Pedro Lemos

"The Greek Theater After A Rally" - 1921 UC Berkeley Yearbook Color Lithograph

1921

Vintage Floral study etching titled "Weeds" by Marina Payot (American, 20th century), 1983. Titled, signed, and dated lower edge. Artists Proof designation. Unframed. Image: 11.75"H ...

Intricate landscape etching of a park by an unknown artist. Signed illegibly "Partek or Partch". Signed, titled "Children's Park", and numbered (AP) along the lower edge. Presented i...

"St. Nicolas du Chardonnet" Etching in Ink on Paper Delicate and detailed etching by Katherine Kimball (American, 1866-1949). The Catholic church of St. Nicolas du Chardonnet is shown nestled in the streets of Paris. With clever use of line weight and clarity, the building is highlighted and cleanly stands out against the background and surroundings. Stamp with coat of arms on verso. Artist's info written on verso. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 6.75"W Katherine Kimball (American, 1866-1949) was born in Fitzwilliam, New Hampshire. She studied at the National Academy of Design in New York and exhibited in the San Francisco Panama-Pacific Exhibition of 1915. Listed in “Who Was Who in American Art, 1564-1975”; “North American Women Artists...

"Fisherman's Wharf - San Francisco" Multi Layer Screen Print on Paper - Signed Rare and bold Screen Print (Silk Screen) of Fisherman's Wharf 1957 by Gordon Cope (American, 1906-1999). Several boats are docked at Fisherman's Wharf, with buildings directly behind them. In the distance, the hills of San Francisco can be seen meeting a pale blue sky. Of particular note is the skillful representation of the reflections of the boats in the water, and the clever use of grey paper as negative space. Numbered and titled in pencil in the lower left corner "22/100 Fisherman's Wharf - San Francisco" Hand signed and dated in pencil in the lower right corner "Gordon Cope 1957" Titled, signed, and dated "in plate" Presented in a silver colored frame with a double mat. Frame size: 22.5"H x 27"W Image size: 15"H x 20"W Gordon N. Cope (American, 1906-1999) was an educator and painter. Trained in Utah and France, he exhibited his landscape paintings and portraits in the United States and Europe, and he believed music was related to painting. Cope was born on May 14, 1906, in Salt Lake City. He was trained by Utahn artists LeConte Stewart and Lawrence Squires, and at the Académie Julian in Paris, France in 1928. He also studied singing at the Opéra-Comique. Cope taught art at Latter-day Saints University, and he served as the chair of its Department of Art in 1930–1931. He taught at the Mountain School of Art from 1932 to 1938, and he was the director of the Art Barn School in Salt Lake City in 1939–1941. Cope painted Utahn landscapes as well as a portrait of Henry H. Blood, who served as the seventh governor of Utah from 1933 to 1941. Cope exhibited his work in the United States and Europe. According to the Deseret News, Cope "felt that music and painting are closely interrelated, and that the study of one form may be used to complement the appreciation and understanding of the other." Cope died on June 10, 1999, in San Francisco, California. Gordon Nicholson Cope studied with well-known Utah artists A.B. Wright and LeConte Stewart, and became recognized as a major Utah artist of the Great Depression. Cope was born in Salt Lake City in 1906 and spent much of his life in Utah. Cope gained much of his artistic training from diverse environments and influences. Following his training with the previously mentioned artists, Cope spent the next year, 1924, working with Lawrence Squires in Arizona. To expand his knowledge and training, Cope traveled to Europe, where he studied the "old masters" such as Da Vinci, Michelangelo, and Raphael. From 1924 to 1928, Cope studied in England, France, Italy, Switzerland, Belgium, Holland, and worked for a year at the Acadamie Julian, where many early Utah artists...

"The Library From The Botanical Gardens" - 1921 UC Berkeley Yearbook Lithograph "The Library From The Botanical Gardens" 1921 University of California Berkeley Color Lithograph by Pedro Lemos...

Bold woodblock serigraph by Ruth Chaney (American, 1908-1973). Numbered (#17), titled, signed, and dated along the bottom edge. The Smithsonian American Art Museum has an edition of...

SALE ONE WEEK ONLY “Birch Forest” is a monotype oil. The process is the simplest form of printmaking in a way because the artist does not etch or carve into a plate. Instead, a mono...

Emil Ganso, 'Skaters', pochoir (color stencil) with hand painting, edition c. 50, 1938, Smith S-6. Signed in the image, lower right. A rich, painterly impression, with fresh colors, on buff wove paper; the full sheet with margins (7/8 to 1 7/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 15 1/4 inches; sheet size 18 3/4 x 13 3/4 inches. An impression of this work is in the permanent collection of the Philadelphia Museum of Art. ABOUT THE ARTIST Born in Germany, Emil Ganso (1895-1941) came to the United States with his family in 1912. After settling in New York City, he found night work in a bakery and concentrated on his art in the daytime—mostly self-taught at this time, he studied only briefly at the National Academy of Design. In 1924, Ganso showed his drawings to Carl Zigrosser, who organized the artist’s first solo exhibition, at the Weyhe Gallery. Soon afterward, Ganso enrolled in Eugene Fitsch’s printmaking class at the Art Students League. Although he considered himself primarily a painter, Ganso made prints in all media, including relief and stencil prints and complex intaglios, and even experimented with color lithography in the late 1920s. He also developed, with an engineer, the design and fabrication of an innovative etching press. In 1926, Ganso attended the Art Students League summer session in Woodstock, New York. There, he met Jules Pascin, and the two artists began a close friendship, briefly sharing a studio. Ganso followed Pascin to Europe in 1928. In 1929, Ganso returned to New York and showed his work regularly in group exhibitions. He continued working in Woodstock in the summer months, often printing lithographs for other artists. The Cleveland Print Club...

Ranchos Winter by American impressionist Robert Daughter shows two women approaching the pueblo with the sun reflecting off the sides of the buildin...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

JOSEPH PENNELL (1857 - 1926) NEW FISH MARKET - (NEW YORK) 1921 (W 797) Etching, Signed in pencil, edition probably 50. 9 7/8 x 6 7/8 inches. Full sheet, ...

FRANCES H. GEARHART (1869-1958) DESERT BARRIER c. 1933 Color block print, unsigned 12 x 9 ¼”. Typical original margins on good fibrous japan paper. Many very good impressions by G...