Aquatint, Charcoal Drawing, Color Linocut, Color Woodcut, Drawing, Etching, Figurative, Lithograph, Pencil Drawing, Prints, Watercolor

“20th Century People” to Open in September

Untitled. [Young Girls.] Marion Greenwood, Lithograph, c. 1940. Edition unknown.  Image size 110 1/8 x 11 7/8" (257 x 302 mm). LINK.

Untitled. [Young Girls.] Marion Greenwood, Lithograph, c. 1940. Edition unknown. Image size 110 1/8 x 11 7/8″. LINK.

The Old Print Gallery’s new fall show, 20th Century People, will open on Friday, September 18th, with an opening reception from 5-7pm. The exhibit is a compendium of “people in prints” by some of the most celebrated 20th century American printmakers. Working and creating in a time when the art world was pushing towards abstract expressionism and modernism, these print artists stayed rooted in a sort of inherent figural humanism. With an exquisite ability to convey emotion through the anatomy of the human figure, the artists used their pencils, woodblocks, and burins to capture an arresting gaze, a fleeting moment between individuals, people at work, at play, and deep in thought. Seen together, these prints offer a glimpse of 20th century America, while also reminding viewers of our shared human condition. The show will remain on view until November 14, 2015.

Any Lobsters Today? Gordon Grant. Lithograph, 1946. Edition 250. Image size 9 1/8 x 12 inches. LINK.

Any Lobsters Today? Gordon Grant. Lithograph, 1946. Edition 250. Image size 9 1/8 x 12 inches. LINK.

Selected Artists: Peggy Bacon, Albert W. Barker, Will Barnet, Leonard Baskin, Thomas Hart Benton, Isabel Bishop, Abe Blasko, Ernest Fiene, Emil Ganso, Gordon Grant, Marion Greenwood, Irwin D. Hoffman, Martin Lewis, Charles W. Locke, James Penney, Robert Riggs, John Sloan, Bruce Waldman, Max Weber, and Anders Zorn.

Click HERE to see the prints included in the show. 

Single Strap Hanger. ISabel Bishop. Etching, 1950, printed 1981. Edition 25. Image size 8 1/4 x 3 1/4". LINK.

Single Strap Hanger. Isabel Bishop. Etching, 1950, printed 1981. Edition 25. Image size 8 1/4 x 3 1/4″. LINK.

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Color Linocut, Contemporary, Early 20th Century, Linocut, Prints

Linocuts

Broadway Moonlight. Emily Trueblood. Three-block linocut, 2006.  Edition 50. Image size 10 x 8" (255 x 203 mm). LINK.

Broadway Moonlight. Emily Trueblood. Three-block linocut, 2006. Edition 50. Image size 10 x 8″ (255 x 203 mm). LINK.

Linocut printmaking is a form of relief printing, using a linoleum block as a matrix. The artist sketches a composition on a block of linoleum, and then cuts away pieces from the surface with a chisel or gouge, leaving a raised area which will receive the ink. A roller is then used to apply ink to this raised surface, and the image is transferred to paper with a press or by hand burnishing and rubbing. Since the recessed cut-away areas do not receive ink, they appear white on the printed image.

The method matches that of a woodblock, but since the linoleum block does not have a directional wood grain, the surface of the print will have less texture and the artist has more freedom in the line work. The linoleum takes all types of lines, but it is suited to large designs with high contrasting tints. If an artist wants to incorporate multiple colors into the linocut, each color will be printed with its own carved linoleum block. The print is created by printing a sheet of paper with each of the blocks in turn, using a strict method of registration to avoid overlapping or misplacement. The greater the complexity, the greater the rate of failed or imperfect impressions.

Below are several of the linocuts we have in our 20th century and contemporary inventory. Stop by our Georgetown gallery to see the prints in person, and look at more linocuts!

Sea View. Stanley Kaplan. Linocut, 2005. Edition 25. Image size 8 1/4 x 17 5/8" (206 x 345 mm). LINK.

Sea View. Stanley Kaplan. Linocut, 2005. Edition 25. Image size 8 1/4 x 17 5/8″ (206 x 345 mm). LINK.

Carp.  Valenti Angelo. Color linocut, undated. Image size 6 1/4 x 8 3/4" (152 x 223 mm). LINK.

Carp. Valenti Angelo. Color linocut, undated. Image size 6 1/4 x 8 3/4″ (152 x 223 mm). LINK.

N. H. Bridge.  Stanley Kaplan. Color linocut, 1997. Edition 25. Image size 8 1/4 x 13" (210 x 330 mm). LINK.

N. H. Bridge. Stanley Kaplan. Color linocut, 1997. Edition 25. Image size 8 1/4 x 13″ (210 x 330 mm). LINK.

Studio Scene w/Doves. Matt Phillips. Linocut, 1976. Image size 22 x 15 3/4" (560 x 400 mm). LINK.

Studio Scene w/Doves. Matt Phillips. Linocut, 1976. Image size 22 x 15 3/4″ (560 x 400 mm). LINK.

El Juego. Karima Muyaes. Color reduction linocut, 2007. Edition 3. Image size 17 3/4 x 11 7/8" (450 x 303 mm). LINK.

El Juego. Karima Muyaes. Color reduction linocut, 2007. Edition 3. Image size 17 3/4 x 11 7/8″ (450 x 303 mm). LINK.

Division Street. Richard Sloat. Three-color linocut, 1995. Edition 50. Image size 7 1/8 x 13 7/8" (180 x 354 mm). LINK.

Division Street. Richard Sloat. Three-color linocut, 1995. Edition 50. Image size 7 1/8 x 13 7/8″ (180 x 354 mm). LINK.

Still Life with Top Hat & Dove in Cage. Matt Phillips. Linocut, 1978. Image size 9 15/16 x 7 15/16" (252 x 202 mm). LINK.

Still Life with Top Hat & Dove in Cage. Matt Phillips. Linocut, 1978. Image size 9 15/16 x 7 15/16″ (252 x 202 mm). LINK.

Vibrato II. Stanley Kaplan. Color linocut, 2006. Edition 25. Image size 12 x 18" (305 x 457 mm). LINK.

Vibrato II. Stanley Kaplan. Color linocut, 2006. Edition 25. Image size 12 x 18″ (305 x 457 mm). LINK.

Dusk at Baker's Beach.  [Massachusetts.]  Emily Trueblood. Three-block linocut, 2006. Edition 50. Image size 3 7/8 x 5 7/8" (98 x 150 mm). LINK.

Dusk at Baker’s Beach. [Massachusetts.] Emily Trueblood. Three-block linocut, 2006. Edition 50. Image size 3 7/8 x 5 7/8″ (98 x 150 mm). LINK.

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19th Century Prints, Color Linocut, Color Lithograph, Drawing, Early 20th Century, Engraving, Etching, Lithograph, Photo engraving, Prints, Sporting, Wood

Print Round-Up: Superbowl Edition

On Sunday, the Seattle Seahawks will face off against the New England Patriots in Super Bowl XLIX. Whether you are a fan of Tom Brady and the Patriots or your allegiances lie with the defensive-minded Seahawks, the game (and accompanying commercials, half-time show, and viewing parties) should result in an entertaining and fun event. To celebrate, we are sharing several of our football prints- both antique and modern- on the blog. Enjoy!

Big Game Bartlett Pears. Color lithograph, c. 1930's. Image size 10 7/8 x 7 3/8" (276 x 187mm). Great image of football player with ball, in a stadium. The Big Game is the Cal Berkeley vs Stanford match, the grower graduated from Berkeley. Shipper: Dennis W. Leary. Origin:  Walnut Grove, Sacramento Delta CA.  Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. LINK.

Big Game Bartlett Pears. Color lithograph, c. 1930’s. Image size 10 7/8 x 7 3/8″ (276 x 187mm). Great image of football player with ball, in a stadium. The Big Game is the Cal Berkeley vs Stanford match, the grower graduated from Berkeley. Shipper: Dennis W. Leary. Origin: Walnut Grove, Sacramento Delta CA. Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. LINK.

Football. Sybil Andrews.  Four-color linocut, 1937. Edition 60. Image size 9 3/8 x 12 1/2" (237 x 317 mm). LINK.

Football. Sybil Andrews. Four-color linocut, 1937. Edition 60. Image size 9 3/8 x 12 1/2″ (237 x 317 mm). LINK.

Football (untitled). Edith Derry Willson. Etching, softground, c. 1940. Image size 7 x 9 15/16" (178 x 252 mm).

Football (untitled). Edith Derry Willson. Etching, softground, c. 1940. Image size 7 x 9 15/16″ (178 x 252 mm).

Hole in the Line. Joseph W. Golinkin. Lithograph, c.1935. Edition 50. Image size 13 3/4 x 19 13/16" (349 x 504 mm).

Hole in the Line. Joseph W. Golinkin. Lithograph, c.1935. Edition 50. Image size 13 3/4 x 19 13/16″ (349 x 504 mm). LINK.

Holiday in Camp - Soldiers Playing "Foot-Ball". Winslow Homer. Published by Harper's Weekly, New York. Wood engraving, Jul. 15, 1865. A football scrimmage turned melee. Image size 9 1/4 x 13 3/4" (234 x 349 mm). LINK

Holiday in Camp – Soldiers Playing “Foot-Ball”. Winslow Homer. Published by Harper’s Weekly, New York. Wood engraving, Jul. 15, 1865. A football scrimmage turned melee. Image size 9 1/4 x 13 3/4″ (234 x 349 mm). LINK

Missing the Tackle. Rosamond Tudor. Sepia etching, c. 1930. Image size 6 3/4 x 10 3/4" (173 x 273 mm).

Missing the Tackle. Rosamond Tudor. Sepia etching, c. 1930. Image size 6 3/4 x 10 3/4″ (173 x 273 mm).

A Day With the Yale Team. Frederic Sackrider Remington. Harper's Weekly, New York. Photoengraving, hand colored, 1893. Seven vignettes of football players. Image size 13 7/8 x 8 1/2" (353 x 218 mm). LINK.

A Day With the Yale Team. Frederick Sackrider Remington. Harper’s Weekly, New York. Photoengraving, hand colored, 1893. Seven vignettes of football players. Image size 13 7/8 x 8 1/2″ (353 x 218 mm).

The Princeton Yale Foot-Ball Match at the Berkeley Oval. T. de Thulstrup. Published by Harper's Weekly, New York. Wood engraving, Dec. 7, 1889. Image size 13 1/2 x 19 1/2" (345 x 496 mm.). LINK.

The Princeton Yale Foot-Ball Match at the Berkeley Oval. T. de Thulstrup. Published by Harper’s Weekly, New York. Wood engraving, Dec. 7, 1889. Image size 13 1/2 x 19 1/2″ (345 x 496 mm.). LINK.

Short Gain. Benton Murdoch Spruance. Drybrush drawing, c.1935. Signed in pencil, center right "Spruance." Image size 13 x 18 1/4" (331 x 464 mm). LINK.

Short Gain. Benton Murdoch Spruance. Drybrush drawing, c.1935. Signed in pencil, center right “Spruance.” Image size 13 x 18 1/4″ (331 x 464 mm). LINK.

Foot-Ball - "Collared". [football]. Published in Harper's Weekly, New York. Wood engraving with modern handcoloring, Dec. 1, 1883. Good condition and color. LINK.

Foot-Ball – “Collared”. Published in Harper’s Weekly, New York. Wood engraving with modern handcoloring, Dec. 1, 1883. Good condition and color. LINK.

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18th Century Maps, 18th Century Prints, 19th Century Prints, Abstract, Aquatint, Citiscapes, Collagraph, Contemporary, Copperplate, Drawing, Early 20th Century, Engraving, Etching, Landscapes, Linocut, Lithograph, Maps, Mezzotint, Multi-stone Lithograph, Prints, Science, Wood

Print Round-Up: The Moon

In honor of this morning’s “Blood Moon” total lunar eclipse (read about it here), we are sharing a print round-up of our favorite moon related prints. These lunar prints are stunning scientific and artistic representations, from multiple centuries. We hope you enjoy!

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio…. By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio… By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

This is an interesting and decorative map of the surface of the Moon. Doppelmayr was an astronomer as well as a professor of mathematics. He often worked with the Homann heirs.  Together they produced a number of atlases, including Atlas Coelestis and Selenographica.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4" (365 x 210mm). LINK.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4″ (365 x 210mm). LINK.

This print is from Chambers’ and Rees’ Cyclopaedia or, An Universal Dictionary of Arts and Sciences. The composite shows diagrams relating to eclipses.

Phases Of The Moon.  By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8" (248 x 217mm). LINK.

Phases Of The Moon. By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8″ (248 x 217mm). LINK.

This chart appeared in Smith’s Illustrated Astronomy, Designed for the Use of the Public or Common Schools in the United States.  This wonderful work was produced by Asa Smith, the Principal of Public School No. 12, in New York City. He notes that the purpose was “to present all distinguishing principles in physical Astronomy with as few words as possible; but with such ocular demonstrations, by way of diagrams and maps, as shall make the subject easily understood.”

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4" plus title and margins. LINK.

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4″ plus title and margins. LINK.

This print is from Das Illustrierte Mississippithal (The Valley of the Mississippi Illustrated).  In the late 1840’s, Henry Lewis traveled the length of the Mississippi and, with the assistance of other artists, assembled a collection of sketches detailing scenery of the entire river.  Based on these drawings, Lewis proceeded to paint a panorama on a continuous length of canvas which would be moved and viewed through a frame.  In the fall of 1848, the completed piece (hundreds and hundreds of feet in length),  began its tour of American cities.  A European tour followed and while in Dusseldorf, in 1853, Lewis teamed up with the publisher Heinrich Arnz to redo the sketches as lithographs, illustrating a book on Mississippi scenery.  While production was sporadic and relatively unprofitable, the resulting seventy-eight lithographs provide a early and remarkably complete record of the Mississippi River.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16" (204 x 151 mm). Link.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16″ (204 x 151 mm). LINK.

This etching by 20th century printmaker John Taylor Arms (1887-1953) is one of many in his oeuvre to include moons or moonlight. The print is an edition of 100 in color and 75 in black and white. This particular impression is an artist proof, and was printed by  Frederick Reynolds. Reynolds was born in London, immigrating to New York in 1911 to establish himself as an artist in the United States. He was an etcher and mezzotint engraver, and operated his own printing studio in New York. In addition to his own works, Reynolds printed for other artists, including Arms.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16". Signed in pencil lower left, dated and inscribed with the artists cipher lower right "38". LINK.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16″. Signed in pencil lower left, dated and inscribed with the artists cipher lower right “38”. LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8". LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8″. LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16". LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16″. LINK.

Moonrise Tide. (green ink). By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4". LINK.

Moonrise Tide. By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4″. LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16". LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16″. LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5". LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5″. LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997.  Edition 40. Image size 6 13/16 x 11" (176 x 279 mm). LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997. Edition 40. Image size 6 13/16 x 11″ (176 x 279 mm). LINK.

Above are a selection of moon-related prints and drawings from our 20th century and contemporary printmakers. While varying in style and technique, all depict the moon and it’s luminescence casting light and shadows throughout the foreground, making for some very interesting compositions.

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American Views, Early 20th Century, Engraving, Genre, Landscapes, Linocut, Lithograph, Prints, Wood, Woodcut

Barbara Latham: Prints of the Southwest

Saturday Morning - Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16" (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Saturday Morning – Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16″ (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Born in Walpole, Massachusetts in 1896, artist and illustrator Barbara Latham grew up immersed in the world of science and art. She attended the Norwich Connecticut Art School, where her painting and illustration talent was nurtured and honed. In 1915, she continued her studies at the Pratt Institute in Brooklyn, graduating in 1919. As a young adult, Latham lived and worked in New York City, creating illustrations primarily for Norcross Publishing Company on Madison Avenue, but also had her work featured in Forum Magazine and the New York Times Sunday magazine. She spent one summer at the Art Students League summer program in Woodstock, New York, working with noted modernist painter Andrew Dasburg.

In 1925, Latham traveled to Taos, New Mexico, to gather material for illustrations and greeting cards. Immediately taken with the landscape, Latham created striking paintings and prints of New Mexico’s rose-colored deserts, open sky, jagged mesas, and rugged lands. She also explored and depicted the everyday life of the Taos Pueblo Indians, creating impressive genre scenes of the homes, markets, and bustling hubs of Taos.

It was also in Taos where she was introduced by friend Victor Higgins to a fellow New England painter and printmaker, Howard Cook. Latham and Cook married in 1927. The couple had a beautiful and nurturing relationship, and benefited from each other’s artistic exploration and success. Shortly after marrying, the newlywed couple began extensive traveling- visiting Mexico, Europe, the American South, and parts of the Northeast.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16"(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16″(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4" (111 x 171 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4″ (111 x 171 mm). Very good condition. Signed in pencil. LINK.

The Old Sink. By Barabara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16" (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed "S Bush imp." LINK.

The Old Sink. By Barbara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16″ (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed “S Bush imp.” LINK.

In 1933, on Cook’s first Guggenheim fellowship, the couple relocated to the silver mining town on Taxco, Mexico. It was here that Latham collected imagery which later turned into scenes for her first children book, Pedro, Nina & Perrito (published by Harper & Brother, in 1939). Latham explored the beautiful landscape and spent time with the people of Taxco, documenting all of her impressions in journals and illustrations.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8" (248 x 307 mm). Very good condition. This image was illustrated in a children's book published in 1939 by Harper & Brother. LINK.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8″ (248 x 307 mm). Very good condition. This image was illustrated in a children’s book published in 1939 by Harper & Brother. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8" (143 x 194mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8″ (143 x 194 mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Latham drew recognition for her printmaking and illustrations, working in the mediums of lithographs, etchings, and starkly contrasted black-and-white woodcuts and wood engravings. In 1934, Latham had a one-person show at the Weyhe Gallery in New York, a gallery known for its active support of printmakers.

In the Park.  By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16" (203 x 253 mm). Very good condition. Signed in pencil. Inscribed "To Ann" and "Imp." LINK.

In the Park. By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16″ (203 x 253 mm). Very good condition. Signed in pencil. Inscribed “To Ann” and “Imp.” LINK.

After more traveling, Latham and Cook moved again in 1938 to Talpa Ridge, New Mexico, which became their permanent home for the next 35 years. Here Latham experimented with semi-abstract egg tempera paintings, and oil and watercolor paintings of natural history subjects. She also ventured into textile and clothing design, creating intricate patterns and focusing on hand-dying all her own fabrics.

Latham is celebrated today for her depictions of the American southwest, both in paintings and print form. Her illustrations are in over 17 children’s books and many of her early greeting cards are collected to this day.

We invite our OPG Blog readers and collectors to visit both our New York store and our Georgetown store to see these prints in person.

Prints at The Old Print Gallery, Georgetown: Geraniums, The Old Sink

Prints at The Old Print Shop, New York CityIn The Park, Nina Pedro and Perrito, Our Mexican Kitchen, Saturday Morning- Taos, Taos Pueble, Taos Village with Pueblo Indians

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16" (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16″ (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

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