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A Century of Maine Prints: 1880s - 1980s

September 9 - December 10, 2006

 

This September, the Portland Museum of Art will present A Century of Maine Prints: 1880s to 1980s, an exhibition on the history of Maine printmaking from the founding of the Museum in the 1880s until the opening of the Museum's Charles Shipman Payson building in the mid-1980s. This exhibition is in conjunction with the statewide Maine Print Project: Celebrating 200 Years of Printmaking in Maine, the largest collaborative arts project in Maine's history. Drawn primarily from the Museum's permanent collection, the exhibition will feature 50 prints that display a rich variety of graphic techniques and demonstrate the impact of national printmaking trends on artists closely associated with the state of Maine. A Century of Maine Prints: 1880s to 1980s will be on view September 9, 2006, through December 10, 2006.

The exhibition begins with fine examples of the etching revival, popular at the turn of the century, with works by Winslow Homer, Frank Benson, Charles Woodbury, and Gertrude Fiske. In contrast, later etchers, such as John Marin and Karl Schrag, explored a more modernist approach to the medium, displaying a greater degree of abstraction and freedom of line.

Among the well-known woodblock printers represented in A Century of Maine Prints are William Zorach, Carroll Thayer Berry, and Leo Meissner, who captured the allure of the Maine coast in their graphic art. At mid-century, a growing interest in lithography paralleled the popularity of wood engravings and woodblock prints. Innovative lithographs by George Bellows,

Marguerite Zorach, Rockwell Kent, and Stow Wengenroth concentrated on figural and still life subjects, as well as other realist, regionalist subjects.

In the post-World War II era, with a greater degree of abstraction dominating the American art scene, printmaking efforts broke free of traditional subjects and techniques, especially in lithography. Prints by one of Portland's leading printmakers, John Muench; Monhegan-based artists John Hultberg and Reuben Tam; and by the Ogunquit artist John Laurent introduced exciting new paths to the art of printmaking. The exhibition concludes with examples of the work of more recent artists who explore color print techniques. Prints by diverse artists such as Dahlov Ipcar, Robert Indiana, Will Barnet, and Fairfield Porter, produced in different graphic media, reflect their individual concerns as painters, as well as printmakers. More than any other print medium, the art of the monotype graphically expresses those painterly concerns, most notably in a unique print by William Manning included in this exhibition.

The Maine Print Project: Celebrating 200 Years of Printmaking in Maine is an innovative series of exhibitions and education programs featuring all aspects of Maine printmaking. Organized by 25 art museums and nonprofit arts institutions from Ogunquit to Presque Isle, Celebrating 200 Years of Printmaking in Maine will take place from August 2006 through March 2007.

A Century of Maine Prints: 1880s to 1980s and The Maine Print Project: Celebrating 200 Years of Printmaking in Maine are complemented by an illustrated book by David Becker, The Imprint of Place: Maine Printmaking, 1800­2005. This comprehensive book on Maine printmaking is published by Down East Books and is available in September in the Museum Store.


Introductory Wall Text for the Exhibition

 

A Century of Maine Prints: 1880s to the 1980s
 
This survey of Maine printmaking begins with the founding of the Portland Society of Art in the 1880s and ends with the opening of the Charles Shipman Payson building at this Museum in the 1980s. It includes fine examples of prints from the Etching Revival, popular at the turn of the century, most notably with works by Winslow Homer, Charles Frederick Kimball, and Gertrude Fiske. By the early 20th century painter-printmakers, such as John Marin, Edward Hopper, and Karl Schrag explored a more modernist approach to the medium, displaying a greater degree of abstraction and freedom of line.
 
Among the well-known woodblock printers represented here are William Zorach, Carroll Thayer Berry, and Leo Meissner, who captured the regionalist appeal of the Maine coast in their graphic art. Beginning in the early 20th century, a growing interest in lithography paralleled the popularity of woodblock prints. Lithographs by George Bellows, Marguerite Zorach, Rockwell Kent, and Stow Wengenroth concentrated on figural and still life subjects as well as the Maine landscape.
 
In the post-World II era, with a greater degree of abstraction dominating the American art scene, printmaking broke free of traditional subjects and techniques, especially in lithography. Prints by Monhegan-based artists John Hultberg and Reuben Tam, by the Ogunquit artist John Laurent, and by one of Portland's leading printmakers, John Muench introduced exciting new paths to the art of printmaking. New approaches to color also emerged from traditional print techniques after 1950. Color prints by a diverse group of Maine artists such as Dahlov Ipcar, Robert Indiana, Will Barnet, and Fairfield Porter reflect their individual concerns as painters, as well as printmakers. Most recently monotype has emerged as a dominant print form among Maine artists; William Manning's unique print was among the first to explore this painterly approach to printmaking.
 
The Portland Museum of Art is grateful to Thomaston Place Auction Galleries for support of this exhibition. This show is part of The Maine Print Project: Celebrating 200 Years of Printmaking in Maine, a state-wide series of exhibitions and education programs involving 25 institutions from Ogunquit to Presque Isle. Major support for The Maine Print Project is provided by the Maine Arts Commission, an independent state agency, in partnership with the National Endowment for the Arts American Masterpieces Program; and by a grant from the Maine Community Foundation. Funding is also provided by the Davis Family Foundation, with additional support from June Fitzpatrick Gallery.

 


Exhibition Labels

Peggy Bacon (United States, 1895 -1987)
Maine Problems, 1941
drypoint on wove paper
Portland Museum of Art, Maine
Gift of Harold Shaw, 1984.370
 
One of the leading figures in the Ogunquit art colony, Bacon specialized in printmaking. This etching depicts a typical Maine town meeting and gave her ample opportunity to explore aspects of caricature and social commentary, the hallmarks of her style.
 
 
Will Barnet (United States, b. 1911)
Dawn, 1975
lithograph on Arches Cover paper
Portland Museum of Art, Maine
Museum purchase with support from the Friends of the Collection, 1996.52.1
 
A summer visitor to Maine since 1971, Will Barnet has produced a series of paintings and related prints known as his "women and the sea" series. Shown as solitary figures contemplating the ocean, Barnet's women evoke a romantic past with their long dresses and traditional architectural surroundings. The artist's wife, Elena, served as the model for many of the figures and the original setting for the series was Chamberlain, Maine. Later the artist also included architectural elements near his daughter's home in Kittery Point.
 
 
Leonard Baskin (United States, 1922 ­ 2000)
View at Deer Isle, circa 1965
Etching on paper
Portland Museum of Art, Maine
Gift of Kenneth N. Shure and Liv M. Rockefeller, 2005.22.1
 
One of America's leading printmakers, Baskin is best known for his monumental woodcuts of heroic figures. In this rare landscape etching, however, he captures the ephemeral nature of the Maine coast, where fog and water often obscure or dematerialize the land. A summer resident on Little Deer Isle for many years, Baskin deftly conveys the fundamental elements of his surroundings with a minimal amount of graphic description.
 
 
George Bellows (United States, 1882 ­ 1925)
Matinicus, 1916
lithograph on wove paper
Portland Museum of Art, Maine
Museum purchase with support from the Friends of the Collection, 1989.41
 
George Bellows (United States, 1882-1925)
Prayer Meeting (2nd stone), 1916
lithograph on paper
Collection of John M. Day
 
Bellows first came to Monhegan Island in 1911 to paint alongside his teacher, Robert Henri. This print was made back in New York after another visit to the island in 1916. It is thought to be his first editioned print, and it is the second version of image that he produced. Both lithographs depict the interior of the Monhegan church with satiric portraits of the island residents and their rather histrionic preacher. The size of the image and his careful reworking of it for publication suggest his growing ambition as a printmaker.
 
Frank Weston Benson (United States, 1862-1961)
The Landing, 1915
etching on paper
Bowdoin College Museum of Art, Brunswick, Maine,
Gift of Miss Susan Dwight Bliss1963.286
 
The Boston impressionist artist Frank Benson was hired by the Portland Society of Art as its first instructor of painting and drawing in 1887. At the turn of the century, Benson also worked at the art colony in Ogunquit and began summering on North Haven Island. In 1906 he bought an old farmstead on the island that became the source of inspiration for many of his paintings and prints. This etching was made on North Haven in 1915, an especially productive summer for printmaking. Benson had a printing press in his studio there and by the end of the year had offers for seven one-man shows of his prints around the country. His etchings of hunting and fishing scenes were especially popular, and he produced over 350 prints during the course of a long career.
 
 
Carroll Thayer Berry (United States, 1886 ­ 1978)
Winslow Homer's Studio, Prouts Neck, Maine, circa 1937
wood engraving on paper
Portland Museum of Art, Maine
Gift of Earle G. Shettleworth, Jr., 2000.21.1
 
The 1930s saw a revival of wood engraving across the nation. More traditional artists such as Dorothy Hay Jensen and Leo Meissner often concentrated on well-known Maine architecture or landscape elements. Modernists, like Rockwell Kent, did more experimental figural work. Carroll Berry's approach to wood engraving falls between the two camps. He chose landmark Maine scenes but often carved the hard, end-grain woodblock with bravura jabs of his cutting tool. These varied marks are particularly evident here in the white areas that define the waves and sky. Berry's use of wood engraving for this scene is especially apt, as Homer himself began his career as a wood engraver for illustrated magazines in the mid-19th century. Born in New Gloucester, Berry was as an illustrator in New York and Chicago, before returning to Maine in the 1930s and devoting himself to making prints about coastal life.
 
 
Marvin Bileck (United States, 1920 ­ 2005)
Along the Shore: Cranberry Island, circa 1950
etching on paper
Portland Museum of Art, Maine
Museum purchase with support from Board Designated Funds for Acquisition, 2005.31
 
An artist who taught in Philadelphia and New York, Bileck spent his summers on Great Cranberry Island, the subject of most of his landscape etchings. His ability to draw fine lines with the etching needle is evident in this image, that despite its small scale, manages to convey the expansiveness and atmosphere of the Maine coast.
 
 
George Bunker (United States, 1923 ­ 1991)
Garden Theme, 1962
lithograph on wove paper
Portland Museum of Art, Maine
Gift of The George R. Bunker Living Trust, 1995.17.2
 
An abstract expressionist painter much influenced by the art of Cézanne, Bunker turned to printmaking early in his career while studying in Paris. He taught for many years at the Philadelphia College of Art and was on the board of the Print Club of Philadelphia, one of the most active print clubs in the country. Beginning in the mid-1950s, Bunker spent summers on Cranberry Island in Maine. The year that this lithograph was completed, he bought property at Preble Cove and began his series of abstract garden prints.
 
 
Thomas Cornell (United States, b. 1937)
Snapping Turtle I, 1968
Etching and aquatint on paper
Portland Museum of Art, Maine
Anonymous gift, 1986.290
 
Thomas Cornell has taught at Bowdoin College since 1962, where he has produced a wide range of etchings and lithographs including portraits, classical subjects, and animal studies. A student of Leonard Baskin, Cornell adopted his teacher's intensity and skill as a printmaker for this image done from life. As in Baskin's 1963 woodcut series Las Encantadas, studies of tortoises against a dark background, Cornell dramatizes his image with the use of a black surround. In this print, he used the aquatint process in which a rosin powder is applied to the etching plate, heated to affix the particles, and then placed in an acid bath. The acid eats away the area between the particles, creating a soft, velvety tonal area when the plate is inked and printed.
 
 
Werner Drewes (United States, b. Germany, 1899 ­ 1985)
Camden Harbor, 1954
color woodcut on paper
Bowdoin College Museum of Art, Brunswick, Maine,
Gift of Charles Pendexter in honor of David P. Becker's ongoing commitment to Bowdoin College, to the Museum of Art, and to its collections of works on paper, 2004.013.002
 
Drewes, who had studied at the Bauhaus with European modernists Wassily Kandinsky, Paul Klee, and Walter Gropius, emigrated to the United States in 1930. It was Gropius who encouraged Drewes to take up printmaking. Drewes taught graphics and painting in New York and later at Washington University in St. Louis, where his circle of friends included Philip Guston and Max Beckmann. Drewes initially came to Maine in the 1940s. His abstracted view of Camden Harbor owes much to German Expressionist woodcuts in its use of vivid color, vigorous carving of the block, and sharp, angular forms.
 
 
John Heagan Eames (United States, 1900 ­ 2002)
Street Scene, Maine Village, 1934
etching on paper
Portland Museum of Art, Maine
Gift of Earle G. Shettleworth, Jr., 2000.21.3
 
Born in Boothbay, Eames graduated from Harvard and worked as a architect until the Depression forced him to change professions. He then went to the Royal College of Art in London to study printmaking, and the rest of his career was devoted to the graphic arts. During the 1940s and 1950s, he had an active exhibition career and won numerous awards for his etchings. This scene of his hometown characteristically features detailed renderings of architectural details, telephone wires, and a lone figure evoking the regionalist spirit of the period.
 
 
Linwood Easton (United States, 1892 ­ 1939)
Whitehead, Monhegan, 1939
drypoint on Whatman laid paper
Portland Museum of Art, Maine
Gift of Roger and Katherine Woodman, 1994.23.2
 
Easton was a member of an informal group of Portland printmakers whose work was exhibited at the Portland Museum of Art in 1936. Along with Dorothy Hay Jensen, Francis Libby, and Alice Harmon Shaw, Easton produced recognizable Maine scenes such as this one. An optometrist by profession, he was also a member of artist groups such as the the Society of American Etchers and the Salmagundi Club in New York. In 1941, the Museum honored him with a memorial exhibition of his prints.
 
 
Kerr Eby (United States, 1889­1946)
Night, High Island (Maine), 1928
Etching on laid paper
Portland Museum of Art, Maine
Museum purchase with support from the Friends of the Collection, 1998.31
 
The son of Canadian missionaries, Eby was born in Japan. He returned to Canada as a child and later studied art at Pratt Institute in Brooklyn, New York, where he produced his first prints. In 1910, he took classes at the Art Students League with George Bellows, and later, in 1915, became close friends with Childe Hassam, to whom he provided advice on making etchings. The two artists worked together at Cos Cob on the Connecticut shore for many summers in the teens and 1920s. In search of landscape subjects, Eby also traveled extensively to Europe and the northeastern United States, including Maine. His etching of High Island, located off the coast of Knox County, recalls elements of Japanese prints in its thin, vertical format and the aerial perspective of the boat. He also enhanced the atmospheric effects by leaving a thin film of ink in the dark areas of the image.
 
Gertrude Fiske (United States, 1878­1961)
Untitled (Self-Portrait),undated
etching on wove paper
Portland Museum of Art, Maine
Gift of William Greenbaum, 1995.51.2
 
A founding member of the Ogunquit Art Association, Fiske excelled at the art of etching. This image, probably a self-portrait, was influenced by Whistler's graphics, which were a major impetus behind the Etching Revival in both England and the United States at the turn of the century. The fluidity of her etched line also recalls the work of her teachers, Frank Benson and Charles Woodbury, also represented in this exhibition.
 
 
Ralph Frizzell (United States, 1909­1942)
Fishing Boats, undated
linocut on laid tissue
Portland Museum of Art, Maine
Gift of Isabel F. Thacher in memory of A. Taylor MacElwee, 1977.31
 
Raised in Portland, Frizzell graduated from the School of Fine Arts of the Portland Society of Art in 1931. Like many artists during the Depression, he looked to printmaking, book illustration, and mural painting as a means of earning a living. His strength as a graphic artist is evident in this print where he incised curving lines in the soft surface of a linoleum-faced block to suggest the movement of water.
 
 
Sears Gallagher (United States, 1869 ­ 1955)
The West Wind, undated
drypoint on wove paper
Portland Museum of Art, Maine
Gift of Mrs. Robinson Verrill, 1973.183
 
Born in Boston, Sears Gallagher studied art during the 1880s with the Monhegan painter Samuel P. R. Triscott and shared a studio with Charles Woodbury, a painter and printmaker who worked in Ogunquit. Gallagher then traveled to Paris for further studies and by 1911 he began etching in earnest. His prize-winning prints were widely collected during his lifetime and among his most popular subjects were scenes of children playing on the beaches of New England and his views of Monhegan.
 
 
Ernest Haskell (United States, 1876 ­ 1925)
Crystal Morning, 1924
etching on wove paper
Portland Museum of Art
Gift of Roger and Katherine Woodman, 1989.25.3
 
Haskell was one of Maine's most prolific printmakers, producing both lithographs and etchings. Like Sears Gallagher, he studied in Paris at the Académie Julian in the 1890s, but he returned to New York, where he began his career as a printmaker. In 1903, he bought a home in Maine on the Phippsburg peninsula and for the remainder of his life spent summers there. One of Haskell's later prints, this etching abandons his prior practice of using plate tone and instead relies on small, delicate lines to define the features of the Maine landscape. It particularly evokes Haskell's admiration of Rembrant's masterful etchings of the flat Dutch coastal plain.
 
Ernest Haskell (United States, 1876 ­ 1925)
John Marin's Oak, undated
Etching
Bowdoin College Museum of Art, Brunswick, Maine,
Gift of Mrs. Ernest Haskell, Sr., 1947.010.006
 
A friend of both Childe Hassam and John Marin, Haskell shared their love of nature, especially trees. Between 1914 and 1918, Marin summered near Small Point, Maine, close to Haskell's home, and the two men often worked at the same site. This print is Haskell's visual tribute to Marin; and after his death, Marin provided a written tribute to Haskell at his memorial exhibition.
 
 
Childe Hassam (United States, 1859-1935)
American Elms, Belfast, Maine, 1931
etching and drypoint on wove paper
Portland Museum of Art
Gift of Mrs. Frederick Childe Hassam, 1940.8
 
Although he is best known for his impressionist paintings, Hassam's artistic career began in Boston where he worked as a wood engraver. Later in his career, he also made numerous etchings and lithographs of New York City, colonial churches in Connecticut, and scenes near his summer home in Easthampton on Long Island. On occasion, he also traveled to Maine to paint Celia Thaxter's garden on Appledore Island and the islands around Bar Harbor. The old elms of Belfast and Yarmouth also drew his attention-their monumentality emphasized in the complex cross-hatching of lines.
 
John Heliker (United States, 1909 ­ 2000)
Self-Portrait, 1963
lithograph on laid paper
Portland Museum of Art
Gift of Karen Wilkin, 1986.304
 
The light, quick, nervous line of John Heliker's drawing style is aptly transferred to prints through the medium of lithography. The direct marks of soft pencil and charcoal on paper are rendered here in lithographic crayon drawing on stone. Known primarily for his vibrantly colored paintings of Maine landscapes and interiors, Heliker ventured into printmaking briefly in the 1960s as a means to experiment with line. A summer resident of Cranberry Isle since the late 1950s, Heliker also lived in New York, where he taught at Columbia University.
 
Winslow Homer (United States, 1836 ­ 1910)
Saved (The Lifeline), 1884
etching on western vellum
Bowdoin College Museum of Art, Brunswick, Maine,
Gift of the Homer Family, 1964.069.205
 
Homer began his artistic career as a printmaker. In the 1850s he apprenticed in Boston with the commerical lithographer J. H. Bufford; he then went on to produced illustrations for wood engravings for Harper's Weekly in New York, as well as other publications. Long after he had an established reputation as a painter, Homer took up etching about the time he settled in Prouts Neck, Maine. The medium was growing in popularity due to the Etching Revival that swept both Europe and America in the 1880s. Although self-taught as an etcher, Homer sought out the best printer and publisher in New York to assist in the making and distribution of these prints based on his paintings. The painting Saved (also known as the Life Line) sold the first day it was exhibited and within two months Homer had produced this etching which he hoped would reach a large audience. The print was the first of eight large plates that Homer etched in Maine and then sent to New York to be printed.
 
 
Edward Hopper (United States, 1882 ­ 1967)
The Lighthouse (Maine Coast), 1923
etching on paper
Whitney Museum of American Art
Josephine N. Hopper Bequest, 1970.1032
 
Lighthouses were a favorite subject of Hopper's. He depicted them in watercolors, oils, and in this etching, probably a view of the Cape Neddick "Nubble" Light.
 
Edward Hopper (United States, 1882 ­ 1967)
The Monhegan Boat, 1918
etching on paper
Whitney Museum of American Art
Josephine N. Hopper Bequest, 1970.1043
 
As a break from his early career as a commercial illustrator, Edward Hopper took up printmaking in 1915. He was a self-taught etcher, but his prints were well received and helped establish his reputation as a fine artist in New York. Hopper first came to Maine in 1914, and one of his earliest etchings is this scene on the Monhegan mail boat that captures the camaraderie of the passengers as well as the power of sea. Hopper summered on Monhegan from 1916 to 1919, returned to Maine in 1926 for a trip to Rockland and Eastport, and stayed at Two Lights in Cape Elizabeth in 1927.
 
 
John Hultberg (United States, 1922 ­ 2005)
Porch Serenity (Storm from the Porch II or Dreamer and Dreams), 1963
lithograph on Rives BFK paper
Portland Museum of Art
Gift of Mr. and Mrs. David Kellogg Anderson and family, 1996.36.18
 
An abstract painter and printmaker, Hultberg rose to prominence in the 1950s. He studied art in San Francisco where his teachers and friends included Richard Diebenkorn, Mark Rothko, and Clyfford Still. After a year in Paris in 1954, he settled in New York, and in the early 1960s he began working on Monhegan Island in the summers. In 1963, Hultberg received a fellowship to work at the prestigious Tamarind Lithography Workshop, then located in Los Angeles. This print is the result of his Tamarind experience. It is one of 20 lithographs he made there and reflects the experimental nature of that workshop, where artists and printmakers collaborate on the production of prints. The image is suggestive of the view from his Monhegan porch.
 
 
Robert Indiana (United States, b.1928)
Decade: Autoportrait 1969, 1982
silkscreen on BFK Rives paper
Portland Museum of Art
Gift of the Bruce Brown Collection of Prints, 2000.22.7
 
In the 1970s, Robert Indiana produced a number of self-portaits (or autoportraits) in his characteristic Pop Art style. The series consisted of 30 paintings and related silkscreen prints whose central numbers refer to the decade between 1960 and 1969 when the artist rose to prominence. This print, with its opposing references to Skid Row and Penobscot, highlights the two poles of his existence between New York and Maine. In 1978, Indiana moved to Vinalhaven Island in Penobscot Bay and established a new home and studio in the Odd Fellows' Star of Hope building, represented here by the three linked rings. The predominant yellow and black colors represent danger, as does the number 9, which to Indiana signifies the end of a decade and death. The use of silkscreen and the poster-like composition further suggest the visual elements of a warning sign.
 
 
 
Dahlov Ipcar (United States, b.1917)
Unicorn Wood, 1969
color woodcut on Japanese rice paper
Portland Museum of Art
Gift of Dahlov Ipcar in memory of her brother, Tessim Zorach
1995.37.2
 
The love of patterning and whimsical animal and plant forms in this print can also found in Dahlov Ipcar's paintings and fabric sculptures. A self-taught printmaker, Ipcar absorbed the graphic techniques used by her parents, Marguerite and William Zorach, whose works are also on view in this exhibition. Her earliest prints were black­and­ white lithographs, done in the 1940s. She returned to the medium in the 1980s and 1990s, with assistance from the printmaker Frances Hodsdon. This colorful woodcut, however, evokes the energy and invention of her father's early prints.
 
 
Dorothy Hay Jensen (United States, 1910 ­ 1999)
Million Dollar Bridge, 1933
linocut on paper
Collection of Neil and Peggy Jensen
 
As director of the Federal Art Project for the state of Maine during the Depression, Dorothy Hay Jensen supervised the activities of numerous artists and helped printmakers to publish their works, most notably in the WPA-sponsored Portland City Guide of 1940. She is best known for her linocuts of local scenes such as this one of the old bridge connecting Portland and South Portland. The lone figure at the lower right aptly conveys the emotional and economic pressures of the period. Jensen especially admired Rockwell Kent's wood engraving style, as evidenced by the black background and strong white highlights carved into the surface of the printblock.
 
 
Alex Katz (United States, b.1927)
Good Afternoon, 1974
lithograph and silkscreen on paper
Portland Museum of Art
Gift of Brooke Alexander, 1984.410
 
Alex Katz has worked in a variety of print media over the years-drypoint, linocut, and woodcut, as well as lithography and silkscreen. Describing the latter techniques used in this print, Katz emphasized that the combination of two media gave him a sense of flat color he wanted to achieve: "Most of the surface is lithoed, but the flat colors, which are difficult to print, were done in silkscreen. Lithography gives you a little more control over the tones and less control with flat color." That emphasis on flatness is also a critical aspect of his paintings. Since 1954, when Katz bought a farm in Lincolnville, Maine has provided him with both solace and subject matter for his art.
 
 
Rockwell Kent (United States, 1882 ­ 1971)
Boatman, 1929
lithograph on wove paper
Portland Museum of Art
Museum purchase with support from Roger and Katherine Woodman, 1980.132
 
When Rockwell Kent first came to Monhegan Island in 1905, he worked as a fisherman and carpenter, as well as an artist. Marine subjects such as this one became a staple of his graphic art. Throughout his career, Kent produced powerful images in both lithography and wood engraving that depict the rigors of life at sea and his love of wooden boats.
 
 
Charles Frederick Kimball (United States, 1831 ­ 1903)
Coal Sheds at Topsham, 1889
etching on laid paper
Portland Museum of Art
Museum collection, P54
 
One of Portland's leading artists of the late 19th century, Kimball was a skilled printmaker as well as painter. His prints reflect the aesthetic concerns of the Etching Revival movement-the first fine art print movement in this country. Often closely related to paintings of the same scene, Kimball's etchings explore the fine detail of line capable with an etching needle. He often left broad areas of ink on the metal printing plate so that gradations of gray tones would transfer to the paper when it was run through the press. His use of plate tone, especially visible here in the area around the smokestacks in the background, further enhance the feeling of atmosphere in the image.
 
 
Walt Kuhn (United States, 1877 ­ 1949)
Hulda, 1929
lithograph on wove paper
Portland Museum of Art
Gift of Mrs. Alexander R. Fowler in memory of Mrs. Benjamin D. Holt, 1977.34
 
From 1920 until his death, the New York artist Walt Kuhn spent his summers in Ogunquit. His early training as an illustrator provided a good background for his later explorations of more modernist themes in his lithographs and etchings. Among his artist friends in Ogunquit were Robert Laurent, Yasuo Kuniyoshi, and William Zorach, also active as painters and printmakers. This lithograph is much indebted to the modernism of Matisse, who produced several prints of female nudes in this medium. The fluid graphic style of the lithograph is echoed in his drawings and watercolor studies of the nude.
 
John Laurent (United States, 1921 ­ 2005)
Sea Still Life, 1965
drypoint and aquatint on wove paper
Portland Museum of Art
Museum purchase, 1970.69
 
The son of sculptor Robert Laurent, one of the founders of the Ogunquit art colony, John Laurent was an accomplished painter and sculptor in his own right. His mentor, Walt Kuhn, may have encouraged him to work in prints as well. Laurent specialized in landscapes and seascapes, veering between realism and abstraction in his work. This print, with its dark, abstracted forms based in nature, recalls similar imagery and graphic techniques explored in the works of Louise Nevelson.
 
 
Alan Magee (United States, b.1947)
Ano Nuevo Stone, 1983
lithograph on Arches paper
Portland Museum of Art
Museum purchase, 1983.118
 
Best known for his startlingly illusionistic paintings of beach stones, Alan Magee has approached prints of the same subject with a similar attention to tromp l'oeil effects.
 
 
William Manning (United States, b.1936)
Palmyra 17, 1970
monotype and mixed media
Portland Museum of Art
Museum purchase with matching grants from the National Endowment
for the Arts and Casco Bank and Trust Company, 1979.23
 
As David Becker has observed in his essay on Maine printmaking that accompanies this exhibition: "The practice of montype is one of easiest, quickest, and least technical forms of printmaking, and it has a particularly large presence in the studios around Maine." To make an monotype, an image is drawn or painted onto an unworked plate and pressed onto paper to create a unique print. In this case, the artist has also applied elements of drawing on top of the printed image so that the finished work resembles a painting or drawing. This inventive approach to printmaking is typical of William Manning's process of abstraction. Born in Lewiston, Manning studied at the Portland School of Art, where he took courses from John Muench and later taught graphic art himself. For many years, Manning has worked on Monhegan Island, the inspiration for much of his abstract work.
 
 
John Marin (United States, 1870 ­ 1953)
Sailboat, 1932
etching on Whatman paper
Estate of the Artist; courtesy, Meredith Ward Fine Art
 
Throughout his career, John Marin was an avid etcher. His graphic skills were recognized by Carl Zigrosser, one of the leading American print curators of the last century, who collected his work and wrote the catalogue raisonné of the etchings. According to Zigrosser, Marin began making etchings on his first trip to Paris in 1905 and was much influenced by masters of the Etching Revival such as James McNeill Whistler and Charles Meyron, who etched scenes of London, Venice, and Paris. Indeed, Marin's interest in architectural subjects dominates his prints, first in Europe and then New York City. In 1914, he was introduced to Maine by a fellow printmaker, Ernest Haskell, whose works are also on view here. Late in his career, after having spent most of his summers on the coast of Maine, Marin introduced a small body of work that dealt with maritime themes, represented by the two prints in this exhibition.
 
John Marin (United States, 1870 ­ 1953)
Lobster Fisherman, 1948
etching on Whatman paper
Estate of the Artist; courtesy, Meredith Ward Fine Art
 
 
Leo Meissner (United States, 1895 ­ 1977)
Crevasse,1934
linocut on wove paper
Portland Museum of Art
Museum purchase, 1985.17
 
Leo Meissner summered on Monhegan for nearly a half-century. Although he painted and made pastels, printmaking was his forté. His mastery of woodcut, linoleum block (linocut), and wood engraving defined his career as an artist. In addition to Monhegan scenes, Meissner made landscapes in rural North Carolina, Florida, and Arizona, and numerous cityscapes of New York. Along with prints by Rockwell Kent, Stowe Wengenroth, and Carroll Thayer Berry, Meissner's work represents the pinnacle of Maine's regional art in the 1930s.
 
 
John Muench (United States, 1914 ­ 1993)
Milkweed, circa 1973
lithograph on paper
Portland Museum of Art
Frye Island Collection, anonymous gift, 1986.288
 
John Muench came to Maine in the 1930s to finish high school at Fryeburg Academy. After a stint in New York, where he took courses at the Art Students League and immersed himself in the collections and art programs at The Metropolitan Museum of Art, Muench returned to Maine and worked as a logger. He continued to paint, but was increasingly intrigued by a lithograph he was given as a wedding present. So he went back to New York seeking technical assistance from master printer George Miller. Miller, who pulled prints for Stow Wengenroth and John Taylor Arms, two other leading American printmakers, introduced Muench to the world of printmaking and print collecting. In 1958, he was offered the directorship of the School of Fine and Applied Art in Portland (also known as the Portland School of Art), where he became Maine's leading advocate for the art of lithography. In 1962, he was invited to participate in Los Angeles's Tamarind Lithography Workshop along with John Hultberg, and eventually he established a similar program in Portland, The Maine Printmaking Workshop. An exhibition devoted to his prints will be view at the University of New England Art Gallery from September 19 through November 19.
 
 
Carl Nelson (United States, b. Sweden, 1898 ­ 1988)
Drink Ye All of It, 1967
woodcut on Japanese laid paper
Portland Museum of Art
Gift of Jean L. Smith in honor of the artist, 1990.37.3
 
Nelson worked as a printer before going to art schools in Chicago and New York in the 1920s. During the Depression he worked for the Federal Art Project Program of the WPA, funded by the government, and exhibited his paintings widely. After the Second World War, he moved to Boston to teach and showed at the Boris Mirsky Gallery, along with Jack Levine and Leonard Baskin, whose impact is reflected in this print. He also began to spend his summers on Great Cranberry Island in Maine, where he retired in 1970. This woodcut, a self-portrait, suggests that the work of the German Expressionists had a great influence on his approach to graphics.
 
 
Louise Nevelson (United States, b. Russia, 1900 ­ 1988)
Landscape at Night (Trees), 1953-1955
soft- and hard-ground etching and drypoint on wove paper
Portland Museum of Art
Museum purchase with support from the Friends of the Collection,
1996.55.2
 
Nevelson grew up in Rockland, Maine, and moved to New York City in 1920. There she studied at the Art Student League and with the sculptor Chaim Gross. It was not until 1953 at Atelier 17, the influential print workshop founded by Stanley Hayter, that she began to experiment with modern graphic techniques. Characteristically, Nevelson used unconventional materials such as wire mesh and hand-manipulated inkings to achieve unusual effects. The Portland Museum of Art's impression of this print is heavily inked, while in others, the plate is wiped almost clean, revealing underlying details. The emphasis on black in the image relates to Nevelson's use of that color for her well-known wall reliefs, one of which is in the Museum's collection and on view upstairs.
 
 
Margaret Jordan Patterson (United States, b. Java, 1867 ­ 1950)
Boat at Wharf, 1938
color woodcut on paper
Bowdoin College Museum of Art, Brunswick, Maine,
Gift of Margaret Jordan Patterson, 1938.004.013
 
Color woodcuts were the favored print medium of the Arts and Crafts Movement. The sense of the handcarved object, so prevalent in the furniture design of the period, also pertains to these prints. Strongly influenced by the design and technique of Japanese prints and the color woodcuts of Ipswich, Massachusetts, artist Arthur Wesley Dow, Patterson relied on simple outlines and bold colors to define her imagery. Born in Java to Maine parents, Patterson spent her early years here, before settling in the Boston area where she taught art. After retiring, she spent her summers conducting art classes on Monhegan Island.
 
 
Waldo Peirce (United States, 1884 ­ 1970)
Untitled, 1932
lithograph on wove paper
Portland Museum of Art
Gift of the Zorach Family, Tessim Zorach, and Dahlov Zorach Ipcar,
1980.77
 
The son of a Bangor lumber baron, Peirce attended Harvard University where he contributed caricatures to the Harvard Lampoon. In 1909 he went to Paris to study at the Académie Julian. During the first World War he drove an ambulance in France and was sent to Spain by the U. S. Army's intelligence service. There he made extensive copies of works by the painter and printmaker Francisco Goya. He remained in Paris off and on during the 1920s and became part of the avant-garde art circle that included the writers Ernest Hemingway, James Joyce, and Gertrude Stein, and the photographer Berenice Abbott. Much of Peirce's art revolved around domestic scenes such as this one, a study of his young wife and twin sons. Like his friend George Bellows, who also worked in lithography, Peirce used the medium because of the freedom it afforded to make images that seem like crayon drawings. During the last decades of his life, Peirce lived in Bangor and had a studio in Searsport, Maine.
 
 
Fairfield Porter (United States, 1907 ­ 1975)
The Dog at the Door, 1971
Color lithograph on paper
Portland Museum of Art
Gift of Mr. and Mrs. Samuel Dorsky, 1973.41
 
Although best known as a painter, Fairfield Porter also produced prints throughout his career. His graphic work includes early linoleum block prints, off-set lithographs, a silkscreen, and 14 color lithographs-among them this view of the caretaker's house at his family's summer home on Great Spruce Head Island in Penobscot Bay. It was made as part of a multi-artist print portfolio sold to benefit the influential Skowhegan School of Painting and Sculpture. As the print curator Riva Castleman has noted: "If there is a theme to this portfolio it is ten artists pursuing, as they have done at Skowhegan, their own directionTime seems suspended in Fairfield Porter's The Dog at the Door. Gray pervades the serene setting, providing an aura of inertia that awaits the dog's barking or the opening of the screen door."
 
 
Karl Schrag (United States, b. Germany, 1912 ­ 1995)
Seabreeze and Foliage, 1971
etching and engraving on, wove paper
Portland Museum of Art
Museum purchase with support from the Friends of the Collection, 1998.151
 
Karl Schrag studied painting at several art academies in Europe before emigrating to New York City in 1938. He enrolled in classes at the Art Students League and began to study printmaking. In 1945 he joined the Atelier 17 print workshop, which included a cadre of European and American artists including Joan Miró, Marc Chagall, Jackson Pollock, and Louise Nevelson (see her print on view in this exhibition). That same year, he came to Maine in the summer and began a lifelong association with the state. Eventually he bought an old farm on Deer Isle and settled into a routine of teaching at the Cooper Union in New York and summering in Maine. This print, with its references to a pine-covered island and ocean breezes, aptly evokes the artist's love of the Maine coast. Schrag's prints have been widely collected by major American museums and he was given a one-man show of his graphic work at the National Collection of Fine Arts (now the Smithsonian American Art Museum) in 1972.
 
 
Reuben Tam (United States, 1916 ­ 1991)
Monhegan Shoreline, undated
tusche lithograph on wove paper
Portland Museum of Art
Gift of Mr. and Mrs. John E. Turansky, 1983.249
 
For over 30 years Reuben Tam painted abstracted landscapes and seascapes on Monhegan Island. Quiet and poetic in mood, they often merge elements of abstract expressionism with a Zen-like spirit of transcendence. Little is known about his printmaking endeavors, but this lithograph, with its calligraphic brushwork made with an ink solution called tusche, suggests that he approached printmaking as a form of drawing. Tam, born and educated in Hawaii, came to New York after a chance encounter with Georgia O'Keeffe in 1939. He taught at the Brooklyn Museum Art School and after 1946 spent his summers painting on Monhegan. He was first attracted to the island as an art student in Hawaii through reproductions of Rockwell Kent's early work.
 
 
Cadwallader Washburn (United States, 1866 ­ 1965)
Wind, from Norlands Series IV, 1906-10
drypoint on laid tissue
Portland Museum of Art
Museum purchase, 1978.45
 
One of the more experimental printers of the Etching Revival movement, Washburn produced a notable series of 60 landscape prints near his family home, Norlands, in Livermore Falls, Maine. Inspired by the masterful etchings of Rembrandt and Whistler, he frequently used drypoint-incising directly into the metal plate with an etching needle. The needle creates a thin groove flanked by small bits of metal called burr that, when printed, produced a soft velvety area. This is especially evident in the trees at the left of this impression. Although little known today, Washburn was recognized as one of the leading etchers of his time. His prints won a Gold Medal at the Panama Pacific Exposition in San Francisco in 1915, they were collected by the Library of Congress, and shown in London in 1928.
 
 
Neil Welliver (United States, 1929 ­ 2005)
Brook Trout, 1973
etching and aquatint on Arches Cover paper
Portland Museum of Art
Gift of Mr. and Mrs. Brooke Alexander, 1976.59
 
Neil Welliver's paintings and prints done near his home in Lincolnville have come to define the wilderness in modern Maine. As Ruth Fine of the National Gallery has noted, his prints "expand the tradition of the peintre-graveur in America." Like earlier painter-printers such as Charles Woodbury, George Bellows, and Karl Schrag, Welliver used a variety of graphic media to expand important aspects of his paintings. In this print, for example, the etched outlines are embellished by the use of aquatint to create areas of tone. Those variations in tone define the ripple effects of water and the glistening skin of the fish. Welliver further enhanced some impressions of this etching with hand-coloring, much in the fashion of 19-century prints.
 
 
Stow Wengenroth (United States, 1906 ­ 1978)
Dusk, 1943
lithograph on Rives wove paper
Portland Museum of Art
Gift of the estate of William E. Thon, 2001.53.44
 
In 1929, while studying in Eastport, Maine, at the Grand Central Summer School of Art, Stow Wengenroth was encouraged to take up lithography by his teacher George Pearse Ennis. Back in New York City, Wengenroth began working with master printer George Miller, who also assisted the Maine artists Marguerite Zorach and John Muench. Wengenroth returned to Maine on a regular basis during the following decades, staying in places along the coast from Ogunguit to Corea.
 
 
Charles Woodbury (United States, 1864 ­ 1940)
The Rising Tide, undated
etching on wove paper
Portland Museum of Art
Museum purchase, 1970.4
 
The founder of Ogunquit's first art colony in the late 1890s, the Boston impressionist painter Charles Woodbury was also an avid printmaker. Like many painters of his era, he started his career as an illustrator for popular magazines and continued his graphic interests by making etchings. The degree of invention in his graphic work is evident in the swirling, broken lines used to suggest the changing tide in the foreground of this image.
 
 
James Wyeth (United States, b.1946)
91, 75, 86, 93, 84, from The Farm portfolio, 1980
etching and drypoint on wove paper
Portland Museum of Art
Gift of David Morse, 1985.179.1
 
Although not widely recognized for his efforts as a printmaker, the painter Jamie Wyeth has produced a portfolio of etchings that merit attention. In this set of four prints, using colored etching and drypoint, Wyeth deftly conveys an array of textures, from the coat of a Holstein cow to the feathers of a chicken. Following a family tradition, Jamie Wyeth has lived in the mid-coast area of Maine for most of his life. And among the works for which he is best known are his compelling portraits of animals-cows, sheep, pigs, dogs, and, most recently, Maine's ubiquitous seagulls.
 
 
Marguerite Zorach (United States, 1887 ­ 1968)
Flowers, Scissors, and Thimble, 1929
lithograph on wove paper
Portland Museum of Art
Gift of the Zorach Family, Tessim Zorach, and Dahlov Zorach Ipcar, 1980.79
 
Like many artists, including Stow Wengenroth and John Muench, Marguerite Zorach worked with the New York printer George Miller in making her lithographs. She and her husband, William, bought a summer home on the Georgetown peninsula in 1923, but they both worked and showed their art in New York city in the winters. This print serves as a kind of emblematic self-portrait, with its references to needlework (she made tapestries and rugs) and floral subjects (often included in the dense backgrounds of her paintings).
 
William Zorach (United States (b. Lithuania), 1887 ­ 1966)
The Ship (Marine), 1916
linocut on paper
Portland Museum of Art
Museum purchase, 1987.27
 
Soon after William and Marguerite Zorach returned from art studies in Europe and had settled in New York City, they began making prints. Mostly quick, informal linocuts and woodcuts, they frequently involved maritime subjects. In 1916 they summered in Provincetown, Massachusetts, but in 1919 they came to Maine, renewing their acquaintance with John Marin in Stonington. Eventually they found a permanent summer home further south in Robinhood.


Checklist

Peggy Bacon (United States, 1895 -1987)
Maine Problems, 1941
drypoint on wove paper, 11 5/16" x 18 1/16"
Portland Museum of Art, Gift of Harold Shaw, 1984.370
 
Will Barnet (United States, b.1911)
Dawn, 1975
lithograph on Arches Cover paper, 26" x 19 1/2"
Portland Museum of Art, Museum purchase with support from the Friends of the Collection, 1996.52.1
 
Leonard Baskin (United States, 1922 ­ 2000)
View at Deer Isle, circa 1965
Etching on paper, 9" x 12"
Portland Museum of Art, Gift of Kenneth N. Shure and Liv M. Rockefeller,
2005.22.1
 
George Bellows (United States, 1882 ­ 1925)
Matinicus, 1916
lithograph on wove paper, 7" x 9 1/8"
Portland Museum of Art, Museum purchase with support from the Friends of the Collection, 1989.41
 
George Bellows (United States, 1882-1925)
Prayer Meeting (2nd stone), 1916
lithograph on paper, 18 1/4" x 22 1/4"
Lent by John Day
 
Frank Weston Benson (United States, 1862-1961)
The Landing, before 1929
etching on paper, 8 x 12"
Bowdoin College Museum of Art, 1963.286
 
Carroll Berry (United States, 1886 ­ 1978)
Winslow Homer's Studio, Prout's Neck, Maine, circa 1937
wood engraving on paper, 9 3/4 x 7 3/8"
Portland Museum of Art, Gift of Earle G. Shettleworth, Jr., 2000.21.1
 
Marvin Bileck (United States, 1920 ­ 2005)
Along the Shore: Cranberry Island, circa 1950
etching on paper, 2 1/8" x 8 7/8"
Portland Museum of Art, Museum purchase with support from Board Designated Funds for Acquisition, 2005.31
 
George Bunker (United States, 1923 ­ 1991)
Garden Theme, 1962
lithograph on wove paper, 16 3/8 x 17 1/2"
Portland Museum of Art, Gift of The George R. Bunker Living Trust, 1995.17.2
 
Thomas Cornell (United States, b. 1937)
Michelangelo, 1964
etching, aquatint, and drypoint on wove paper, 19 1/8 x 14 5/8"
Portland Museum of Art, Anonymous gift, 2002.7.3
 
Werner Drewes (United States, b. Germany, 1899 ­ 1985)
Camden Harbor, 1954
color woodcut on paper, 26 3/4 x 201/2"
Bowdoin College Museum of Art, 2004.013.002
 
John Heagan Eames (United States, 1900 ­ 2002)
Street Scene, Maine Village, 1934
etching on paper, 6 1/2 x 8"
Portland Museum of Art, Gift of Earle G. Shettleworth, Jr., 2000.21.3
 
Linwood Easton (United States, 1892 ­ 1939)
Whitehead, Monhegan, nd
drypoint on J. Whatman laid paper, 11 7/16" x 15 11/16"
Portland Museum of Art, Gift of Roger and Katherine Woodman, 1994.23.2
 
Kerr Eby (United States, 1890 ­ 1946)
Night, High Island (Maine), 1928
etching on laid paper, 12 5/8" x 6 13/16" (plate) 15 15/16" x 9 3/4" (paper)
Portland Museum of Art, Museum purchase with support from the Friends of the Collection, 1998.31
 
Gertrude Fiske (United States, 1878 ­ 1961)
Untitled (Self-Portrait), nd
etching on wove paper, 14 11/16" x 11 1/2"
Portland Museum of Art, Gift of William Greenbaum, 1995.51.2
 
Ralph Frizzell (United States, 1909 ­ 1942)
Fishing Boats, nd
woodcut on laid tissue, 9" x 11 15/16"
Portland Museum of Art, Gift of Isabel F. Thacher in memory of A. Taylor MacElwee,
1977.31
 
Sears Gallagher (United States, 1869 ­ 1955)
The West Wind, nd
drypoint on wove paper, 6 1/16" x 6 7/8"
Portland Museum of Art, Gift of Mrs. Robinson Verrill, 1973.183
 
Ernest Haskell (United States, 1876 ­ 1925)
Crystal Morning, 1924
etching on wove paper, 3 3/16" x 9 3/8"
Portland Museum of Art, Gift of Roger and Katherine Woodman, 1989.25.3
 
Ernest Haskell (United States, 1876 ­ 1925)
John Marin's Oak, nd
Etching, 4 13/16" x 6 15/16"
Bowdoin College Museum of Art, 1947.010.006
 
Childe Hassam (United States, 1859-1935)
American Elms, Belfast, Maine, 1931
etching and drypoint on wove paper, 15 9/16 x 11 7/16 "
Portland Museum of Art, Gift of Mrs. Frederick Childe Hassam, 1940.8
 
John Heliker (United States, 1909 ­ 2000)
Self-Portrait, 1963
lithograph on laid paper, 14 1/16" x 10"
Portland Museum of Art, Gift of Karen Wilkin, 1986.304
 
Winslow Homer (United States, 1836 ­ 1910)
Saved (The Lifeline), 1884
etching on western vellum, 20 1/2" x 30 7/8"
Bowdoin College Museum of Art, 1964.069.205
 
Edward Hopper (United States, 1882 ­ 1967)
The Lighthouse (Maine Coast), 1923
etching on paper, 10" x 12"
Whitney Museum of American Art, Bequest of Josephine N. Hopper, 1970.1032
 
Edward Hopper (United States, 1882 ­ 1967)
The Monhegan Boat, 1918
etching on paper, 7" x 9"
Whitney Museum of American Art, Bequest of Josephine N. Hopper, 1970.1043
 
John Hultberg (United States, 1922 ­ 2005)
Porch Serenity (a.k.a. Storm from the Porch II or Dreamer and Dreams), 1963
lithograph on Rives BFK paper, 23 1/16" x 32 1/16"
Portland Museum of Art, Gift of Mr. and Mrs. David Kellogg Anderson and family
1996.36.18
Robert Indiana (United States, b.1928)
Decade: Autoportrait 1969, V/H, 1982
silkscreen on BFK Rives paper, 24 x 24"
Portland Museum of Art, Gift of the Bruce Brown Collection of Prints, 2000.22.7
 
Dahlov Ipcar (United States, b.1917)
Unicorn Wood, 1969
color woodcut on Japanese rice paper, 16 7/8" x 22 1/2"
Portland Museum of Art, Gift of Dahlov Ipcar in memory of her brother, Tessim Zorach
1995.37.2
 
Dorothy Hay Jensen (United States, 1910 ­ 1999)
Million Dollar Bridge, 1933
linocut on paper, image: 61/2" x 6"
Collection of Neil Jensen
 
Alex Katz (United States, b.1927)
Good Afternoon, 1974
lithograph and silkscreen on paper, 27 1/2" x 36"
Portland Museum of Art, Gift of Brooke Alexander, 1984.410
 
Rockwell Kent (United States, 1882 ­ 1971)
Boatman, 1929
lithograph on wove paper, 15" x 11 1/2"
Portland Museum of Art, Museum purchase with support from Roger and Katherine Woodman, 1980.132
 
Charles Frederick Kimball (United States, 1831 ­ 1903)
Coal Sheds at Topsham, 1889
etching on laid paper, 6 5/8 x 9 3/4"
Portland Museum of Art, P54
 
Walt Kuhn (United States, 1877 ­ 1949)
Hulda, 1929
lithograph on wove paper, 18 5/8 x 12 1/16"
Portland Museum of Art, Gift of Mrs. Alexander R. Fowler in memory of Mrs. Benjamin D. Holt, 1977.34
 
John Laurent (United States, 1921 ­ 2005)
Sea Still Life, 1965
drypoint and aquatint on wove paper, 7 13/16 x 8 7/8"
Portland Museum of Art, Museum purchase, 1970.69
 
Alan Magee (United States, b.1947)
Ano Nuevo Stone, 1983
lithograph on Arches paper, 12 x 10 7/8"
Portland Museum of Art, Museum purchase, 1983.118
 
William Manning (United States, b.1936)
Palmyra 17, 1970
monotype and mixed media, 19" x 23"
Portland Museum of Art, Museum purchase with matching grants from the National Endowment for the Arts and Casco Bank and Trust Company, 1979.23
 
John Marin (United States, 1870 ­ 1953)
Sailboat, 1932
etching on Whatman paper, 7" x 91/4"
Collection of Norma B. Marin
 
John Marin (United States, 1870 ­ 1953)
The Lobsterman, 1948
etching on Whatman paper, 9" x 7 1/16"
Collection of Norma B. Marin
 
Leo Meissner (United States, 1895 ­ 1977)
Crevasse,1934
linocut on wove paper, 12 9/16 x 10 1/16"
Portland Museum of Art, Museum purchase, 1985.17
 
John Muench (United States, 1914 ­ 1993)
Milkweed, nd
lithograph on paper, 17 13/16 x 27 5/16
Portland Museum of Art, Frye Island Collection, Anonymous gift, 1986.288
 
Carl Nelson (United States, 1898 ­ 1988)
Drink Ye All of It, 1967
woodcut on Japanese laid paper, 10 x 8"
Portland Museum of Art, Gift of Jean L. Smith in honor of the artist, 1990.37.3
 
Louise Nevelson (United States, b. Russia, 1900 ­ 1988)
Landscape at Night (Trees), 1953-1955
soft- and hard-ground etching and drypoint on wove paper, 13 7/8" x 20 5/8"
Portland Museum of Art, Museum purchase with support from the Friends of the Collection, 1996.55.2
 
Margaret Jordan Patterson (United States, b. Java, 1867 ­ 1950)
Boat at Wharf, 1938
color woodcut on paper, 7" x 10"
Bowdoin College Museum of Art, 1938.004.013
 
Waldo Peirce (United States, 1884 ­ 1970)
Untitled, 1932
lithograph on wove paper, 10 13/16" x 15 15/16"
Portland Museum of Art, Gift of the Zorach Family, Tessim Zorach, and Dahlov Zorach Ipcar, 1980.77
 
Fairfield Porter (United States, 1907 ­ 1975)
Dog at the Door, 1971
lithograph on paper, 29 15/16" x 22 1/16"
Portland Museum of Art, Gift of Mr. and Mrs. Samuel Dorsky, 1973.41
 
Karl Schrag (United States, 1912 ­ 1995)
Seabreeze and Foliage, 1971
eching and engraving on, wove paper, 20" x 15 5/8"
Portland Museum of Art, Museum purchase with support from the Friends of the Collection, 1998.151
 
Reuben Tam (United States, 1916 ­ 1991)
Monhegan Shoreline, nd
tusche lithograph on wove paper, 22 1/2" x 28 7/16"
Portland Museum of Art, Gift of Mr. and Mrs. John E. Turansky, 1983.249
 
Cadwallader Washburn (United States, 1866 ­ 1965)
Wind Series: Norland Series IV, nd
drypoint on laid tissue, 5 7/8" x 8 7/8"
Portland Museum of Art, Museum purchase, 1978.45
 
Neil Welliver (United States, 1929 ­ 2005)
Trout II, 1974
etching and aquatint on Arches Cover paper, 15 1/4" x 17 7/8"
Portland Museum of Art, Gift of Mr. and Mrs. Brooke Alexander, 1976.59
 
Stow Wengenroth (United States, 1906 ­ 1978)
Dusk, 1943
lithograph on Rives wove paper, 10 3/4 x 15 7/8"
Portland Museum of Art, Gift of the estate of William E. Thon, 2001.53.44
 
Charles Woodbury (United States, 1864 ­ 1940)
The Rising Tide, nd
etching on wove paper, 8 3/4" x 10 3/4"
Portland Museum of Art, Museum purchase, 1970.4
 
James Wyeth (United States, b.1946)
91, 75, 86, 93, 84 Series: The Farm, 1980
etching and drypoint on wove paper, 9 13/16 x 9 13/16"
Portland Museum of Art, Gift of David Morse, 1985.179.1
 
Marguerite Zorach (United States, 1887 ­ 1968)
Flowers, Scissors, and Thimble, 1929
lithograph on wove paper, 16 11/16" x 12 1/8"
Portland Museum of Art, Gift of the Zorach Family, Tessim Zorach, and Dahlov Zorach Ipcar, 1980.79
 
William Zorach (United States (b. Lithuania), 1887 ­ 1966)
The Ship (Maine), 1916
linoleum cut on paper, 6 1/16"
Portland Museum of Art, Museum purchase, 1987.27

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