Woodblocks, Etchings, etc.

Armin C. Hansen, N.A. - "Anchorage" - Etching - 5" x 6 3/8" - Plate: Signed and dated, lower left: Armin Hansen '21 <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Illustrated: 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986. Plate 37, page 49.
Armin C. Hansen, N.A.
"Anchorage"
1921

Armin C. Hansen, N.A. - "Coast Port" - Drypoint - 2 1/2" x 3 1/2" - Plate: Initialed and dated, lower left: A H 27. <br>Titled lower left in pencil; signed lower right in pencil. <br> <br>Plate 99, page 108 in 'The Graphic Art of Armin C. Hansen, A Catalogue Raisonne' by Anthony R. White/1986
Armin C. Hansen, N.A.
"Coast Port"
1927

Armin C. Hansen, N.A. - "Fishermen on the Dock" - Drybrush painting on paper - 8" x 10 1/2" - Signed with initials lower right <br> <br> <br>From The Estate Collection of early California art historian, Betty Hoag McGlynn, the late daughter-in-law of early California artist, Thomas A. McGlynn.
Armin C. Hansen, N.A.
"Fishermen on the Dock"

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

Hansen creates a quiet early morning on the ocean with one fishing boat and one rowboat along side. In the distant background are the docks and piers.
Armin C. Hansen, N.A.
"Morning"
1926

Armin C. Hansen, N.A. - "Over The Roofs" - Etching - 4 5/8" x 7 1/8" - Plate: Signed and dated lower right. <br>Titled lower left in pencil; signed lower right in pencil. <br> <br>Plate #31, pg. 43 in 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne' by Anthony R. White/1986.
Armin C. Hansen, N.A.
"Over The Roofs"
1918

Armin C. Hansen, N.A. - "Sailing Boats (Calm Sea) - Etching - 4 7/8" x 6" - Plate: No data in plate. <br>Signed in pencil lower right. <br> <br>Plate 27, page 39 in 'The Graphic Art of Armin C. Hansen, <br>A Catalogue Raisonne' by Anthony R. White/1986
Armin C. Hansen, N.A.
"Sailing Boats (Calm Sea)
circa 1916

Armin C. Hansen, N.A. - "Sardine Barge" - Etching - 12 7/8" x 14 5/8" - Plate: Signed & dated, lower left: Armin Hansen '22. <br>Titled in pencil lower left; signed in pencil lower right. <br> <br>In: 'The Graphic Art of Armin C. Hansen-A Catalogue Raisonne by Anthony R. White/1986; plate #43, pages 54, 55. <br> <br>THIS IS HANSEN'S SIGNATURE ETCHING - AND ICONIC COMPOSITION. <br>HIS GOLD MEDAL WINNER IN 1923 AT THE LA INTERNATIONAL EXHIBITION BY THE LOS ANGELES CHAMBER OF COMMERCE FOR BEST PRINT IN EXHIBIT.
Armin C. Hansen, N.A.
"Sardine Barge"
1922

In this small etching Hansen depicts two or three fishermen on the pier which occupies the left side of the etching. The remainder shows the water and the nets hoping for a large catch for the day.
Armin C. Hansen, N.A.
"The Little Pier"
1924

Pedro J. de Lemos - "Alley - New Orleans" - Pastel - 10" x 7.5" - Signed lower left <br>Titled lower right; dated on reverse
Pedro J. de Lemos
"Alley - New Orleans"
1913

Pedro J. de Lemos - "Chinatown Street" - Color lithograph - 4" x 4.5" - Titled lower left; signed lower right <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: April 30 - September 28, 2015 <br> <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 32a, page 104.
Pedro J. de Lemos
"Chinatown Street"

Pedro J. de Lemos - "Dolores Mission" - Mezzotint and aquatint - 3.75" x 4.5" - Titled lower left; signed lower right <br> <br>Exhibited: <br>Monterey Museum of Art/Lasting Impressions - Pedro de Lemos: 2015; <br> <br>Stanford Art Gallery/Lasting Impressions of Pedro de Lemos - The Centennial Exhibition: October 3 - December 3, 2017 <br> <br>Illustrated: Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 (Edwards); plate 20a, page 73. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504. <br> <br> <br> <br>Titled lower left; signed lower right <br>Exhibited: MMA/2015; Stanford Art Gallery/2017; Illustrated: Pedro de Lemos/Lasting Impressions; plate 20a, page 73. Reproduced in School Arts Magazine/May 1919, p.504. <br> <br>Reproduced in School Arts Magazine/May 1919, p.504.
Pedro J. de Lemos
"Dolores Mission"

Pedro J. de Lemos - "Memorial Court" - Screenprint of etching - 6 1/4" x 4 3/4" - Printed title and signature
Pedro J. de Lemos
"Memorial Court"

Pedro J. de Lemos - "Monforte de Lemos, Spain" - Pastel - 12.5" x 10" - Titled, signed and dated lower left
Pedro J. de Lemos
"Monforte de Lemos, Spain"
1934

Pedro J. de Lemos - "Santa Barbara" - Graphite and charcoal drawing - 12.5" x 7.75" - Titled lower left <br>Signed and dated lower right <br> <br>Exhibited: <br>Monterey Museum of Art/2015: <br>'Lasting Impressions - Pedro de Lemos' <br> <br>Stanford Art Gallery/2017:' Lasting Impressions of Pedro de Lemos' - The Centennial Exhibition <br> <br>Illustrated in book: <br>Pedro de Lemos/Lasting Impressions: Works on Paper, 1910-1945 <br>Plate 5b, page 13.
Pedro J. de Lemos
"Santa Barbara"
1922

Pedro J. de Lemos - "Spanish-Morrocan Church in Evening" - Mixed media - 8.75" x 6.5" - Signed and dated lower left <br>Titled on original backing
Pedro J. de Lemos
"Spanish-Morrocan Church in Evening"
1940

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"

The sculpted cypress tree clinging to the side of a cliff. The bright white of the trunk and braking waves is overlaid with the key block's outlines, which are in turn softened by the subsequent application of the russet background; large patches of reddi
Pedro J. de Lemos
"The Cliff Dweller"

Pedro J. de Lemos - "The Golden Hour" - Color block print - 10.25" x 5.25"
Pedro J. de Lemos
"The Golden Hour"

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"

The artist chooses pastel in shades of purple and bluish green as the medium to portray the Walls of Lugo - an old Roman capitol - he dipicts the guardsman's house which also had a stairway down to city streets.
Pedro J. de Lemos
"Walls of Lugo"

Pedro J. de Lemos - "Wind Swept Oaks" - Drypoint - 4" x 6 3/4" - Titled lower left <br>Signed lower right
Pedro J. de Lemos
"Wind Swept Oaks"

This is an etching by the artist depicting fishing boats at anchor where there is hardly any movement of the water but for the soft ripples caused by the slight motion of the fishing boats. The largest of the fishing boats dominates the center of the etch
Jeannette Maxfield Lewis
"At Anchor"
1945

A drypoint done in 1937. Throughout the composition is the undulating, shadowed water of the Monterey Bay near Cannery Row. On the right side the shacks are lined up. A softened edge is added to the hardened daily work-life of the weather-beaten fishermen
Jeannette Maxfield Lewis
"Bay Shore"
1937

Jeannette Maxfield Lewis - "Callas" - Etching - 10 1/4" x 9 7/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 21
Jeannette Maxfield Lewis
"Callas"
1959

This drypoint was executed from drawings inspired by her trip to Mexico in 1936. Here she has captured a typical day in the village. Activity includes a woman walking hope carrying a bucket in her left hand; a man relaxing against the stucco wall of a hou
Jeannette Maxfield Lewis
"Calleja en Mexico"
1936

Jeannette Maxfield Lewis - "Chitchat" - Etching - 2 7/8" x 1 3/8" - Plate: Signed and dated lower right <br>Titled and signed in pencil <br>Edition: 14
Jeannette Maxfield Lewis
"Chitchat"
1963

Jeannette Maxfield Lewis - "Encounter" - Etching - 11 7/8" x 8 7/8" - Plate: Signed and dated lower right <br>Pencil signed and titled. Edition: 36 <br> <br> <br>Exhibition Catalogue: Jeannette Maxfield Lewis: A Centennial Celebration, Monterey Peninsula Museum of Art/1994. #196 in Catalogue Raisonne: 'The Complete Etchings' by Anthony R. White. Illustrated on page 17 of exhibition catalogue. <br> <br>Illustrated: 'Emerging from the Shadows'/A Survey of Women Artists Working in California, 1860-1960 Volume III, page 658; by Maurine St. Gaudens/2015.
Jeannette Maxfield Lewis
"Encounter"
1960

Jeannette Maxfield Lewis - "Field's Landing" - Etching - 7 5/8" x 9 3/4" - Signed and dated lower right in plate <br>Titled and signed in pencil <br>Edition: 16
Jeannette Maxfield Lewis
"Field's Landing"
1947

Jeannette Maxfield Lewis - "Fishermen's Taxies" - Drypoint - 8 7/8" x 11 7/8" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Provenance: <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #99 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.
Jeannette Maxfield Lewis
"Fishermen's Taxies"
1938

Jeannette Maxfield Lewis - "Fishermen's Wharf" - Drypoint - 4 7/8" x 6 7/8" - Signed and dated lower left. <br>Pencil titled and signed <br>Edition: 15 <br> <br> <br>In: Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #19 in Catalogue Raisonne: The Complete Etchings by Anthony R. White. <br> <br>Jeannette 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. <br> <br>Her first exhibition of etchings took place at the Society of American Etchers 1932 Annual; she submitted four prints, and "Fisherman's Wharf" was accepted.
Jeannette Maxfield Lewis
"Fishermen's Wharf"
1932

Jeannette Maxfield Lewis - "Low Tide" - Drypoint - 5" x 7" - Plate: Signed and dated lower right <br>Titled lower left <br>Signed lower right <br>Edition: 31
Jeannette Maxfield Lewis
"Low Tide"
1933

Jeannette Maxfield Lewis - "Mexican Village" - Drypoint - 6" x 6 7/8"
Jeannette Maxfield Lewis
"Mexican Village"
1942

Jeannette Maxfield Lewis - "Old Women" - Etching - 10 3/4" x 13 3/4" - Plate: Signed and dated middle right <br>Titled and signed in pencil <br>Edition: 37 <br> <br>'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #164 (Catalogue Raisonne by White).
Jeannette Maxfield Lewis
"Old Women"
1954

Jeannette Maxfield Lewis - "Perugia" - Etching - 6 7/8" x 9 1/2" - Plate: Signed lower right <br>Titled and signed in pencil <br> <br>Exhibition Catalogue: 'Jeannette Maxfield Lewis: A Centennial Celebration' MPMA/1994. #167 in Catalogue Raisonne: The Complete Etchings by Anthony R. White <br> <br>PROVENANCE: <br>As relayed by previous owner: "It has been in my family for 70 years. My mother owned this etching and passed it on to me. My parents were neighbors and good friends of the Lewis' in Fresno, California." <br> <br>Perugia is the charming capital city of Umbria, the green and hilly region in the heart of Italy. This medieval city is still an under-the-radar Italian destination for many international travelers. Yet, Perugia has captivated countless visitors throughout the centuries.
Jeannette Maxfield Lewis
"Perugia"
1955

Jeannette Maxfield Lewis - "Storm A-Head" - Drypoint - 5" x 6 7/8" - Plate: Signed and dated lower left <br>Titled and signed in pencil <br>Edition: 25
Jeannette Maxfield Lewis
"Storm A-Head"
1933

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

Jeannette Maxfield Lewis - "Village Scene in Old Mexico" - Conte Crayon on paper - 18 3/4" x 24 1/2" sight size - Signed lower right <br> <br>Provenance: <br>As relayed by the previous owner... <br>"Jeannette Maxfield Lewis was my father's aunt. She lived a few blocks from him in Fresno. This conte crayon was a wedding gift to my parents and has remained in the possession of the family until sold to Trotter Galleries". <br> <br>A 1947-1948 trip to Mexico inspired prolific drawings, etchings, and paintings which were later shown in exhibitions both in Mexico and in California.
Jeannette Maxfield Lewis
"Village Scene in Old Mexico"
c. 1950

Joseph Jacinto Mora - "Carmel-By-The-Sea" - Color lithograph - 18 3/8" x 24 1/4" - Copyright: 1942 Jo Mora Publications - <br>Monterey, California lower right image <br>Published: 1942 Jo Mora Publications <br>Signature: Made by Jo Mora - lower right image <br> <br>NOTE: Jo made this map for the people of Carmel with a general history and current (1942) events, activities, and local people. Jo was also quite a dog lover and he included some of the town's dogs, gifted with personality, including his own dog Mike Mora. An unknown quantity of these maps had an advertising line added to the lower right margin in blue ink "50c with mailing tube - Jo Mora Publications, Monterey, Ca." was added for stores and places of business that had them on display. <br> <br>PROVENANCE: <br>Ex-Collection of Mrs. Betty Hoag McGlynn, California art historian and late daughter-in-law of early California artist, Thomas A. McGlynn (1878-1966). <br> <br>EXHIBITED/PUBLICATION: <br>Jo Mora - Artist and Writer/Monterey Museum of Art, 1998 <br>Jo Mora: Spokesman for the Old West - Abstracted from an essay by Betty Hoag McGlynn.
Joseph Jacinto Mora
"Carmel-By-The-Sea"
1942

Joseph Jacinto Mora - "Carmel-By-The-Sea" Past and Present - Color lithograph - 18 3/8" x 24 1/4" - Copyright: 1942 Jo Mora Publications - <br>Monterey, California lower right image <br>Published: 1942 Jo Mora Publications <br>Signature: Made by Jo Mora lower right image <br>Exhibited: <br>CARMEL MISSION MUSEUM <br>Retrospective exhibition: <br>The Carmel Mission in Art: <br>-1786-2008- <br>June 1, to November 30, 2008 <br>In the Mora Chapel Gallery <br> <br>NOTE: Jo made this map for the people of Carmel with a general history and current (1942) events, activities, and local people. Jo was also quite a dog lover and he included some of the town's dogs, gifted with personality, including his own dog Mike Mora. An unknown quantity of these maps had an advertising line added to the lower right margin in blue ink "50c with mailing tube - Jo Mora Publications, Monterey, Ca." was added for stores and places of business that had them on display.
Joseph Jacinto Mora
"Carmel-By-The-Sea" Past and Present
1942

Joseph Jacinto Mora - "Evolution of a Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - Copyright 1933 Jo Mora Lower right image <br>Published 1941; 1947; 1952; Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora Lower center image <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of a Cowboy"
c. 1941

Joseph Jacinto Mora - "Evolution of the Cowboy" - Color lithograph - 30 1/4" x 22 3/4" - -with horses and chuck wagon- <br>Copyright: 1933 Jo Mora - Lower right image <br>Published: 1941 - Jo Mora Publications, Monterey, California Lower left margin <br>Signature: Jo Mora - Lower center image <br> <br>NOTE: For this second version, the map of Salinas on either side of the "Sweet Heart of the Rodeo" was changed to black silhouettes of cowboys on horses following a chuck wagon. This was on a bright yellow background.
Joseph Jacinto Mora
"Evolution of the Cowboy"
1941

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

Joseph Jacinto Mora - "Grand Canyon" - Color lithograph - 14" x 18" - Copyright: 1931 Jo Mora lower left image <br>Published: 1959 <br>Jo Mora Publications, Monterey, California, lower left margin <br>Signature: Jo Mora lower left image <br> <br>NOTE: This map was published 28 years after the first black and white version (1931) and reduced in size with all the details the same except for the items listed below. This version was colored in by Ferdinand Burgdorff one of many close friends Jo had in Carmel. <br>1. Scenic Airways became Grand Canyon Airlines, and the reference was changed on the airplane. The reference in the bottom left of the image was also struck out, but is still readable. <br>2. The Harvey Garage in the lower left image was changed to the "Fred Harvey" Garage.
Joseph Jacinto Mora
"Grand Canyon"
1959

Joseph Jacinto Mora - "Indians of North America" - - Color lithograph - 30" x 22 3/4" - Copyright: 1936 - The Jo Mora Maps, Carmel, California lower center image <br>Published: 1942 - Jo Mora Publications, Monterey, California lower right margin <br>Published: 1950 - Jo Mora Publications, Monterey, California lower right <br> <br>Directly from the estate of early California artist, <br>Thomas A. McGlynn (1878-1966) <br> <br>NOTE: The original cartes were dedicated to Lorenzo Hubbell (Nakai Tao) Jo's pal and trader from the Navajo Reservation. An interesting point about the Indian items, drawn on each side of the cartes were items owned by Jo which he collected while living in Mokiland from 1904 through 1906. The cartes were printed by Arthur Fey in San Francisco on uncoated paper. <br> <br>In 1950 Arthur Fey again printed this carte but this time decided to print it on semi-glossy paper which was popular then and helped keep these wonderful colors longer. This printing was chosen for the 1998 Monterey Museum of Art catalogue for the tribute show to Jo Mora.
Joseph Jacinto Mora
"Indians of North America" -
1950

Joseph Jacinto Mora - "The Seventeen Mile Drive" - Color lithograph - 30 1/2" x 22 1/2" - Copyright: 1927 The Del Monte Properties Co. lower right margin <br>Published: 1927 The Del Monte Properties Co. <br>Signature: "This Map by Jo Mora" lower left image <br> <br>This is the second map that Jo drew, and the first printing. This second map was also commissioned by the Del Monte Properties Company to advertise the 17-Mile area and its tourist attractions. The copyright was done after the first printing and like the Monterey Peninsula map, the copyright did not show up until the second printing in 1928-29.
Joseph Jacinto Mora
"The Seventeen Mile Drive"
1927

Joseph Jacinto Mora - "Yosemite" - Color lithograph - 21 3/4" x 16 7/8" - Copyright: 1996 Yosemite Association lower right margin <br>Published: 1996 Yosemite Association <br> <br>This map was available from the Yosemite Association and they came with a short history of the map. A short quote from the paper follows. "This reprint of Jo Mora's cartoon-style map of Yosemite Valley is made from the original artwork in the museum. The poster illustrates many historical features of the valley which no longer exist but were left as originally done in 1931. The art from which this poster is rendered is quite faded but through the use of the computer technology the color approaches its earlier appearance."
Joseph Jacinto Mora
"Yosemite"
1996

Paul Whitman - "Fisherman's Wharf" - Etching - 6" x 4.75" - Plate: Signed and dated lower left <br>Titled in pencil lower left <br>Signed in pencil lower right <br> <br>Directly from the estate of Paul Whitman <br> <br>Whitman would by intention prefer to challenge his considerable dawing skills by producing intricate scenes of piers and wharves.
Paul Whitman
"Fisherman's Wharf"
1927

Paul Whitman - "Fuller's Blind" - Stone lithograph - 11" x 15" - Titled lower left; signed lower right <br>Edition; 70/100 <br>Directly from the estate of Paul Whitman <br>Personal Collection of Paula and Terry Trotter
Paul Whitman
"Fuller's Blind"

Paul Whitman - "Picking Up" - Stone lithograph - 11" x 14" - Titled lower left; signed lower right <br>Edition: 25/100 bottom left <br>Directly from the estate of Paul Whitman
Paul Whitman
"Picking Up"