New Acquisitions

Armin C. Hansen, N.A. - "Monterey Cypress" - Etching - 6 1/8" x 8 1/4" - Plate: Signed & dated, lower left: Armin Hansen '28. Titled in pencil lower left; signed in pencil lower right. <br> <br>Plate #102, pages 110, 111 in 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne' by Anthony R. White/1986. <br> <br>Variant commissioned by Del Monte Properties Company; Hansen's prints carry the following commercial overprinted advertisement below the plate line: "Beautiful Homesites Are Available At Pebble Beach. For Information Inquire At Hotel Office. Del Monte Properties Co." <br> <br>Exhibited: <br>"Coastal Views: California and the Pacific Northwest" <br>organized by the Whatcom Museum, Bellingham, Washington <br>June 24 - October 29, 2023. <br>Illustrated in the catalogue published in conjunction with the exhibition, page 10. <br> <br>Exhibited: <br>Armin Hansen: The Artful Voyage <br> <br>Pasadena Museum of California Art/Jan.-May, 2015 <br>Crocker Art Museum/June – October, 2015 <br>Monterey Museum of Art/Oct. 2015 – Mar. 2016. <br> <br>Illustrated: Armin Hansen: The Artful Voyage by Scott A. Shields, PhD., page 48. Published on the occasion of the exhibition. <br> <br> <br>AD IN CARMEL MAGAZINE-SPRING/2024: <br> <br>ARMIN C. HANSEN (1886-1957) <br>Beautiful homesites are available at Pebble Beach. <br>For information inquire at Hotel Office. Del Monte Properties Co. <br> <br> Pebble Beach visionary, S.F.B. Morse commissioned his artist friend, Armin Hansen, to print a variant of his original etching of the same year. This rare variant includes a commercial overprinted advertisement below the plate line to encourage the sale of residential lots in Pebble Beach. Armin Hansen was one of the most notable artists to have lived on the Monterey Peninsula, exhibiting nationally and receiving fame for his prints and paintings.
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Armin C. Hansen, N.A.
"Monterey Cypress"
1928

Pedro J. de Lemos - "Storm Trees" - Wood engraving - 8 3/4" x 7 1/2" - Plate: Signed with Pedro Lemos cartouche lower right <br>Titled in pencil lower left <br>Signed in pencil lower right
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Pedro J. de Lemos
"Storm Trees"

Pedro J. de Lemos - "The Sunset Mountain" - Color lithograph - 9 1/2" x 10" - Titled lower left <br>Signed lower right <br> <br>View of Lake Merritt - near Berkeley in the foothills above Oakland which is on the east bay. <br> <br>Lake Merritt is a lake located in a large tidal lagoon basin in the center of Oakland, California, just east of Downtown. It is named after Samuel Merritt, Oakland's mayor in 1867–1869, who had the lagoon dammed turning the tidal lagoon into a salt water lake. It is surrounded by parkland and city neighborhoods. <br> <br>Edwards/page 61 <br>The extraordinary compositions and brash colors in Lemos' "The Green Cove" (pl.30a), "Sleepy Heads" (pl.31a), and "The Sunset Mountain" (pl.32b) anticipate the psychedelic world of 1960s Pop Art. How many of his contemporaries were this inventive?
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Pedro J. de Lemos
"The Sunset Mountain"

Jeannette Maxfield Lewis - "Vegetable Gardens" - Drypoint - 5 1/4" x 7" - Plate: Signed lower left <br>Signed in pencil lower left <br>Titled in pencil lower right <br>Edition: 16 <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #101, page 45 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.
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Jeannette Maxfield Lewis
"Vegetable Gardens"
1939

Mary DeNeale Morgan - "Cypress on the Coast" - Oil on board - 7" x 10 3/4" - Estate signed lower left <br>Direcetly from the estate of M. DeNeale Morgan <br> <br>Once asked if she didn't tire of painting trees, Morgan answered that "she would stick by her cypress trees till they sink into the sea, or - what is just as tragic and final - be hopelessly built round." Only four days before her death, she was at Point Lobos painting a cypress…a landscape painter till the end! <br> <br>Morgan died in Carmel, California leaving a great legacy to California art as a teacher, organizer, and painter. Working in pastel, tempera, oil, and watercolor, she painted sand dunes, wharf scenes, adobes, landscapes, and the wind-swept cypresses of the Monterey Peninsula.
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Mary DeNeale Morgan
"Cypress on the Coast"
c. 1930

S.F.B. Morse - "View towards Carmel Bay from Pebble Beach" - Watercolor - 17" x 22 1/2" sight size - Signed and dated lower right
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S.F.B. Morse
"View towards Carmel Bay from Pebble Beach"
1944

John O'Shea - "Seascape and Rocks, Point Lobos" - Oil on canvas - 30" x 36" - Signed lower left <br> <br> <br>"Seascape and Rocks - Point Lobos" is a forcefully executed canvas representing the best of his early work off the coast near Carmel. O'Shea employs loaded brushwork, deep saturated colors, and bold rhythmic patterns to create a work reminiscent of the powerful canvases of his peers - George Bellows, Armin Hansen and William Ritschel. <br> <br>This painting is a rare early work of Point Lobos, of exhibition size, and the finest O’Shea we have owned and one of the best he has ever painted of the California coast.
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John O'Shea
"Seascape and Rocks, Point Lobos"
c. 1921

Karl Schmidt - "California Coastal Hillside with Oaks" - Oil on panel - 24" x 48" - Signed and dated 1930 lower left <br>Artist signed on reverse <br>Artist's hand-carved arts & crafts frame with hand-signed plaque <br> <br>Karl Schmidt was a leading proponent of the Arts and Crafts movement. Traveling to England from his native city in Worcester, MA he likely came under the influence of the arts and crafts painter Frank Brangwyn; and later the teachings of Arthur Wesley Dow. <br> <br>In 1915 he moved to Santa Barbara joining a group of painters in the mission-style studio of California artist, Alexander Harmer. His paintings were displayed at the Panama Pacific International Exposition in San Francisco (PPIE), 1915. He further exhibited at the Los Angeles County Museum of Art (LACMA), the Art Institute of Chicago, National Academy of Design, and the Cincinnati Museum of Art, among many other venues.
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Karl Schmidt
"California Coastal Hillside with Oaks"
1930