover something new and wonderful to acquire for to your collection.
Click on the links to get more information on the print, as well as biographies of the artists who made them.
Twenty-five Recent Acquisitions
John Nelson Battenberg (American: 1931-2012): Dark Wolf, etching and aquatint; 1989; pencil signed and titled; editioned 8/25 Artist Edition; printed by artist on white Arches wove paper; 9-15/16 x 7-15/16″ platemark. From the collection of art dealer Charles Campbell.
John Nelson Battenberg’s reverence for wildlife is evident in his sculpture, paintings and prints. The wolf appears frequently in his work either as a single animal or in a pack. Dark Wolf may pay homage to the Mexican grey wolf, which is slowly making a comeback in the wild. Unchecked predatory controls that began in the 1880s pushed the Mexican gray wolf to near extinction by 1976. The coat of the Mexican grey wolf is a mix of buff, gray, red and black. Like other wolfs, it communicates using body language, scent markings and vocalization.
Gustave Baumann (American: 1881-1971): Rain in the Mountains color woodcut; 1925/1956; Baumann 76; pencil signed, titled and dated; editioned 38-50 R.C. 56; printed by artist on cream Zanders laid paper with Hand-in-Heart watermark; 9-3/8 x 11-1/4″ image size.
The monsoon season in New Mexico begins in May and delivers heavy rain by early July. It brings dramatic cloud patterns and the rain delivers much needed moisture to the sun-baked landscape. Baumann referred to these downpours as “walking rain” and deftly captured their drama in Rain in the Mountains.
Ted Davies (American: 1928-1993): The Matador (from the portfolio Cards of Life, Cards of Death); color woodcut with gold leaf; 1962; pencil signed, titled and dated; artist’s proof, outside of the edition of 60; printed by the artist on laid Japanese hosho paper; 13-7/16 x 7-15/16″ image size.
The Matador is one of twenty-five color woodcuts produced by Ted Davies between 1962 and 1967, which he published both individually and as a portfolio entitled Cards of Life, Cards of Death. He based the portfolio on a pinochle deck: each print was intended to carry a “recognizable narrative and formative images, which are symbolic in many ways which tradition has associated with the particular card.”
Marguerite Redman Dorgeloh (American: 1890-1944): House and Garden; lithograph; 1939; reference: GSA WPA catalog page 258, Newark Museum #FA3001; pencil signed and titled; about 28 impressions; printed by the artist on ivory Warren’s Oldestyle wove watermarked paper; 11 x 12-7/8″ image size; published by the Federal Art Project, WPA.
According to Karla Andersen’s article “The Octagon House,” there may have been eight octagon houses in San Francisco. Two remain today: the Feusier House on Russian Hill, which is a private residence and the Cow Hollow house built for William C. McElroy in 1861. The octagon house illustrated in Dorgeloh’s lithograph is the McElroy house before it was moved.
In 1951, PG&E decided to develop the property and sold the house for $1.00 to the National Society of the Colonial Dames of America. The organization moved the house across the street to 2645 Gough Street (at Union Street) and restored it. The exterior is in its original condition and the building is on the National Register of Historic Places.
Roland Ginzel (American: born in 1921): Untitled; lithograph; 1981; pencil signed and dated; inscribed within the lower center of the image: ASST-Printers Proof; outside of an edition of about 20; printed by Patrick Surgalski on light grey BFK Rives wove paper; 30 x 22″ image and paper size.
Chicago printmakers Roland Ginzel and Ellen Lanyon received their MFA degrees from the University of Iowa in 1951. Ginzel and Lanyon founded the Graphic Art Workshop in Chicago in 1954 but it lasted only two years. One of the Chicago area’s early abstract printmakers, Ginzel has referred to his work with phrases like “lyrical formalism” and “soft geometry.” This lithograph printed in blacks and grays is gestural, lyrical and abstract.
Joseph Goldyne (American: born in 1942): Red, White and Blue Floral; color drypoint and aquatint; 1982; Garver 88, full page illustration on page 62; pencil signed and titled; numbered 38/50; printed by David Kelso at Made in California Press on antique-white BFK Rives wove paper; 9-15/16 x 15-15/16″ platemark; published by Stanford University with 3EPLimited.
Goldyne and printer David Kelso used three plates and six colors in nine color states to create this image. This impression is from the ninth and final state, printed in an edition of 50, plus 10 proofs. The print was commissioned by the Committee for Art at Stanford University, through Smith Anderson Gallery in Palo Alto, California. Proof impression 10/10 is in the artist’s archive at the Corcoran Gallery in Washington, D.C.
Barbara Thomas Haddaway (American: 1902-1992): Palace of Industry, California Pacific International Exposition, Balboa Park, San Diego; pastel; 1935; pencil signed on the support sheet; unique; drawn on Behr-Manning Mohawk Flint paper; support sheet is a green gray wove; 8-5/8 x 8″ image and paper size.
The California Pacific International Exposition was held in San Diego’s Balboa Park from May 29 through November 11, 1935, and reopened the following year and ran between February 12 and September 9, 1936. It was San Diego’s second successful World’s Fair. The first was held in 1915 and many of the buildings from the original fair were used again in 1935.
Two themes of the fair were progress and beauty. An exhibition committee controlled the California Pacific International Exposition so the focus of the fair turned from the history of California toward corporate interests. The modernist Ford building, emphasizing progress and consumerism, was a startling contrast to the historic Spanish influenced buildings from the earlier fair. The beauty was provided by the Zoro Garden nudist colony whose attributes could be enjoyed through knotholes in a fence. Visitors to the 1935 exposition could enjoy fourteen miles of exhibits and attractions.
Shoichi Hasegawa (Japanese living in Paris, born in 1929): Hymne à la Joie; mixed technique color intaglio; circa 2000; reference: not in Hasegawa catalogue raisonné; pencil signed and titled; numbered 34/110; printed by L’Oeuvre Gravée on BFK Rives paper; 19-3/16 x 23-3/8″ platemark; published by L’Oeuvre Gravée, Paris.
Japanese born and educated Shoichi Hasegawa became interested in the lyrical abstract works of American artists Jackson Pollock, Franz Kline, Mark Rothko and Morris Graves. He left Japan in 1961 and traveled to Paris where he worked with S.W. Hayter at Atelier 17.
This large color intaglio explores the intaglio processes developed at Atelier 17, using the plate to achieve an intimate, calligraphic composition in which un-inked white lines dance across the surface of the color.
Jennie Lewis (American: 1892-1944): Scene on Sand Dunes San Francisco California; lithograph; about 1938; reference: not listed in the GSA WPA catalog; pencil signed and titled; edition of about 28 impressions; printed by Ray Bertrand on ivory Warren’s Oldestyle wove watermarked paper; 10-1/4 x 13-3/4″ image size; published by the California WPA Federal Art Project and the blindstamp of the WPA FAP is in the lower right margin.
Little is known about Jennie Lewis but she was born in San Diego, California in 1892. She studied with William Merritt Chase in Carmel and continued her studies at the California School of Fine Arts in San Francisco and the California College of Arts and Crafts in Oakland. Lewis was living in San Francisco during the Depression years and produced a number of modernist lithographs depicting the neighborhoods and the noted buildings of San Francisco for the California Federal Art Project. She died of exposure in 1944.
Frank Lobdell (American: born in 1921): 10.23.86; etching, aquatint and soft ground; 1986; pencil signed, titled and dated; numbered 8/35; printed by David Kelso on antique-white BFK Rives wove paper; 13-7/8 x 17-3/4″ platemark; published by Made in California Press.
In 1983, Lobdell began working with David Kelso at Made in California Press where he produced his first color intaglios. He continued to work with Kelso until 2000 and their collaboration resulted in nearly fifty intaglio editions. Rather than titling his work or leaving that task to others, Lobdell often used the date of publication for his title. This intaglio is titled in this manner: 10.23.86.
Jean Lodge (American: born in 1941): Jeux de lumiere; mixed technique color etching; 1969; pencil signed, titled and dated; numbered 18/30; printed by artist on ivory Arches wove watermarked paper; 18-3/4 x 18-5/8″ platemark.
In the 1960s many of the artists who worked at Atelier 17 began exploring a more fluid line and the spacial qualities of water and rippled surfaces. Much of this experimentation developed into the OpArt movement. In this image Lodge creates a fluid pattern, a kind of moiré, that creates depth by the use of the line. The image that can be disturbing to the eye causing the viewer to adjust or, look away and it and its “color” changes with distance and focus.
George Miyasaki (American: born in 1935): Presentation #2; mixed technique color collograph; 1964; pencil signed and titled; numbered 1/11; printed on ivory Rives BFK wove watermarked paper; 19-7/8 x 17-1/4″ platemark.
In A Spectrum of Innovation, David Acton mentioned that figures appeared in Miyasaki’s work after he began to teach printmaking at the University of California at Berkeley in 1964. He also began to incorporate images via transfer methods into his paintings and prints.
Shigeyuki Ohashi (Japanese: born 1951): Untitled; color screenprint; 1987; pencil signed, titled, and dated; numbered 24/40; printed by the artist on thick antique-white wove paper; 21-5/8 x 15-11/16″ image size.
Our first response to this work by Shigeyuki Ohashi was that it was a beautifully executed color woodcut layered with delicate colors so it was a great surprise to discover that the artist works in the medium of serigraphy or screenprinting The imagery is thought provoking for without a title to orient the eye and the brain, the viewer is left to their own interruption. At first glance this appeared to be an underwater scene with small fishes swimming around a creature with only its articulated tail visible. Upon further reflection the small golden fishes transformed into yellow leaves falling upon still water with a large bud about to transform itself into a flower. What do you see in this work?
Theodore Polos (American: 1901-1976): The Sierras; lithograph; 1938; reference: GSA WPA catalog page 286; Newark Museum FA2567; pencil signed and titled; about 28 impressions; printed by Ray Bertrand on ivory Warren’s Oldestyle wove watermarked paper; 10-7/8 x 14-1/4″ image size; published by California WPA Federal Art Project.
This lithograph was published by the California Works Progress Administration (WPA) Federal Art Project. The official blindstamp of the Federal Art Project is in the lower right margin.
Johann Gottlieb Amadeus Prestel (German: 1739-1808): Head Study (after Francesco Trevisani; etching and woodcut; circa 1775; signed in plate in lower right image, “Amadio Prestel fecit.”; printed by the artist on antique-white laid paper; 13-9/16 x 10-1/16″ image size; reference: Head Study by Trevisani, etching and woodcut, circa 1775, 3 Munich State Collection of Prints, Rebel 1981, p 37. Schwaighofer, Claudia Alexandra: Gravé d’aprés le dessin. The Prestelschen portfolios of drawings in: Art of Prestel. The artist couple Johann Gottlieb and Maria Katharina Prestel, MEWO Kunsthalle Memmingen 2008, Cologne 2008, pp. 120-141.
This portrait etching by Prestel utilizes a tint woodcut for the color and the white line, and etching for the black line. It was done after a series of eight to ten head studies by Francesco Trevisani (that were reproduced by Prestel). The white line is achieved by allowing the paper color to show through, giving the appearance of spontaneous white highlights. The experimental technique was based on the Chiaroscuro woodcut method. These prints were originally identified as aquatints – “copper plates with color reprint” by Trevisani’s cataloguer, Christoph Murr.
Elizabeth Quandt (American: 1922 – 1994): Aries IV – Ram in a Thicket; etching in brown/black ink; 1978; pencil signed, titled and dated; numbered 28/50; printed by the artist on ivory Arches wove paper; artist’s embossed chop in the lower margin; 5 x 5-1/4″ platemark.
Elizabeth Quandt included this image in her portfolio of etchings entitled Aries. The suite included four images, etchings of a ram’s skull that had been found by her grandson while they were on a hike in the Sonoma County countryside. The ram’s horns had become wedged in a small tree and the ram was unable to free itself.
The Aries suite was a portfolio of four etchings produced in an edition of 25, numbered from 1 to 25. There were also 25 impressions issued as single prints, numbered from 26 to 50.
John Ross (American: born in 1921): Baseball; two-color woodcut; 1960; pencil signed and dated; edition not stated; printed by artist on thin, white wove paper; 17-15/16 x 11-3/4″ image size.
As seen from a pitcher’s perspective this woodcut shows the catcher and the umpire. It is reminiscent of a Japanese ukiyo-e print with the hands of the batter appearing from the margin.
Max Slevogt (German: 1868-1932): Untitled (Battle scene); graphite, ink and watercolor; about 1900; pencil signed; unique; drawn on thin, white wove vellum paper; 4-5/8 x 6-5/16″ image size.
This small, mixed media drawing by Max Slevogt depicts a war, perhaps mythic, perhaps real. A figure that appears to be of some royalty, is tied to a metal grid over a fire pit as an army with Viking helmets observe the torture.
Howard E. Smith (American: 1885-1970): (Loading the White Mule); lithograph; about 1945; pencil signed; edition size not stated, perhaps 25 impressions; printed on ivory Warren’s Oldestyle wove paper; 12 x 14″ image size.
Howard E. Smith is known for his portrait and genre paintings, as well as for the illustrative work he produced for Harper’s and Scribner’s magazines. After moving to Carmel, California in the 1940s he began focusing on equine and western subjects while working in lithography, most of which were printed in small editions. In this large lithograph, two cowboys, after breaking camp, struggle with a white mule, which appears intent on not being laden with their supplies.
Yoshijiro Urushibara (Japanese/British: 1888-1953): The Resting Place – Scutari (in collaboration with Frank Brangwyn); color woodcut; 1924; reference: Binyon, plate 3; pencil signed; numbered 90/250; there were additional special proofs; printed by artist on antique-white Japanese hosho paper; 6-11/16 x 8-1/2″ image size; published by John Lane: The Bodley Head Limited, London.
This color woodcut was plate number three in the portfolio Ten woodcuts by Yoshijiro Urushibara produced and published by John Lane in London in 1924. The portfolio included an introduction by Laurence Binyon. The woodcuts were cut and printed by Urushibara after watercolors by his friend and collaborator, British artist, Frank Brangwyn.
Urushibara hand printed an edition of 250 plus 20 artist’s proofs that were not offered for sale. He used different Japanese papers and signed seven of the images with pencil, in the European tradition and the other three with his seal signature in red ink.
The Resting Place, Scutari depicts a Crimean cemetery in Scultari (now Üsküdar), Turkey that covers eight acres and houses a memorial that was built to honor the British Crimean war dead. The memorial was supervised by W.H. Lyne of the Royal Engineers. The cemetery contains the burial places for seventeen British and Indian prisoners of war. Brangwyn produced an etching of the cemetery in 1904 (Gaunt 31).
Manolo Valdes (Spanish: born in 1942): La Reina Mariana Como Pretexto III (one of five from the portfolio); color engraving with collage; 1984; pencil signed; numbered 65/75; printed on Guerro Super Alfa paper by J.M. Guillen-Ramon, Valencia, Spain ; 16-5/8 x 11-7/8″ platemark.
From a series of five engravings, some with collage, titled La Reina Mariana Como Pretexto (The Queen Mariana as a Pretext). Valdes produced this in May of 1984 and the portfolio had a forward by Valeriano Bozal, a Goya scholar and Spanish art historian.
Queen Mariana (1634-1696) was born in Austria and was the Queen Consort of Spain, married to Philip IV. Valdes used her as the inspiration for many series of works in printmaking, painting, sculpture, often deconstructing and reconstructing paintings of her by other painters, such as Velazquez.
Raeburn Van Buren (American: 1891-1987): No Lip Uttered a Syllable. No hand Moved. Amazement Had Changed the Gath Men Into Stone (from the One-eyed Jack, Adventures in Steamboat Gambling issue); charcoal and ink with white gouache highlights; 1926; signed in ink; drawn on an illustration board; 13-13/16 x 18-7/16″ image size.
This drawing was used to illustrate Harris Dickson’s serialized short story “The One Eyed Jack – Adventures in Steamboat Gambling” in the April 17, 1926 (issue #42) of The Saturday Evening Post. The illustration and the story were on page 14.
The drawing was originally dated “26” but was changed to “30” when Van Buren sold the drawing. On the verso of the Number 80 Bainbridge Illustration Board is a label that reads: “This drawing must not be reproduced for any purpose. It is copyrighted by the Curtis Publishing Company. The Saturday Evening Post Philadelphia.”
Peter Van Valkenburgh (American: 1870-1955): Joachim Miller 1900; 1939; lithograph; signed with artist’s pencil chop; about 28 impressions; printed by Ray Bertrand on ivory Warren’s Oldestyle wove paper; 14 x 9-1/2″ image size; published by California Federal Art Project WPA; reference: WPA Graphics Achenbach Collection 65.37.951.
Joachim Miller was born Cincinnatus Miller on September 8, 1837, in Indiana. He was an American author and poet, as well as a colorful character who adopted the pen name Joachim after the legendary bandit, Joachim Murietta.
His Quaker family settled in the territory of Oregon in 1852, but Miller left home for the California gold fields while still a youth. His life story seems to be woven with fabrications but he mined gold, worked for the Pony Express, and tangled with the law. Miller returned to Oregon where he went to college and studied law.
He left for England in 1870 and his first book, Song of the Sierras, was published in 1871. He returned to the United States and, in 1883, built a cabin for writing north of Washington, D.C. The secluded, wooded location was then known as Arlington Heights and today it is known as Malcolm X Park. In 1893, Miller headed west and built another writing cabin in the Oakland hills in northern California. He became known as the Poet of the Sierras, and he died on February 17, 1913.
Romas Viesulas (American born in Lithuania: 1918-1986): Traje de Luces; 1960; color lithograph; pencil signed, titled and dated; Artist’s Proof; printed on calendared Rives BFK ivory wove paper; 30 x 21-1/2″ image and sheet; published by Tamarind.
One of the first lithographs printed by the newly established Tamarind Workshop, Viesulas worked on the stones for this image with co-founder/printer Garo Antreasian between August 12 and August 17, 1960. Lithuanian born Viesulas was Tamarind’s first artist in residence. Viesulas responded to the gestural, painterly approach to lithography that Tamarind was promoting in order to draw more artists to the medium.
“Traje de Luces” translates from Spanish to “Suit of Lights” and was part of a portfolio of nine prints entitled “Toro Desconocido” (The Unknown Bull), which abstractly explored the interplay between the bull, the matador and the light of the arena.
Enrique Zañartu (Chilean: 1921-2000): Rencontre V; 1961; mixed technique color intaglio; pencil signed, titled and dated; épreuve d’artiste; printed by artist on cream Arches wove watermarked paper; 17-1/2 x 14-3/8″ platemark.
Enrique Zañartu worked at and directed Atelier 17 for a number of years and Rencontre V is a synthesis of the various techniques that were constantly evolving at the studio. There is a sculptural yet gestural quality to this abstract mixed technique color intaglio, which exudes both force and beauty. The plate was heavily worked and deeply bitten while the printed image has a delicate quality created by color, line and texture.