On Paper: The Gift of Ann and Don McPhail

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ON PAPERTHE GIFT OF ANN AND DON MCPHAIL

TELLING THE STORY OF PHILADELPHIA’S ART AND ARTISTS

Funding thank you text 90 words max.

On PaperThe Gift of Ann and Don McPhail

November 16, 2013 – March 2, 2014

CONTENTS

Foreword 2

Corridor Gallery 4

Antonelli II Gallery 57

Conversation with Ann and Don McPhail 88

Works in the Gift 109

TELLING THE STORY OF PHILADELPHIA’S ART AND ARTISTS

FOREWORD

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WILLIAM R. VALERIO, PHD

The Patricia Van Burgh Allison

Director and CEO

I became acquainted with Ann and Don

McPhail during my years working on the

staff at the Philadelphia Museum of Art.

Ann is a senior volunteer guide who also

participates in the Department of Indian

and Himalayan Art. Don is a trustee.

I was very happy to learn, on my arrival

at Woodmere three years ago, that Ann

and Don were involved at Woodmere as

well, both as lenders to exhibitions and

as engaged members of this Museum’s

community. This should have been no

surprise, as Ann and Don’s participation

in the arts of Philadelphia is as deep as

it is broad. Don served as president of

the Print Club (now the Print Center) for

almost a decade, from 1978 to 1985. This

exhibition celebrates the McPhails’ gift to

Woodmere of several paintings and many

works on paper—prints, photographs,

watercolors, and drawings—that the

couple collected during and after Don’s

tenure at the Print Club. Their collection

grew over time, in tandem with the

Print Club’s changing program, and

as such it records a transformation in

Philadelphia printmaking. This history is

described by Ann, Don, former Print Club

director Ofelia García, and artist Peter

Paone in the conversation transcribed

in this catalogue. We extend thanks

and appreciation to Ofelia and Peter

for participating in this illuminating

discussion.

On behalf of Woodmere’s staff,

volunteers, and trustees, I express

deepest gratitude to Ann and Don. We

thank them and promise to care for their

treasures faithfully in the thoughtful

spirit of their gift as we share them with

our public. Woodmere trustee Elie-Anne

Chevrier and Peter Paone helped us with

the logistics associated with a generous

gift on this scale, and I thank them

together with staff members Rachel

McCay, Sally Larson, Emma Hitchcock,

and Rick Ortwein for making this

exhibition as beautiful as it is fascinating.

Thank you all.

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The McPhail’s gift introduced Woodmere to a number of artists, including Paul M. Loughney (pictured above, Untitled (Male figure riding a bicycle) , undated, by Paul M. Loughney. Gift of Ann and Donald McPhail, 2013), whose work was previously absent from the collection.

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Corridor Gallery, Woodmere Art Museum

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On PaPerThe GifT Of ann and dOn McPhail

CORRIDOR GALLERYThis exhibition celebrates the remarkable gift of more than 120 works on paper from longtime Woodmere supporters Ann and Don McPhail. The highlights of the collection on view reveal a deep intellectual curiosity, a keen interest in printmaking processes, and an engagement with meaningful content.

Ann attended the Barnes Foundation schools of art and horticulture and has studied Asian art for over fifty years. She was the first woman president of the Geographical Society of Philadelphia. Ann has worked with the Pennsylvania Horticultural Society to design and maintain their gardens in Society Hill. She also worked with the Friends of the Japanese House and Garden to restore the Japanese Garden in Fairmount Park. A senior volunteer guide at the Philadelphia Museum of Art, Ann is also a supporter of that museum’s Department of Indian and HimalayanArt.

Don was employed by Atlantic Richfield Company (ARCO) for thirty-seven years. After retiring from ARCO, he served as general manager of the Pennsylvania Ballet and then vice president of finance and administration at the Pennsylvania Academy of Fine Arts. He was president of the Print Club (now the Print Center) for eight years and is an emeritus trustee of the Philadelphia Museum of Art.

Ann and Don’s gift to Woodmere is a beautiful act of generosity that demonstrates their shared passion for the cultural vitality of our city.

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Although Maitin is known for his high-

keyed color and biomorphic abstraction,

his work is often figurative. The subject

of Jacob wrestling with the angel

symbolizes man’s internal battle with the

contradictions of life. The image of the

intertwined figures floats on a field of

rich color.

Maitin studied printmaking at the Print

Club of Philadelphia (now the Print

Center) and attended monthly intaglio

workshops offered there by noted

English printmaker Stanley W. Hayter.

A painter, printmaker, sculptor, muralist,

graphic designer, political activist, and

beloved teacher, Maitin headed the Visual

Graphics Communication Laboratory

at the University of Pennsylvania’s

Annenberg School for Communication

from 1965 to 1972 and served on the

board of Woodmere Art Museum from

1995-2004. He received a number of

awards, including a 1968 Guggenheim

Foundation Fellowship. He created

murals and other public art for the

Children’s Hospital of Philadelphia, the

University of Pennsylvania, Temple

University’s Kornberg School of

Dentistry, the Please Touch Museum, and

Hahnemann University Hospital, among

SAM MAITINAmerican, 1928-2004

Search and Create: Jacob Wrestles until Dawn1979Ink, watercolor, and gouache on paper

The real business of art to me is to play

with form, shape and color . . . . I find that

it is this joy of just putting color, texture,

and shape together in an experimental

way [that] I am truly interested in.

—Sam Maitin

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Paone attended the Philadelphia Museum

School of Art (now the University of

the Arts), where he received a bachelor

of fine arts degree in art education. His

work has been exhibited at institutions

across the United States and across the

globe, and he has held senior teaching

positions at both Pratt Institute and the

Pennsylvania Academy of the Fine Arts.

PETER PAONEAmerican, born 1936

Elephant/Center Ring1977Lithograph

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Zagar received his BFA in painting

and graphics at the Pratt Institute in

New York. His work is included in the

permanent collections of numerous art

institutions, including the Philadelphia

Museum of Art, the Pennsylvania

Academy of the Fine Arts, and the

Hirshhorn Museum in Washington, DC,

and has been featured in solo exhibitions

throughout the Philadelphia area. His

mosaic murals can be found on over 100

public walls throughout Philadelphia and

around the world. Zagar has received

grants from the Pew Fellowship in the

Arts and a grant from the National

Endowment for the Arts. His life and

artistic career were the subjects of a

2008 documentary, In a Dream, made by

the artist’s son, Jeremiah.

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ISAIAH ZAGARAmerican, born 1939

Dog Wedding1987Itaglio print with colored pencil and rubber stamp

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Peter Paone’s work often contains

surrealistic elements and odd creatures.

His clowns and invented animals are

whimsical and endearing. Paone is a

major contributor to the history of

printmaking in Philadelphia. When

he was seventeen years old, he met

Carl Zigrosser, curator of prints at

the Philadelphia Museum of Art, who

became Paone’s mentor and friend

and provided him with access to the

museum’s extensive print collection and

archives. Two years later, Paone became

an assistant to master printmaker Benton

Spruance, who invented a revolutionary

subtractive color lithography process.

PETER PAONEAmerican, born 1936

Household Pet1974Etching

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PETER PAONEAmerican, born 1936

Clown #91979Acrylic and albumen print on board (carte de visite)

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T. AGUIRAmerican

Corporate Cat IIUndatedEtching

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This digital print was commissioned by

the Print Center for a fundraiser. Digital

prints are made through the use of

computer technology, rather than with

a printing press or other traditional

methods. Here, Burwell takes full

advantage of digital capabilities, building

the image with layers of patterns, colors,

and forms.

Burwell received his BFA in painting

from Temple University’s Tyler School of

Art in 1977 and his MFA in painting from

Yale University in 1979. His work has been

exhibited and collected broadly, and

he is the recipient of numerous awards,

including a Pew Fellowship in the Arts in

2008.

CHARLES BURWELLAmerican, born 1955

Pink Ground and Two Figures2005Digital Print

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The delicate lines create a soft, chalky

texture, making this portrait appear as

if it were a charcoal drawing instead of

an etching. The woman’s introspective

emotions are conveyed through her

downcast eyes and the dark shadows

that obscure her facial features.

An etching is a technique in which an

artist uses an etching needle to cut

into a waxy, acid-resistant ground that

has been applied to a metal plate. The

plate is then placed in an acid bath and

the acid etches into the artist’s incised

markings. The wax ground is then wiped

away and the plate is inked and then re-

wiped such that only the etched lines

hold ink. When paper is placed on the

plate and run through a printing press,

the pressure forces the paper into the

etched lines and it picks up the ink.

Robert Sentz graduated from the

Pennsylvania Academy of the Fine

Arts in 1992. He has had exhibitions of

his work at the Rosenfeld Gallery in

Philadelphia. He now lives and works in

New Hampshire.

ROBERT SENTZAmerican

An Easter Hat1991Etching

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Woodmere Director William Valerio

commented on the sensuous beauty of

Osborne’s watercolor,

Liz has a unique way with watercolors.

One of our mutual friends, the late

Murray Dessner, used to say that Liz’s

watercolors seemed to pour effortlessly

onto the page, creating magical illusions

of space, color, and volume.

Osborne was a student at the

Pennsylvania Academy of the Fine Arts

(PAFA) from 1954-58 where she studied

with Walter Stuempfig, Hobson Pittman,

and Franklin Watkins. She has exhibited

extensively throughout the United States

and has received numerous awards,

including the Percy M. Owens Memorial

Award, a MacDowell Colony Grant, the

Richard and Hinda Rosenthal Foundation

Award, and a Fulbright Fellowship.

ELIZABETH OSBORNEAmerican, born 1936

Untitled (Figure)

1988Watercolor on paper

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One constant in my work has been the

exploration of the unique tensions that

the body reveals about the self and the

assertion of individuality in relation to the

quietness of anonymity. Although they

often exist as somewhat oppositional

or even disparate elements, their

intersection can be revealing.

-Susan Moore

Born in Coco Solo, Panama, Moore

lives and works in Philadelphia. She has

received numerous grants, including

the Franz and Virginia Bader Fund

Fellowship, four Pennsylvania Council

on the Arts Fellowships, and a National

Endowment for the Arts Fellowship.

Moore’s work is in the collections of

the Philadelphia Museum of Art, the

Pennsylvania Convention Center in

Philadelphia, Woodmere Art Museum, the

National Portrait Gallery in Washington,

D.C., and the New York Public Library.

She is represented by the Locks Gallery

in Philadelphia.

SUSAN MOOREAmerican, born 1953

Almetra’s Daughter2001Gouache, ink, graphite, and casein on paper

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Eileen Goodman often paints still lifes

with flowers, fruit, and decorative

tablecloths. She is revered for her

virtuosity with watercolor and her unique

ability to achieve intense color, nuanced

tonal ranges, and complex textures.

Born in Atlantic City, New Jersey,

Goodman attended the Philadelphia

College of Art (now the University of the

Arts), where she studied illustration with

Jacob Landau and painting with Morris

Berd and Larry Day.

EILEEN GOODMANAmerican, born 1937

Still Life with Blue Glass1987Watercolor on paper

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Fred Wessel created this offset

lithograph while on a visit to Italy, where

he was profoundly inspired by the

narrative art of Fra Angelico, Duccio, and

Simone Martini. The aquarium scene is a

memento mori: the beautifully rendered

fish swims above a skull, reminding us

that death is always present, even in the

midst of life.

Wessel earned a BFA from Syracuse

University in 1968 and an MFA from the

University of Massachusetts, Amherst, in

1976. He was a professor of printmaking

at the Hartford Art School, University

of Hartford from 1976 to 2011. Wessel’s

paintings have been included in group

and solo exhibitions throughout the

United States and his work is included in

numerous private and public collections

including the Museum of Modern Art,

New York; the Brooklyn Museum; the

Philadelphia Museum of Art; Smith

College Museum of Art; and the

University of Glasgow.

FRED WESSELAmerican, born 1946

Aquarium (Renaissance)c. 1984Offset lithograph

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HELEN SIEGLAmerican, born Austria, 1924-2009

Crow’s NestUndatedColor woodcut

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Helen Siegl experimented with a variety

of printmaking techniques—woodblock,

linoleum block, etching, and even plaster

block—within the same work of art.

Born in Vienna, Siegl studied art at the

Akademie für angewandte Kunst. She

moved to Montreal in 1952, and shortly

thereafter moved with her husband,

Theodor, to Philadelphia, where she

was active in the Print Club (now the

Print Center). She illustrated numerous

children’s books including Earrings for

Celia (1963), Aesop’s Fables (1964),

and The Dancing Palm Tree and Other

Nigerian Folktales (1990).

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DAN MILLERAmerican, born 1928

Wasp2008Color woodcut

In discussing Dan Miller’s technical

virtuosity, artist and friend Peter Paone

remarked:

I heard of Dan when I established the

print department at the Pennsylvania

Academy of the Fine Arts (PAFA). He

was teaching painting at PAFA at the

time because they didn’t have a print

department. In 1980, I walked in on his

painting class and asked if he wanted

to teach printmaking, particularly

woodblock, and he said yes. He’s been

teaching it there ever since. He not only

carves his own blocks, he prints them

too. He does it all himself. He prints these

editions. If you ever slap him on the

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shoulder, it’s like slapping a rock. He

has great strength in his hands. And he

cuts his blocks, not with a tool, but with

a single-edge razor blade. He’s got a

shoebox next to his table full of single-

edge razor blades.

He must have a leather finger after all

these years. They’re all cut in a V-shape:

one slice this way, one slice that way, then

snap it out. You can see it, if you get up

close, which is amazing because a single

gauge can’t do that. He cuts very small

pieces one at a time rather than making

one long swing. And that’s how he gets

all this fabulous detail, like the wings of

the wasp here.

Dan Miller received a bachelor’s degree

from Lafayette College in 1951 and a

master of fine arts degree in painting

from the University of Pennsylvania in

1958. He also studied at the Pennsylvania

Academy of the Fine Arts (PAFA). Since

returning to PAFA as a faculty member in

1964, he has served as an instructor in art

history, painting, and printmaking. He has

also held the positions of dean of faculty,

acting dean of the school, chairman of

the painting department, and chair of the

MFA program.

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Christine McGinnis is known for her

images of animals such as bears, hawks,

mice, and owls. Filmmaker and artist

David Lynch (born 1946) printed this

etching in 1968 for McGinnis as well as

numerous engravings of animal subjects.

She and husband Rodger LaPelle

had first met Lynch in 1965, when he

moved to Philadelphia to attend the

Pennsylvania Academy of the Fine Arts

(PAFA). McGinnis also attended PAFA,

where she received the William Emlen

Cresson Memorial Travel Scholarship.

She and her husband have operated the

Rodger LaPelle Gallery in Philadelphia

since 1980.

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CHRISTINE MCGINNISAmerican, born 1937

Dormouse1968Etching

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This small but highly detailed etching

depicts an elk that appears to be

threatened by rapidly growing vines. The

animal opens its mouth as if to bite its

way through the encroaching vegetation.

Edward O’Brien obtained his BFA

from the Philadelphia College of Art

(PCA, now the University of the Arts)

and his MFA from Temple University’s

Tyler School of Art. He made this

etching while a student at PCA for

a class taught by Jerome Kaplan, a

professor of printmaking. With Kaplan’s

encouragement, O’Brien made frequent

trips to Wyncote, Pennsylvania, to

visit the renowned collection of prints

amassed by Lessing Rosenwald. O’Brien

was particularly attracted to the iconic

natural subjects, intimate scale, and fine

detail found in work by early northern

European engravers. He is an associate

professor of fine arts at Kutztown

University.

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EDWARD O’BRIENAmerican, born 1950

The Milliner’s Evil Secret1972Etching

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Ray K. Metzker is recognized as a master

of American photography. In the 1950s

and 1960s, he made photographs of

urban subjects in cities such as Chicago

and Philadelphia. In 1970, while serving

as a visiting professor at the University of

New Mexico, he began to photograph the

desert landscape. Landscapes were the

primary focus of his work from the mid-

1980s until the mid-1990s.

Born in Milwaukee, Metzker attended

graduate school at Chicago’s Institute

of Design. He was a professor of

photography at the Philadelphia College

of Art (now University of the Arts) from

1962 to 1980. He has received numerous

awards and fellowships, including

two National Endowment for the Arts

grants and two Guggenheim Memorial

Foundation Fellowships. Exhibitions

of his work have been held at the San

Francisco Museum of Modern Art; the

Art Institute of Chicago; the Museum of

Modern Art, New York; the Philadelphia

Museum of Art; the High Museum of

Art, Atlanta; the George Eastman House

International Museum of Photography

and Film, Rochester; and the Smithsonian

American Art Museum, Washington, DC.

RAY K. METZKERAmerican, born 1931

Untitled (Birches)c. 1985-96Gelatin silver print

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Edna Andrade is best known for her

geometric abstraction, but she began her

career as a realist painter. In the 1940s

and 1950s, she made precisely detailed

paintings, often of the rocky coast of

Maine. She returned to this subject

matter and style in the mid-1990s. Here,

she shows off her ability to sculpt forms

in line and create atmosphere with

evocative light and shadow.

Andrade graduated in 1937 from the

joint fine arts program of the University

of Pennsylvania and the Pennsylvania

Academy of the Fine Arts (PAFA). She

was a beloved and influential instructor

at the University of the Arts from 1958

to 1982. Her work is in the permanent

collections of the Baltimore Museum

of Art, Bryn Mawr College, PAFA, the

Philadelphia Museum of Art, the Rhode

Island School of Design Museum, and the

Yale University Art Gallery. She received

numerous awards and fellowships,

including the College Art Association’s

Distinguished Teaching of Art Award and

the Philadelphia Mayor’s Arts and Culture

Award for Visual Arts.

EDNA ANDRADEAmerican, 1917-2008

Cliff and Pebbles1996Graphite on paper

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Enid Mark obtained a bachelor of arts

degree from Smith College and pursued

graduate studies in printmaking and

typography at West Chester University.

In 1986, Mark founded ELM Press,

which publishes finely crafted limited-

edition publications that feature hand-

lithography, letterpress printing, and

archival hand-binding. ELM Press’s

publications have been acquired by

more than ninety public collections in

the United States, Canada, and England.

In 2006 Mark was the recipient of

a Fellowship from the Pennsylvania

Council on the Arts in recognition for

her work in book arts. Among her other

honors are a Pew Fellowship in the Arts

and the Leeway Foundation Award for

Achievement. Books and prints by Mark

can be found in collections of institutions

across the United States including the

Jewish Museum in New York, La Salle

University Art Museum, McCabe Library

at Swarthmore College, and Firestone

Library at Princeton University, among

many others.

ENID MARKAmerican, 1932-2008

Rose2003Offset lithograph

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DIANE BURKOAmerican, born 1945

Rochers a Belle Isle #51992Monotype on handmade paper

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Diane Burko often uses her photographs

as source material for her depictions of

nature. In 1989, during a six-month artist

residency sponsored by the Lila Acheson

Wallace Foundation, she spent time on

Belle Isle, off France’s Brittany Coast, and

made a number of oil studies. Cool colors

and soft focus belie the crags and jagged

forms of these rocks as they punctuate

the watery environment.

Born in Brooklyn, Burko graduated from

Skidmore College in 1966 with bachelor’s

degrees in art history and painting.

She received her MFA in 1969 from the

Graduate School of Fine Arts of the

University of Pennsylvania, then became

a professor of fine arts at the Community

College of Philadelphia, where she taught

until 2000. In 2011 she was the recipient

of a Lifetime Achievement Award from

the Women’s Caucus for Art.

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Manchester Islands II features fluid,

chromatic bands that pulse with energy

and light. Elizabeth Osborne’s approach

to form and color gives the landscape

a lively sensation, as though the waves

could flow beyond the frame. She

integrates abstraction and realism, using

large swaths of color to suggest natural

shapes.

ELIZABETH OSBORNEAmerican, born 1936

Manchester Islands II1978Watercolor on paper

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Although Stuart Egnal died tragically

young, he produced a large body of work

that included etchings, acrylic paintings,

and cardboard and wood sculptures. He

was heavily influenced by music, namely

jazz with which he felt his working style

shared certain affinities. He often worked

thematically, developing variations on a

particular motif, a tendency he felt was

echoed in jazz music.

Egnal studied at the Philadelphia

Museum College of Art (now the

University of the Arts), the Accademia

Di Belle Arti in Florence, Italy, and the

University of Pennsylvania, where he

earned a master of fine arts degree.

His works are in the collections of the

Print Club (now the Print Center),

the University of Pennsylvania, the

Philadelphia Museum of Art, the National

Gallery of Art, the Free Library of

Philadelphia, and Friends’ Central School,

as well as in private collections.

STUART EGNALAmerican, 1940-1966

Untitled (RFL)c. 1965Etching

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Ann and Don McPhail obtained this

print by the renowned Czechoslovakian

artist Pravoslav Sovak when his work

was shown in Philadelphia at the Print

Club (now the Print Center) in 1978. He

currently lives and works in Switzerland.

Evening Walk demonstrates Sovak’s

ability to create monumental plays of

scale in small works of art. Here, a small

lone figure walks into the expanse of a

seemingly vast landscape.

Sovak has enjoyed an international

career, and has had solo exhibitions of his

work at the Kupferstichkabinett in Berlin,

the Russian Museum in Saint Petersburg,

and the Albertina in Vienna.

PRAVOSLAV SOVAKCzech, born 1926

Evening Walk1974Hand-colored etching

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This photograph and the one on the

following page embody the emotionally

resonant themes that Bruce Stromberg

addressed in the black-and-white

photographs for which he was well

known. In both prints, solitary figures

are alienated from others. In Alone, a

man stands against a railing or fence

surrounded by an expansive empty

space. In Untitled, a young child to the

left of the composition approaches a

railcar with an elderly woman sitting

inside. The mood in both photographs is

serious and melancholic.

Stromberg was a nationally known and

award-winning photographer. His interest

in photography began when he enrolled

in the Army after graduating from high

school in 1962. In the 1970s and 1980s

he was represented by New York City’s

Witkin Gallery. He and his wife, Sharon

Gunther, owned Stromberg Gunther

Photography at 7th and Ranstead Streets

in Philadelphia until Stromberg’s death

in 1999. His work has been exhibited

globally.

BRUCE STROMBERGAmerican, 1944-1999

Alone1970Color coupler print

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BRUCE STROMBERGAmerican, 1944–1999

UntitledUndatedColor coupler print

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Antonelli II Gallery, Woodmere Art Museum

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ANTONELLI II GALLERY

Of the fifty-six artists represented in Ann and Don McPhail’s gift to Woodmere, many of them are figures in the arts of Phil-adelphia whose work was previously absent from our collection. We are thrilled, for example, to acquire our first fiber work by Ed Bing Lee (born 1933) and our first “newspaper blanket” by conceptual artist Phillips Simkin (born 1944). Woodmere’s mission is to offer experiences by telling stories of Philadelphia’s artists, and we are always glad to open new chapters of growth and exploration.

It is equally exciting that several of the artists represented in the gift, including Edna Andrade (1917-2008), Eileen Goodman (born 1937), Elizabeth Osborne (born 1936), and Peter Paone (born 1936), will be familiar to our visitors, as Woodmere is already committed to collecting their work in depth. We are grateful that this acquisition allows us to more deeply explore their accomplishments.

The richeness of the McPhails’ collection comes from their eye for quality and sophistication, their consistent thoughtfulness, and their many friendships in the arts. Woodmere is honored to be entrusted with their treasures, and we express our deepest thanks.

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Dick in 1965. He had long been inspired

by literary sources, but in this case he set

out to create a dialogue with his friend,

Lawrance Roger Thompson, a professor

of English at Princeton University, who

wrote Melville’s Quarrel with God (1952),

a meditation on the great American

epic as a parable that was relevant

to humanity’s most pressing spiritual

concerns in the post–World War II era.

Spruance is celebrated as one of

the most important printmakers and

teachers of lithography in the twentieth

century. In lithography, a wax-like crayon

(or liquid tusche) is used to draw upon a

flat, polished limestone slab or specially-

finished metal sheet. Acid is then used

to etch away the negative space around

the artist’s markings (the acid does not

adhere to any surface covered in wax).

The image is then printed in reverse in

an oil-based ink that adheres to those

surfaces that have not been treated

with the acid. Spruance is credited with

inventing the “subtractive process”

of color lithography in which he used

that same stone numerous times in the

production of a single print, wiping away

one color of ink and adding other colors

to build his images in layers.

BENTON MURDOCH SPRUANCEAmerican, 1904-1967

Triumph of the Whale(from the series “Moby Dick”)1967Lithograph

Benton Spruance has always worked

in that tradition of graphic art which

regards the print as meaningful

communication…Ben has stuck to his

high purpose without compromise. He

has worked long and faithfully in the

vineyards of art….a lifelong love affair with

the lithographic stone.

- Carl Zigrosser, curator of prints from

1941 to 1963, Philadelphia Museum of Art

Benton Spruance began his series of

prints based on Herman Melville’s Moby

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Hester Stinnett’s mysterious Orchard

includes barren tree branches and a

ladder that seems to float off an open

expanse of ground. Ambiguous spatial

relationships suggest a reading of the

ladder as a symbol or metaphor.

Stinnett received a BFA from the

Hartford Art School, University of

Hartford and an MFA from Temple

University’s Tyler School of Art, where

she is now vice dean and director of

graduate programs and professor of

printmaking. She has also taught at the

Pennsylvania Academy of the Fine Arts,

the Philadelphia College of Art (now

the University of the Arts), and Bryn

Mawr College. With coauthor Lois M.

Johnson, she wrote Water-Based Inks:

A Screenprinting Manual for Studio and

Classroom, published by the University

of the Arts Press. She was an artist in

residence at the Fabric Workshop in

2003, and has presented printmaking

workshops at the Haystack Mountain

School of Crafts in Maine and the

Anderson Ranch Arts Center in Colorado.

In 2004 she was awarded a Pennsylvania

Council on the Arts Fellowship. Her

work has been exhibited nationally and

internationally.

HESTER STINNETTAmerican, born 1956

Orchard1983Etching

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John E. Dowell seeks to articulate his

belief in the unifying structure of human

expression through his art. For him,

music, visual art, and dance have an

underlying structure that comprises

the presentation, contemplation, and

resolution of ideas. Saskia’s Dream and

other works from this period blend music

and visual art. A talented pianist, Dowell

projected these prints onto a screen and,

accompanied by a group of musicians,

improvised music inspired by the art.

Dowell received his BFA in printmaking

from Temple University’s Tyler School of

Art and his MFA in printmaking from the

University of Washington, Seattle. He is

a professor emeritus of printmaking at

Tyler School of Art. His photographs and

printed work have been shown nationally

and internationally.

JOHN E. DOWELLAmerican, born 1941

Saskia’s Dream1981Lithograph

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This work is from a larger project by

Phillips Simkin. The artist founded a

manufacturer called Cable Knitted News,

which knitted the news during the 1984

Democratic Convention and fashioned

the knitted news into one-of-a-kind

wearable garments like shirts and skirts.

Simkin obtained his BFA from Temple

University’s Tyler School of Art and his

MFA from Cornell University. He has

enacted site-specific commissioned

installations across the country at venues

in San Francisco, Saint Louis, Albany,

Philadelphia, Boston, and Maryland.

PHILLIPS SIMKINAmerican, 1944-2012

The Cable Knitted News1984Wool yarn

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In Untitled (Panic Button), a figure

appears to be consumed by an

enormous coat with large sock-like

sleeves. Adorned with cowboy boots

and butterflies, the jacket also contains

a panic button that reads “I NEED

AN ORDER.” This work and Lois M.

Johnson’s larger body of prints explore

the interaction of humans with their

surroundings, often focusing on the ways

in which they seek out safe enclosures

that protect them from the difficulties of

modern life.

In 1964 Johnson received a bachelor of

science degree in fine arts and education

from the University of North Dakota,

Grand Forks, and in 1966 she obtained a

master of fine arts degree in printmaking

from the University of Wisconsin,

Madison. She received a Pennsylvania

State Council on the Arts Individual

Artist Grant for experimentation in

offset lithography and a Percent for Art

commission from the City of Philadelphia,

for which she created a limited-edition

print for City Council Chambers in City

Hall.

LOIS M. JOHNSONAmerican, born 1942

Panic Button (diptych)UndatedCollage

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process used in almost all commercial

printing— expanded the possibilities

for printmaking. On an offset press, the

image is transferred from a lithographic

plate to a cylindrical blanket and then

onto paper. Because of this double

action, images do not appear reversed.

By manipulating visual images using

the print technology available at the

time, Feldman pushed the boundaries

between offset lithography, collage,

and photography. In Nureyev No. II, the

superimposition of shapes over the

figure’s face was created by Feldman’s

layering of photographs during the

printing process.

Feldman attended the Philadelphia

Museum School of Industrial Art

(now the University of the Arts). He

was the founder of Falcon Press in

Philadelphia and professor of fine

arts at the University of Pennsylvania.

He was dedicated to teaching and

allowed students to experiment with

his commercial printing press. He

shaped and influenced printmaking in

Philadelphia by teaching print techniques

and skills to countless young artists. He

was active in Philadelphia from the early

1950s until his death in 1975.

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EUGENE FELDMANAmerican, 1921-1975

Nureyev No. II1968Offset lithograph

Artist Peter Paone discusses his

interaction with Eugene Feldman:

I worked with him as a student at PCA.

He taught out of his commercial print

shop on Ludlow Street. It was quite

extensive, with huge offset presses. He

invited a number of us to come in and

make offset prints. In the mid-1950s

that was very experimental. He would

take just a little bit of, let’s say, a thumb,

and he would blow it up and it became

the most incredible abstract thing....He

was way ahead of his time. And then his

most popular work, which I’ve always

suspected Andy Warhol saw, was a series

of animal heads at the Philadelphia Zoo.

Feldman’s innovative and influential use

of offset lithography—the printmaking

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In the early 1950s, Leonard Baskin taught

himself the art of wood engraving, which

requires considerable skill and physical

strength. This print demonstrates his

extraordinary finesse. The subject is

an artist who Baskin greatly admired,

French painter Gustave Courbet (1819–

1877). Baskin suggests the intensity of

Courbet’s gaze on the world through the

seeming depth and expressivity of his

eyes.

Baskin was born in New Brunswick, New

Jersey. He studied art at Yale University,

where he founded Gehenna Press. Until

Baskin’s death in 2000, the Gehenna

Press operated as the fine-art book press

with the highest standards of quality.

Baskin worked as a book-artist, illustrator,

printmaker, sculptor, and teacher and

often collaborated with poet Ted Hughes.

He received numerous important public

commissions, including a thirty foot-

long bas-relief for the Franklin Delano

Roosevelt Memorial in Washington, D.C.

LEONARD BASKINAmerican, 1922-2000

Gustave CourbetUndatedWood engraving

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Peter Paone admires Henri de Toulouse-

Lautrec (French, 1874–1901) as an artist

and draftsman. Paone explains, “I made

three different print images of him as a

kind of homage to the great man.”

Paone has been enthusiastically involved

in the Philadelphia arts community as

an artist, collector, and teacher for over

five decades. In 1980, he established

the printmaking department at the

Pennsylvania Academy of the Fine Arts,

where he taught from 1978 to 2009, and

served as the department’s first chair. He

was also the vice president of the Print

Club (now the Print Center) for six years.

PETER PAONEAmerican, born 1936

Lautrec1985Etching

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DAN MILLERAmerican, born 1928

Virginia (Woolf)1998Color woodblock

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DAN MILLERAmerican, born 1928

Berenice (Abbott)1998Color woodblock

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About this drawing Peter Paone

remarked, “It is not a portrait of anyone.

It is an invented head, but I have seen her

on the street often. I did it in the early

1980s, when there was a public outcry

against smoking in public places. It’s still

one of my favorite drawings.”

PETER PAONEAmerican, born 1936

Woman Smoking1981Charcoal on paper

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Joseph Amarotico produced architectural

fantasies and “dream castles,” depicting

assemblages of interlocking and

overlapping geometric shapes. In this

elegant watercolor, an imagined, three-

dimensional structure floats in an

ambiguous, window-like opening into

space.

Born in New York, Amarotico studied

at the Pennsylvania Academy of the

Fine Arts (PAFA) with Franklin Watkins

and Walter Stuempfig. From 1963 until

his death, he worked at PAFA as an

instructor and as a painting conservator,

restoring such works as Benjamin West’s

(1738-1820) Death on the Pale Horse

(1817) and Christ Rejected (1814).

JOSEPH AMAROTICOAmerican, 1931-1985

Untitled1977Watercolor on paper

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EILEEN GOODMANAmerican, born 1937

Peonies1991Watercolor on Arches paper

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The saturated hues that are characteristic

of Elizabeth Osborne’s paintings are

present in her prints as well. Light pours

in from the window at left, bathing

the arrangement of objects in a soft,

painterly atmosphere.

ELIZABETH OSBORNEAmerican, born 1936

Still Life with Flowers1977Lithograph

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Ed Bing Lee created this work through

a technique known as knotting. The

image is made through a series of

knots of multicolored embroidery floss

over a free-hanging linen warp. Lee

appropriated the likeness of biblical

heroine Judith from a well-known

painting by Viennese artist Gustav Klimt

(1862–1918).

Lee received a bachelor’s degree from

San Francisco State College and a

master’s degree in painting and graphics

from Brooklyn College. Later, he became

the head of the design department

at Craftex Mills near Philadelphia. He

has also held teaching positions at the

University of the Arts and Moore College

of Art and Design, where he taught off-

loom techniques and learned knotting.

He is the recipient of numerous awards,

including a Pew Fellowship in the Arts

in 2007. Lee’s work is in numerous

private collections and is regularly

shown throughout the United States as

well as at Snyderman-Works Gallery in

Philadelphia.

ED BING LEEAmerican, born 1933

Ode to Klimt1996Yarn on fabric

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On October 18, 2013, Ann and Donald

McPhail sat down with Ofelia García,

former director of the Print Club of

Philadelphia (now the Print Center);

artist Peter Paone; and William Valerio,

the Patricia Van Burgh Allison Director

of Woodmere Art Museum, to talk about

their longtime affiliation with the Print

Club of Philadelphia and On Paper,

Woodmere’s exhibition celebrating their

recent gift to the Museum of more than

120 works on paper.

WILLIAM VALERIO: Ann and Don, your

gift to Woodmere is extraordinary in

the way that it expands our collection

of works on paper. Many of the artists

represented in it have long been on

Woodmere’s wish list. Others are

already part of the Woodmere family,

so to speak—that is, they are already

represented in the collection—but we

are committed to collecting their work in

greater depth. So, for example, we might

open our discussion of the exhibition

with a trio of nudes by Elizabeth

Osborne, Susan Moore, and Sam Maitin,

three artists whose work is central to

Woodmere’s holdings.

DONALD MCPHAIL: We purchased Liz’s

nude from Marian Locks. This was when

her gallery was on Walnut Street, so

that was quite a few years ago. Marian

had organized an exhibition of Liz’s

watercolors. I remember that we were

drawn to the nude and we told Marian

that we had to have it. She asked, of

course, if we would leave it at the gallery

for the duration of the show. And so we

agreed to that. After the show I went

to see Marian and pick it up. We went

in the back room looking for it, and we

wandered around and couldn’t find it.

Around the second or third trip through, I

spotted it sitting on the floor, on its side.

Marian and I had a terrific laugh together;

we had each looked right at it, but we

had both thought it was a landscape

[laughs].

WV: I could see that! Liz has a unique

way with watercolors. One of our mutual

friends, the late Murray Dessner, used

to say that Liz’s watercolors seemed to

CONVERSATION WITH ANN AND DONALD MCPHAIL

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pour effortlessly onto the page, creating

magical illusions of space, color, and

volume. The juxtaposition with Susan

Moore’s nude is particularly wonderful.

DM: It’s interesting that these first two

both came from the Locks Gallery—one

on Walnut Street and one on Washington

Square.

ANN MCPHAIL: Susan’s nude is

extraordinarily sensuous, like Liz’s, but in

a different way. The flatness of the gritty

background plays off of the figure.

PETER PAONE: It also looks like an old

glass negative with the surface peeling

off of it.

WV: Sam Maitin is another Philadelphia

artist whose figurative work is incredibly

sensuous, but again his vocabulary of

lines and flat shapes is a world apart.

Sam was one of the great free spirits, and

he was on the board here at Woodmere.

Ann and Don, were you friendly with

him?

DM: Yes, we were. It goes back to the

Print Club. We got to meet Sam and

many of the other artists represented in

our collection there, and we got to know

them quite well. That includes you, Peter,

as well as Lois Johnson, Edna Andrade,

and others.

PP: We have to talk about the Print

Club. Don, I’ve known you for a hundred

years and I’ve known your interest in

many artistic media. I’m curious why you

focused on works on paper, which is the

bulk of your collection.

DM: It’s because I got involved with the

Print Club, in the 1970s. I was asked by

John Kremer III, who was the president

at the time, if I would help them with

budgeting for a program called “Prints

in Progress,” which taught printmaking

in schools. I was a business guy,

accustomed to working with numbers

and budgets, and that’s how I got

involved. Through that experience, I

got quite interested in prints. I had not

been an art connoisseur up to that point

[laughs]. Ann had been working with me

for years to get a little culture. That’s how

we got into it.

WV: But then your involvement with the

Print Club was very deep.

AM: You were president of the board for

ten years, right?

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DM: Right. I’m the lucky man who

engaged Ofelia as director.

OFELIA GARCÍA: I was there for eight

years. Don hired me at the end of 1977.

I had made prints and taught people

how to make prints, but I didn’t know

all the moving parts of the organization

that brought the different perspectives

on prints together. That was the

interesting part: the collectors, curators,

conservators, and dealers—everybody

with their own take on these objects.

The Print Club was the place where they

talked to each other or engaged with

each other. Ann, were you intentionally

encouraging Don to be involved in prints,

or did you, as Don put it, just want him to

“get some culture?”

AM: I was very interested in having him

look at something else besides columns

of figures and running a very large group

of people in a very large organization.

He was on the go all the time and I felt

that moving sideways into something

might interest him—I didn’t realize that

it would become his passion. And it did

become his passion. I had been involved

in art since I was seven years old. There

was a family friend, Anne Nickerson,

whose family lived nearby in Essex,

Massachusetts. She moved to Rockport,

which was then the hotbed of American

Impressionism. She invited me to spend

weekends in Rockport, especially when

there were openings at the galleries and

studios. In addition, my mother shopped

in Salem on Saturday and would leave

me at the Peabody Maritime Museum

[now the Peabody Essex Museum] with a

guard and pick me up after she finished

her errands.

DM: I want to say too that I don’t look on

our collection as being predominantly

works on paper. It certainly is in terms of

numbers of pieces, but Ann put together

a significant collection of Asian textiles

and jewelry, and we have a fair number of

Chinese antiquities. It’s pretty eclectic.

WV: So we’re talking about one piece

of a broader collection that represents

the different passions of your lives

together and the different aspects of

your engagement with the world. That’s a

beautiful thing.

DM: I think the print collection is as large

as it is because we’ve been doing it

longer. I suspect that if I had been asked to help out at the Mütter Museum, we

9191

might have been collecting body parts

[laughs].

PP: Well, you were at the right place at

the right time.

WV: I’m glad you didn’t collect body

parts [laughs]!

OG: There is ease of storage with works

on paper that you don’t have with other

art. It’s insidious in a sense because you

can just put it in a drawer and the drawer

holds a lot and before you know it you’ve

got a lot of things. The selection, this

gift, is a portion of your print interests,

because you also have many European

prints and Japanese prints.

WV: And works by American artists with

no connection to Philadelphia.

AM: Yes, but a strong center of the

collection on paper is the work of

Philadelphia’s artists. That’s one of the

most exciting things about it, as Don

pointed out. We came to be friends with

many of the artists and the interweaving

of life with art made it very interesting

for Don.

WV: Why don’t we talk about some of

the artists? There’s a little etching here

that’s a terrific surprise to me and it’s by

an artist who’s close to my heart: Stuart

Egnal. Sylvia Egnal, his mother, was one

of my neighbors in West Philadelphia. Do

you know her?

DM: Yes, we know her—she was on the

board of the Print Club. We know Sylvia,

but never met Stuart. He died tragically

young.

PP: He died in his twenties—a very nice

guy, and talented. Here again it was

the Print Club that brought everyone

together. If you were an artist connected

to the Print Club, you met everybody

else. When you walked in, you knew who

they were. If they were in a coffee shop,

you wouldn’t know who they were. Stuart

was very active at the Print Club because

he was also a printmaker.

OG: When I first went to work at the Print

Club—this would have been after Stuart’s

death—Sylvia was on the board there.

She was around and contributed his work

to certain shows. So that was the link. I

saw her again recently—she is unfailingly

gracious and has stayed as active as she

can.

DM: The Print Club used to be quite

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a social organization. Bertha von

Moschzisker was the original director.

OG: She wasn’t quite the original director.

She said to us more than once that she

and the Print Club had been born in the

same year. Her father, who was the chief

justice of the Pennsylvania Supreme

Court for a number of years, had been

very active in print collecting. It was

as Don says—there was a strong social

connection. A lot of people on the board

were friends.

DM: Our friend Mary Mather has a theory

that everyone who is active on the major

boards in Philadelphia started at the Print

Club.

OG: I was told, I think by Bertha, that

I should look at it as a training board.

People got started there and then would

go to serve on other boards. I would

say to people, “While you’re with us, we

need you to do things for us, then when

you move on, you move on” [laughs].

The social side was strong—several

board members would go to Europe

together every now and then. Or, to my

amazement, they’d go to Maine in the

summer together and assume that when

they departed the Print Club closed its

doors. Some were good friends and they

summered together, and to an extent,

when they left town—and this is en

masse—there was no one in town except

the working stiffs. That was interesting.

Of course, times have changed, and it

began to stop being a social thing when

they got themselves an immigrant as

director: me [laughs]! I think the base

was broader than you could tell.

DM: Also, it had many transitions. They

had a garden there, and Bertha would

serve tea every Friday afternoon at 4:00.

There would be women from Chestnut

Hill and the Main Line in white gloves

and hats who would serve tea. Then that

garden was enclosed and it became a

print shop. They had lithograph presses

in there.

PP: They had my lithograph press, and

an etching press, and it was open to all

the printmakers who didn’t have presses.

And then under another director and at

another time, it was all removed and now

it’s the shop. It was constantly evolving.

It had great support from people like Carl

Zigrosser and Lessing Rosenwald. Benton

Spruance was major—he was an artist

and he taught and brought his prominent

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print students to the exhibitions and

encouraged that their work be shown. He

was responsible, along with Zigrosser, for

a 1958 exhibition that included my work

and Sidney Goodman’s (Exhibition of

Prints by Sidney Goodman, Peter Paone,

Helen Shulik). It was a very creative, very

active place that focused on artists. Don,

you were president through a number of

directors. Was that a difficult journey?

OG: Shall I step out [laughs]?

DM: By and large they were easy to work

with.

OG: Here’s the thing. The flexibility of

the organization has been immense.

And when it’s matched by the flexibility

of the people who are leading it, it

really can work. But the print world

was changing significantly. I remember

Lessing Rosenwald saying something

to the effect that the place was needed

because early on prints were too cheap

to be worth a dealer’s wall space. Artists

would stop making prints if they couldn’t

show them. And who would want to

show them, these little things that didn’t

sell for much money? And so certainly

by the 1960s, after the print revolution

had taken place, that was not the

landscape. Suddenly prints were the real

deal and there were print publishers. The

landscape had changed. The organization

was able to move on to other things.

WV: How did the Print Club capitalize

on that transformation in the nature of

printmaking?

OG: We were transformed. It was no

longer necessary to do the promotional

things to sell prints. Prints were now

accepted as legitimate and important,

so we had more freedom to promote the

artists and their work. We shifted our

expenses, for example, from parties to

catalogues. Less wine for the locals—let

the commercial galleries do that. We

documented the works of the artists.

It was a moment of great transition.

The people who cared so much about

the Print Club were able to roll with

it. The issue was: what service do we

provide next in the context of prints?

Don, we’ve never talked about this. You

probably have a completely different

interpretation.

DM: No, no. You’re right on.

WV: Being chairman of the board of an

organization is hard work.

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OG: This one in particular was hands on. I

guess they all are hard work.

WV: Peter mentioned Benton Spruance.

Did you know him, Don?

DM: Yes, again through the Print Club.

I don’t recall the exact circumstances

when we met. He was a pleasant,

gentlemanly kind of person. We also

knew his wife, Winifred, through another

organization, the Society of Architectural

Historians.

WV: Spruance’s early work is most

popular, but I’m enamored of his work

from beginning to end and I’m glad that

the print by Spruance you have is from

his Moby Dick series (1965–68), which

is part of the later phase of his career.

Why did you choose that print? And

more generally, how do you decide which

prints to bring into your collection?

AM: We’ll go to an opening, walk in the

room, and then start looking around. If

the technique is extraordinary, I might

have a look. If it’s just something that

visually interacts with me, I’ll spend time

with it. And if it’s really something that I’d

like to hang on a wall in the house, I’ll go

to my moneybags who’s standing next

to me [laughs] and say, Donald, what do

you think about this particular print? This

has happened endlessly. Also, we know

enough about prints that we’re looking

for confident images and quality in

interesting handling and thinking about

the various methods of the medium,

just like anyone else who’s serious about

collecting prints. I think that’s how we

always were. But it starts with us going

into a room and seeing what hits us or

doesn’t.

WV: I remember, actually, at one of the

Philagrafika parties at the University

of the Arts, there were prints for sale. I

walked up to you to say hello, and you

were in deep discussion in front of a

print. Ann, you were saying to Don, “We

have to have that print by Enid Mark.”

And here it is, that very print—it’s a real

beauty. On the left there’s a photograph-

like rendering of a great white petal and

on the right, a white leafy, sketchy form

etched against the black. You bought it

there at the party, and I agree that it’s a

great print.

AM: We were very fond of Enid Mark, and

certainly knew her, and had collected

other works of hers that we’re giving to

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Woodmere. This particular print, once

you see it in the flesh, grabs you and

doesn’t let go.

WV: I’m very happy that we’re starting

to have a critical mass of her work so we

can represent her story as an artist.

AM: Her ideas are quite deep.

WV: What was she like as a person?

DM: Oh, modest, friendly, very amiable.

Modest meaning that she was not

flamboyant by any stretch of the

imagination.

AM: I remember that she often worked

small. She began to get into some books.

She was a graduate of Smith College,

and they have a number of things of

hers at their museum. She was a very

deep thinker—the way she talked about

art—and she really analyzed particular

subjects in her work.

DM: I never noticed it before, but looking

at that picture it could very well be not a

flower but a figure.

AM: A woman’s back?

WV: The sensuality of natural forms

stretches into many domains of

association. That may be part of what

makes it an image that you don’t forget.

PP: It’s beautifully composed as well, with

that huge white image on one side and

the dark image on the other. It wouldn’t

have been the same if she centralized the

large image of the petal.

WV: We’re planning to hang the

Enid Mark print near your beautiful

photograph by Ray Metzker, this wooded

scene, and Eileen Goodman’s gigantic

watercolor of yellow peonies.

AM: Talk about handling a watercolor!

Eileen’s enormous flowers are just

fabulous—some of the great works of art

of Philadelphia.

WV: I don’t know how, but Eileen gets

a unique dramatic intensity out of her

watercolors. We can see it here in the

deep pools of blues and greens.

AM: Watercolor, to my way of thinking,

is such a difficult medium. Eileen has an

enormous capacity for being absolutely

elegant with it. We saw an early one

of hers at Locks Gallery—the first of

her works that I ever saw—and I said

to Marian, I’m going to take that. It was

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red poppies. And Marian told me that

someone had come in and bought it that

afternoon. I was just bowled over. That

was the first time, I think, that Eileen

showed. You have to remember that

Marian ran one of the very first galleries

downtown. We all went to her openings.

Everybody who was anybody in the art

world would show up there eventually.

She had a great way with art and

choosing exhibitions, and she was a great

lady.

WV: Peter, in other contexts you’ve

talked about Eileen as a great storyteller.

One of things I love about this particular

image is that the flowers are coming

through an ornate, wrought iron fence.

This is an elegant garden environment.

But the flowers, to my eye, are in decline.

Still life is often a memento mori, and

here we see that even in the most

beautiful places, living things come and

go. The large scale of the flowers makes

them seem palpable, less plant-like and

more animal-like.

PP: The fence is based on natural forms—

it was designed to honor nature, all of

those twists and turns imitate vines and

stems. But the flower declines and the

man-made fence will continue on. I knew

Eileen in school. All of her work was

very narrative. She was an illustrator. She

came out of the illustration department

under Albert Gold and Henry C. Pitz. For

her to bring that to these other forms

that don’t deal with the human element

is quite astonishing. She gets that mood.

WV: She does—there’s a real mood. I

wanted to talk about John Dowell, who is

very well represented in your collection.

DM: John is a musician as well as a visual

artist. This series of prints represent his

belief in the shared underlying structure

of art that transcends and unifies visual

art, music, dance, and all other art forms.

He had a small combo, a small musical

group. They would either project his print

on the wall or put it up on an easel and

the combo would improvise. When you

listened to it, it reflected what he had on

the paper.

AM: It’s a bit of a John Cage approach.

He did tapes. And they’d put up a series

of four on the walls and play the tapes to

the various works.

OG: One of Ann and Don’s gifts to

Woodmere is a set of prints known as the

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Sun Dream , l ithograph, 1980, by John E. Dowell

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“Philadelphia portfolio” that we produced

at the Print Club in collaboration with

the administration of Mayor Bill Green.

The idea was this: instead of giving the

traditional Bailey, Banks, and Biddle

“Philadelphia bowl” to visiting dignitaries

and distinguished individuals, the

City would bestow a set of four prints

representing four of Philadelphia’s artists:

Edna Andrade, John Dowell, Liz Osborne,

and Peter Paone. John’s contribution to

the portfolio was also one of the prints

he talked about in terms of the music.

It had a wonderful red background and

touches of other hand-colored elements.

The Print Club sold half of the edition and

the City purchased the other half. Think

about it: a ceramic or porcelain bowl

is not the most practical thing to give

someone who’s traveling. I heard a story

once that Mayor Frank Rizzo gave one of

the Philadelphia bowls to the queen of

England, and he told her something to

the effect that he didn’t know what she

would do with it, but that it would hold

two pounds of rigatoni [laughs].

WV: That’s a good story! What did the

queen say?

OG: She was very discrete. But here’s

the thing. It was a reaction to a three-

dimensional, huge thing. We thought it

would be better to have something flat

that also supported Philadelphia’s artists.

WV: Yes, absolutely. Speaking of Edna

Andrade, can we talk a bit about her?

AM: Don and I knew Edna well. We once

went over to visit her on an island off Bar

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Celebrating the Phillies (from The Philadelphia Portfolio), 1981 by Edna Andrade

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Harbor, Maine, and she drove us around

to show us some of the rocky places

she loved to draw. Her wonderful old car

didn’t have a floor [laughs].

DM: It was an old Datsun. On this island—

one of the Cranberry Islands—people

have cars, but they don’t need licenses,

they don’t need registrations, because

there’s nobody there [laughs]. Edna was

like a character in a movie. She had a big

hat on and she was driving us around the

island in this Datsun. You’d look down

and you could see the road whipping by!

It was really a wreck.

AM: It was interesting going to the

specific spots where she would spend all

those hours; her large graphite drawings

are accurate depictions of those places.

PP: Do you think she worked from

photographs?

AM: She may have, but these are actual

sites very close to where she lived.

PP: The reason I ask is because the light,

which is so very dramatic, is fixed. And if

you’re standing there for a couple hours

it’s going to change.

DM: When we visited Edna that day,

she showed us that she was trying to

duplicate these drawings of rock in paint

on canvas. In her studio, the canvases

were stacked up around the wall. She

was really discouraged and grumpy

because she just couldn’t get it right.

And I don’t know if she ever did succeed

to her satisfaction in creating a painting

from this series of drawings.

OG: Peter made a comment about the

light. One of things that I enjoy in this

drawing is the overall gray tone of the

graphite and the foreground drama

to the right—there’s an effect of this

intense light bleaching out the clarity of

detail in the shaded areas. She creates

a difference with stronger light and

less detail. It’s a nice altering of the

characteristics of vision for me.

DM: A white silhouette!

PP: Her early work was very Dalí-esque,

with that same kind of precision of

surreal painting. She did a whole series

of paintings with circus imagery that was

very precise and very imaginative.

AM: One of the wonderful things about

Edna was that she never stopped

working despite having severe arthritis.

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She could use a drawing pen and do the

most articulate, precise work. You’d look

at some of her prints and your eyeballs

would go twirling around because of

the way that she would manipulate your

vision. She was a fantastic lady. I always

admired her because she worked right

up to the end. Sometimes she would get

very frustrated, but on the other hand,

she still produced terrific work.

WV: At a certain point in her career she

moved away from making the hard-

edged, abstract works that she was best

known for and turned to these realist

images of rock formations. Did you ever

ask her why?

OG: It wasn’t either/or. For quite a period

of time she was doing both concurrently.

We can look at the dates. I think the

WV: At a certain point in her career she

moved away from making the hard-

edged, abstract works that she was best

known for and turned to these realist

images of rock formations. Did you ever

ask her why?

OG: It wasn’t either/or. For quite a period

of time she was doing both concurrently.

We can look at the dates. I think the

rocks satisfied a different kind of

compulsion, because nothing else in her

work is from nature.

PP: Many artists, and I would put Edna

in this category, focus on something

for a long time and get really good

with their facility. Then, it may arise, if

you’re very honest with yourself, that

you hit a wall, and you might not believe

you have anything new to say. So to

avoid repeating yourself, you look for

something else. And often the thing

you look for is the opposite of what

you’ve been doing. It’s not an extension

of what you’ve been doing, because

then you’ll be snapped right back to

what it was. And Edna knew her facility

with representation from her early work

before she got into the abstraction.

AM: The drawings from the Cranberry

Islands are among my very favorite works

in the collection. On one hand they are in

fact abstractions, and on the other hand

you recognize the landscape and know

where you are if you’re familiar with the

area around Bar Harbor, the islands, and

the views out and so forth.

PP: Yes. She chose the subject, which is

very abstract. I mean the forms and the

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way they’re put together reveal the mind

of an abstract artist.

OG: There are no trees, no grass.

PP: Exactly—they’re just huge forms

that compete with small forms, even

the way she used the linear division of

the cracks in the stone to separate and

compartmentalize some of the areas. I

saw Edna quite a bit toward the end of

her life. These are old stones. They’re full

of wrinkles. These are stones that have

been cracking with age. At the same

time, the cradling of the smaller rocks in

the larger forms is womb-like. They’re not

like Liz’s depictions of Maine, with rocks

that are bright and colorful. These are old

stones.

WV: So we can interpret these as a

portrait of old age. You mention Liz,

and there are three works of art in the

collection that form a landscape trio:

the drawing by Edna that we’ve been

discussing, a watercolor by Liz, and a

monoprint by Diane Burko that also

shows the sea and the rocky coasts. I’m

betting that Diane is a friend of yours.

AM: Oh, yes, we know Diane. She’s been

doing many series of work, paintings,

and photographs from nature, bodies of

water, and now snow and glaciers. She

pursues a more and more difficult vision,

traveling to the Arctic and the Antarctic,

looking down from great heights, even

helicopters. She’s done volcanoes, and

at the same time she had that wonderful

summer making art in Giverny.

WV: And you have a wonderful Giverny

painting!

AM: Yes, wonderful. But let’s not forget

that we have to talk about Peter Paone!

WV: Yes, let’s. I love everything about the

circus to begin with, and Peter’s circus

series is particularly wonderful. It feels

like a conversation with Robert Riggs, an

artist we both admire, and Riggs’s great

circus lithographs.

AM: I love this man in the front with the

elephant ears. And there’s one elephant

down and one elephant standing. I like

the circus too. Don, who’s the French

artist that I like so much who depicted

the circus?

DM: James Tissot?

AM: Yes, Tissot. I know that Peter knows

Tissot.

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PP: Oh, yes, I think we both own the

same print by Tissot—the Amazon

driving the horses. One thing I can add

to the conversation about this print is

that when I was a boy, the circus came

to town. They pitched tents and had

wagons and sideshows and they did

it down in South Philadelphia—I’m not

sure what it’s called, is it League Island

down there?—down by Prospect Park.

My point is that I was a boy, maybe 11

or 12 years old, and I have a feeling that

Riggs was there working as an artist. He

was a Philadelphian and he went right

to the sites to do his drawings, which he

then made into lithographs. So there I

was enjoying the circus and there was

this artist I was to admire later on making

drawings. As a collector myself I have the

entire set of Riggs’s circus lithographs.

WV: Did you know Robert Riggs?

PP: No. In the end, he was a diabetic and

he lost his legs, so he was homebound.

But he taught at the Philadelphia

Museum School of Industrial Art [now

the University of the Arts] before I got

there and his legacy and example were

strong. He was one of Jacob Landau’s

teachers. Albert Gold inherited his estate,

so there’s that Philadelphia circle that

keeps turning.

WV: I’m looking forward to seeing the

juxtaposition in the exhibition of the print

by Isaiah Zagar and your circus print.

They make a wonderful conversation.

Like your clown, the main character

in Dog Wedding (1987) stands there

performing with his hands out, coming

out of a wedding cake stark naked.

The multiple flat elements of hands are

important in both images.

PP: You spoke about the technique of

Edna Andrade and her precision. There’s

a different but equally impressive kind

of precision in Zagar’s print. It’s very

polished and a huge amount of time was

dedicated to creating the intricacies of

the background—and the flies, which I

think are rubber stamps. There’s no blank

area there—everything is filled.

AM: I like the whimsy in yours, Peter,

where the hand is walking along and

you’ve made the wrist into a head with

a little hat. It’s very graceful, just walking

along. You don’t see it right away, then all

of a sudden you realize what it is. To my

mind, this is supremely à la Peter.

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WV: We have to talk about Dan

Miller, another Philadelphia and Maine

artist who is well-represented in your

collection.

DM: With regard to Dan, one of the

things I look for in a work of art is

craftsmanship. Dan’s woodblock carvings

and the resulting prints are the epitome

of craftsmanship. Look at his portraits—

how does he create that sense of

animation starting with a block of wood?

OG: You chose to purchase woodcuts

often, more than many people I know. I

think these were not from the Print Club,

at least not during my time.

DM: I don’t think so. Most of them we

purchased in Maine.

WV: Did you buy them directly from Dan

or did he show in a gallery there?

DM: He showed in a gallery just north of

Ellsworth, just above Mount Desert Island.

His summer home was in Corea, not far

from Bar Harbor. And the gallery where

he showed was basically a pottery. The

owners were potters and they exhibited

his work, so that’s where we bought all

the Dan Millers, along with a fair number

of his blocks.

PP: I heard of Dan when I established the

print department at the Pennsylvania

Academy of the Fine Arts (PAFA). He

was teaching painting at PAFA at the

time because they didn’t have a print

department. In 1980, I walked in on his

painting class and asked if he wanted

to teach printmaking, particularly

woodblock, and he said yes. He’s been

Imogene and Friend , undated, by Dan Miller

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teaching it there ever since. He not only

carves his own blocks, he prints them

too. He does it all himself. He prints

these editions. If you ever slap him on

the shoulder, it’s like slapping a rock. He

has great strength in his hands. And he

cuts his blocks, not with a tool, but with

a single-edge razor blade. He’s got a

shoebox next to his table full of single-

edge razor blades.

OG: And where does he keep the

bandages?

PP: He must have a leather finger after all

these years. They’re all cut in a V-shape:

one slice this way, one slice that way,

then snap it out. You can see it, if you

get up close, which is amazing because a

single gauge can’t do that. He cuts very

small pieces one at a time rather than

making one long swing. And that’s how

he gets all this fabulous detail, like the

wings of the moth here.

WV: Right, and the ability to get texture.

DM: Bill, I’m glad you’re thinking of

hanging Helen Siegl’s Crow’s Nest

(undated) with Dan’s print. Hers was the

first print we ever bought—and for $25.

We got it at one of PAFA’s last annual

exhibitions. We still have the receipt in a

frame at home. It was from 1957.

PP: I knew Helen. She was the wife of

Theodor Siegl, who was a conservator

at the Philadelphia Museum of Art. He

was the one who originally conserved

Thomas Eakins’s The Gross Clinic (1875)

back in 1961.

WV: So this was the print that started it

all!

PP: At the time, PAFA had a national

annual show, which was both an

invitational and a competitive exhibition;

it had been taking place for a hundred

years or more. Look closely at the

print, because she didn’t use wood, she

used plaster. She cut from plaster and

that’s how she invents these unusual,

interesting textures, like here on the

bottom of the tree.

OG: She talked about the difficulty of

finding wood planks, and the expense of

it, during World War II. She would make

a plaster block, first with the frame, and

then would pour plaster and let it dry.

That’s how she made her blocks. And

then, of course, she got used to not

having the problem of the grain—she

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didn’t have the advantage of the grain,

but she didn’t have the difficulty of

working for or against the grain, so that

allowed her to do more curves.

PP: Also she did a lot of shape prints,

which the plaster allowed—circles and

ovals.

WV: We have to discuss Lois Johnson

because she too is deeply represented in

your collection. We’ll show Panic Button

(undated)—the idea of a panic button as

the subject of a work of art has a sense

of drama unto itself. Johnson taught at

PCA in the 1970s, correct?

OG: And subsequently she was on the

board of the Print Club or at least she

was around very often. She brought

students and she was very involved.

DM: She was also involved in Prints in

Progress. And she was married to Phil

Simkin.

WV: Ah, Phil Simkin is another artist

I thought we would talk about. His

machine-knitted print will also be in the

exhibition.

AM: There’s a self-portrait within with the

mustache.

WV: This piece is important to you, Don.

Can you tell us about it?

DM: Well, I like it. It’s one of these things

you can’t help liking because it’s so funny,

so outrageous: “Cable-knitted news. All

the news that fit to knit.”

AM: Phil is one of the funniest people I’ve

ever met.

WV: It’s very funny. I believe you told

me, Don, that Phil Simkin also performed

a conceptual work at a benefit event

for the Print Club with a conveyor belt;

each work was placed on the belt and if

it wasn’t purchased while it was on the

belt it landed in the mouth of a paper

shredder at the other end. This was at a

street party on Latimer Street, in front

of the Print Club, right? I’ve heard that

this caused a stir and made it into the

Philadelphia Inquirer.

OG: They both participated, Lois

and Phil, he more than she. She was

full time at PCA and I think he really

wrote grants and did projects. For the

bicentennial celebration he got a grant

for a performance, a “happening” to take

place on the Parkway; he made wearable

jigsaw puzzle pieces out of thick

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mattress foam with a hole in the center,

which you wore around your waist. You

went around looking for people whose

parts were the fit for yours.

DM: Phil even talked the National Park

Service into letting him make a plaster

cast of the crack in the Liberty Bell!

AM: Yes, for the Bicentennial, and he

exhibited the crack.

OG: That kind of imagination!

DM: He was a real Duchampian.

WV: Well, Philadelphia is the city of

Marcel Duchamp. I’m going to remember

this conceptual piece about the crack for

our eventual exhibition about Duchamp’s

influence across the arts of our city.

AM: Another woven work of art is by

Ed Bing Lee. That man can knit like you

wouldn’t believe! The last time he showed

at the Philadelphia Museum of Art Craft

Show, I just swooned over one of his

knitted hamburgers. I wanted it so badly,

but I just couldn’t.

OG: It’s permanent and nonfattening!

DM: This is a good example of a question

I have. What is craft as differentiated

from art? Why is this artist in the Craft

Show and not in the museum itself?

WV: Well, if you hadn’t told me that

you bought this at the Craft Show, it

never would have occurred to me that

you hadn’t bought it in an art gallery or

directly from the artist. We don’t make a

distinction between craft and fine art at

Woodmere.

OG: This artist could have chosen to

go the other route and not chosen to

exhibit at the Craft Show. This is not a

universal comment on all art and craft,

but this particular work seems to me to

be in either category. Someone else who

should be noted is Eugene Feldman. I

have the impression that his wife, Rosina,

was on the board of the Print Club. I

think he was the owner of Falcon Press,

which was a Philadelphia press that

worked in offset and made really high-

end, beautiful art. I think the Philadelphia

Museum of Art has some things that

the press did, as does the Rosenbach

Museum. Gene was often spoken about

as someone who was admired and

influential.

PP: I worked with him as a student at

PCA. He taught out of his commercial

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print shop on Ludlow Street. It was quite

extensive, with huge offset presses. He

invited a number of us to come in and

make offset prints. In the mid-1950s

that was very experimental. I did several

and Eileen did as well. He produced

a book, which I have. And then there

was an artist from Brazil named Aloisio

Magalhães, who eventually designed the

currency for the Brazilian government.

He and Gene went to Brazil, where

Gene photographed on a bumpy Jeep

what was happening in regard to the

development and city planning of

Brasília. They produced a book called

Doorway to Brasilia (1959), which I

have. He would take just a little bit of,

let’s say, a thumb, and he would blow it

up and it became the most incredible

abstract thing. But he also did a series

of portraits of Liz Osborne, overlaying

colors so that you wouldn’t know it’s

Liz; it was very experimental in the way

he positioned the portrait. He worked

with photographs, translating them to

big plates and building on that. He was

way ahead of his time. And then his

most popular work, which I’ve always

suspected Andy Warhol saw, was a series

of animal heads at the Philadelphia Zoo.

he positioned the portrait. He worked

with photographs, translating them to

big plates and building on that. He was

way ahead of his time. And then his

most popular work, which I’ve always

suspected Andy Warhol saw, was a series

of animal heads at the Philadelphia Zoo.

OG: Ann and Don, when I look at your

print Nureyev No. II (1968), I think of

Warhol.

WV: The camouflage self-portrait, yes,

because of the superimposition of shapes

over the faces; are they reflections?

PP: Yes, that’s what I mean by overlaying.

He often would overlay his subject with

whatever his printing job was—whatever

was on the press, he would print over,

say the head of Liz, or Mr. Nureyev, or a

photograph of himself, as in this case.

Sometimes it would come through and

sometimes it would just disappear.

OG: There was a lot of regret at his

death, but also a sense of his impact.

WV: Well, this conversation has made me

curious to see more of his work.

PP: The problem is that there isn’t that

much information on Gene. Somebody

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has to gather what there is and do it fast

because we were the people who knew

him.

WV: We’ll follow up, and I hope this

exhibition, and this catalogue will

encourage people who knew all of these

artists to come forward with information

and stories. Ann and Don, the richness

of your collection comes from a unique

history of involvement in the arts of

this city and from your very direct

connections to the people who made—

and are continuing to make—the art.

Woodmere is deeply honored that you’ve

chosen to entrust us with these treasures.

In doing so, you validate our mission—

telling the stories of Philadelphia’s artists

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THE COMPLETE GIFT OF ANN AND DON MCPHAIL

109

All works are gifts of Ann and Donald McPhail unless otherwise noted. Works in pink are included in the exhibition.

T. AGUIR

American

Corporate Cat II, undated

Etching, 6 3/4 x 4 3/4 in.

JOSEPH AMAROTICO

American, 1931-1985

Untitled, 1977

Watercolor on paper, 14 1/4 x 9 5/16 in.

EDNA ANDRADE

American, 1917-2008

Cliff and Pebbles, 1996

Graphite on paper, 24 1/4 x 41 1/4 in.

Exhibition Poster: “Edna Andrade / April 11–29, 1967 / East Hampton Gallery · 22 West 56 Street · New York City · Bruno Palmer-Poroner · Director” , 1967 Offset lithograph, 23 1/2 x 18 in.

EMANUEL ANTSIS

American, born Ukraine Composition with Light Bottle, 1991

Chromogenic print, 20 x 30 in.

Time After Time, 1990

Chromogenic print, 20 x 30 in.

ANTHONY AUTORINO

American, born 1937

The Bathers, 1970

Lithograph, 11 3/4 x 8 5/8 in.

WILL BARNET

American, 1911-2012

Summer Idyll, undated

Serigraph, 30 x 38 in.

Exhibition poster: “Fifth Season – 2 / Will Barnet / Mixed-Media, LTD.”, undated

Serigraph, 36 1/2 x 26 in.

LEONARD BASKIN

American, 1922-2000

Gustave Courbet, undated

Wood engraving, 4 3/4 x 4 in.

RONALD BATEMAN

American, born Wales 1947

Maxwell Over, 1992-93

Oil on canvas, 28 x 40 in.

ALFRED BENDINER

American, 1899-1964

Heaven, undated

Serigraph, 18 x 19 3/4 in.

Menemsha, undated

Lithograph, 18 1/4 x 26 in.

Oxcart, undated

Ink on paper, 6 x 8 1/2 in.

NORINNE BETJEMANN

American, born 1959

Verse, 1994

Artist’s book Handmade paper and gelatin silver prints, 15 x 12 in.

NANCY BOYLAN

American

Untitled, 1973

Etching, 12 3/4 x 17 3/4 in.

110110

DIANE BURKO

American, born 1945

Le Jardin, 1989

Oil on gesso-prepared Arches paper, mounted on canvas, 25 x 40 in.

Promised gift of Ann and Donald McPhail

Rochers a Belle Isle #5, 1992

Monotype on handmade paper, 20 3/4 x 17 1/2 in.

JUDITH K. BRODSKY

American, born 1933

Elliptical Diagrammatic II, 1976

Intaglio print, 24 1/2 x 19 3/4 in.

CHARLES BURWELL

American, born 1955

Pink Ground and Two Figures, 2005

Serigraph, 6 x 6 in.

JOHN E. DOWELL

American, born 1941

Aloe Vera, 1981

Lithograph, 29 1/2 x 22 in.

Concentric, 1980

Lithograph, 29 1/2 x 22 in.

Document, 1980

Lithograph, 23 1/2 x 18 in.

Gus Hunt, 1980

Lithograph, 29 1/2 x 22 in.

Incidents, 1980

Lithograph, 29 1/2 x 22 in.

Saskia’s Dream, 1981

Lithograph, 24 x 13 in.

Sassy, 1981

Lithograph, 29 1/2 x 21 3/4 in

Sequence, 1980

Lithograph, 29 1/2 x 22 in.

Sun Dream, 1980

Lithograph, 29 1/2 x 22 in.

To Counter Time, 1978

Watercolor on paper, 30 x

22 1/4 in.

Together and Alone, 1980

Lithograph, 29 1/2 x 22 in.

Tomorrow’s Solo, 1979

Watercolor on paper, 30 x

22 1/4 in.

STUART EGNAL

American, 1940-1966

Untitled (RFL), c. 1965

Etching, 4 x 4 in.

EUGENE FELDMAN

American, 1921-1975

Nureyev No. II, 1968

Offset lithograph, 18 1/4 x 16 in.

ARTHUR FLORY

American, 1914-1972

Untitled, 1961

Screenprint, 16 7/8 x 13 1/4 in.

BARBARA FOX

American, born 1952

Untitled, 1987Monoprint, 18 x 22 in.

NANCY FREEMAN

American, born 1932

Leaves Series, 2007

Etching with hand coloring, 12 x 16 in.

Promised gift of Ann and Donald McPhail

Leaves Series, 2007

Etching with hand coloring, 12 x 15 3/4 in.

Promised gift of Ann and Donald McPhail

Leaves Series, 2007

Etching with hand coloring, 11 3/4 x 15 7/8 in.

Promised gift of Ann and Donald McPhail

111111

NANCY FREEMAN

American, born 1932

Leaf Series, 2007

Etching, 12 x 15 7/8 in.

Promised gift of Ann and Donald McPhail

MARGARETTA GILBOY

American, born 1943 Frank’s Dream, c. late 1980s

Lithograph and watercolor, 28 x 40 1/8 in.

Sleeping Farewell, 1986

Lithograph and watercolor, 30 1/4 x 22 3/8 in.

EILEEN GOODMAN

American, born 1937 Garden with Poppies, 1993

Watercolor on Arches paper, 40 x 60 in.

Peonies, 1991

Watercolor on Arches paper, 40 x 60 in.

Still Life with Blue Glass, 1987

Watercolor on paper, 32 1/2 x 25 1/2 in.

JERRY GREENFIELD

American

Rice Fields and Rock Out-croppings, Yiling Yan Area, Guangxi China, 1980

Chromogenic print, 5 x 19 in.

MARK HEID

American, born 1974

Honor and Glory to God, 1998

Pastel on paper, 14 1/2 x 12 1/2 in.

LOIS M. JOHNSON

American, born 1942 Flat Map, 1984

Gum bichromate print, 38 x 38 in.

Plateau, 1984

Lithograph, 30 x 22 in.

Site: North Dakota, 1982

Lithograph, 22 x 30 in.

Untitled (Panic Button), undated

Collage, diptych, 38 1/2 x 25 in. (left), 38 3/4 x 30 1/2 in. (right)

MARTINA JOHNSON-ALLEN

American, born 1947

Mechanical Vision, 1989

Artist’s book

Found objects on tissue paper (box and book construction), 6 1/2 x 5 x 2 1/2 in.

BARBARA KARAFIN

American, born 1941

Water Wheel, undated

Chromogenic print, 14 x 14 in.

ED BING LEE

American, born 1933

Ode to Klimt, 1996

Yarn on fabric, 9 1/2 x 8 1/4 in.

Promised gift of Ann and Donald McPhail

PETER LISTER

American, born 1933

Fragment: A View of Delos, 1980

Screenprint, 32 x 21 in.

Mykonos, 1977

Screenprint, 19 x 25 in.

Untitled, 1987

Screenprint, 22 1/4 x 30 in.

PAUL M. LOUGHNEY

American, born 1973

Untitled, undated

Lithograph, 7 3/4 x 5 1/4 in.

SAM MAITIN

American, 1928-2004

Search and Create: Jacob Wrestles until Dawn, 1979

Ink, watercolor, and gouache on paper, 15 x 9 3/4 in.

112112

ENID MARK

American, 1932-2008

An Afternoon at Les Collettes, 1988

Artist’s book Lithographs, 14 x 10 3/8 in. Printed by the ELM Press

Norma’s Pond I, 1992

Lithograph in Van Dyke Brown colored pencil, paper collage, 30 x 42 in.

Rose, 2003

Offset lithograph, 15 x 18 in.

Springs, 1990

Artist’s book Lithographs, chine collé, 12 x 18 3/8 in.

Weave #7, 1977

Lithograph, mixed media, 11 1/2 x 9 1/2 in.

CHRISTINE MCGINNIS

American, born 1937

Dormouse, 1968

Etching, 2 3/4 x 2 3/4 in.

RAY K. METZKER

American, born 1931

Untitled (Birches), c. 1985-96

Gelatin silver print, 17 x 17 in. Promised gift of Ann and Donald McPhail

DAN MILLER

American, born 1928

At Bar Island, undated

Color woodcut, 24 x 11 1/8 in.

Berenice (Abbott), 1998

Color woodcut, 11 1/4 x 11 in. Promised gift of Ann and Donald McPhail

Crowley Island Ghosts, undated

Woodblock, 11 1/4 x 30 in.

Great Falls, undated

Color woodcut, 25 x 9 1/4 in.

Imogene and Friend, undated

Color woodcut, 17 1/2 x 11 1/4 in. Promised gift of Ann and Donald McPhail

Night Listener, undated

Color woodcut, 19 1/2 x 7 1/2 in.

Sunrise, Young’s Point, undated

Woodblock, 20 x 9 1/8 in.

Virginia (Woolf), 1998

Color woodcut, 17 x 11 in. Promised gift of Ann and Donald McPhail

Wasp, 2008

Color woodcut, 21 1/4 x 7 1/4 in.

Yellow on Young’s Point, undated

Color woodcut, 20 x 9 1/4 in.

Zola, undated

Color woodcut, 18 3/8 x 11 1/4 in.

Zola, undated

Woodblock, 18 1/2 x 11 1/4 in.

ISABELLE LAZARUS MILLER

American, 1907 - 1996

Van Gogh Attracts, 1945

Etching and aquatint, 9 x

10 in.

SUSAN MOORE

American, born 1953

Almetra’s Daughter, 2001

Gouache, ink, graphite, and casein on paper, 7 3/4 x 4 1/4 in.

EDWARD O’BRIEN

American, born 1950

The Milliner’s Evil Secret, 1972

Etching, 2 3/8 x 2 3/8 in.

ELIZABETH OSBORNE

American, born 1936 Island, 1969

Watercolor on paper, 5 1/2 x 8

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Lemons on a Blue Cloth, 1991-92

Oil on canvas, 44 x 50 in.

Manchester Islands II, 1978

Watercolor on paper, 9 x

12 in.

Orange Coast, 1969

Watercolor on paper, 5 1/2 x 8 1/4 in.

Still Life with Flowers, 1977

Lithograph, 21 1/2 x 28 1/4 in.

Promised gift of Ann and Donald McPhail

Untitled, 1985

Lithograph, 27 1/4 x 20 1/8 in.

Untitled (Figure), 1988

Watercolor on paper, 16 x

12 in.

The White Studio, 2000

Pastel over lithograph, 19 1/2 x 19 in.

PETER PAONE

American, born 1936

Clown #9, 1979

Acrylic and albumen print on board (carte de visite), 4 3/16 x 2 1/2 in.

Elephant/Center Ring, 1977

Lithograph, 18 x 23 3/4 in.

Household Pet, 1974

Lithograph, 10 x 7 3/4 in.

Lautrec, 1985

Etching, 9 3/4 x 10 in.

Untitled (Nose), 1983

Plaster relief, 8 1/8 x 5 5/8 x 2 1/4 in.

Untitled, undated

Lithograph, 18 x 24 in.

Woman Smoking, 1981

Charcoal on paper, 19 1/4 x

27 in.

THE PHILADELPHIA

PORTFOLIO

EDNA ANDRADE

American, 1917-2008

Celebrating the Phillies, 1981

Hand-colored etching, 24 x 18 in.

JOHN E. DOWELL

American, born 1941

Philadelphia Song, 1981

Hand-colored etching, 17 7/8 x 12 3/4 in.

ELIZABETH OSBORNE

American, born 1936

Still Life with City Hall Tower, 1981

Hand-colored etching, 17 7/8 x 13 in.

PETER PAONE

American, born 1936

Penn’s Cake, 1981

Hand-colored etching, 17 7/8 x 13 in.

SEYMOUR REMENICK

American, 1923-1999

Gloucester, undated

Oil on paper, 6 x 9 1/4 in. Promised gift of Ann and Donald McPhail

PROSPER L. SENAT

American, 1852-1925

Kettle Rock, Mount Desert, 1885

Etching, 7 x 11 1/2 in.

ROBERT SENTZ

American, born 1954

An Easter Hat, 1991

Etching, 10 x 7 3/4 in.

PHOEBE SHIH

Chinese, born 1927

Bird, 1966

Woodcut, 6 1/4 x 9 1/2 in.

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HELEN SIEGL

American, born Austria, 1924-2009

Crow’s Nest, undated

Color woodcut, 23 x 8 in.

Tipsy, undated

Woodcut, 2 1/2 x 1 1/2 in.

JOYCE SILLS

American, born 1940

Cones II, 1970

Screenprint, 2 x 2 in.

West Side Drive, 1970

Embossed paper, 6 1/4 x

8 1/2 in.

PHILLIPS SIMKIN

American, 1944-2012

The Cable Knitted News, 1984

Wool yarn, 106 x 88 in.

PRAVOSLAV SOVAK

Czech, born 1926

Evening Walk, 1974

Hand-colored etching, 4 3/4 x 5 3/4 in.

Untitled, undated

Etching, 16 1/2 x 12 1/2 in.

Untitled (Print Club poster), 1970

Etching, 12 1/2 x 13 3/4 in.

BENTON SPRUANCE

American, 1904-1967

Triumph of the Whale (from the series Moby Dick), 1967

Lithograph, 22 1/2 x 31 1/2 in.

HESTER STINNETT

American, born 1956

Orchard, 1983

Etching, 17 3/4 x 23 3/4 in.

BRUCE STROMBERG

American, 1944-1999

Alone, 1970

Color coupler print, 4 1/2 x 3 1/4 in.

Untitled, undated

Color coupler print, 3 x

7 3/4 in.

LINDA THOMSON

American, born 1941

My Table II, 1992

Monotype, 12 x 9 in.

BURTON WASSERMAN

American, born 1949

Untitled, 1983-84

Lithograph, 9 1/2 x 12 1/2 in.

FRED WESSEL

American, born 1946

Aquarium (Renaissance), c. 1984

Offset lithograph, 23 x 30 in.

ANN GATES YARNALL

American, 1934

Iceberg, 1995

Collage with watercolor, 4 x 4 in.

ISAIAH ZAGAR

American, born 1939

Dog Wedding, 1987

Intaglio print with colored pencil and rubber stamp, 26 1/2 x 18 in.

MARTHA ZELT

American, born 1930

Autumn, 1976

Drypoint etching, monoprint, and thread with embossment, 10 7/8 x 11 1/4 in.

House over Field, 1978

Screenprint, fabric, and thread, 19 7/8 x 14 1/2 in.

Second Summer #2, 1977

Colored pencil, fabric, graphite, oil pastel, paper, and silkscreen on paper, 30 1/2 x 28 in.

Second Summer #2, 1977

Colored pencil, fabric, graphite, oil pastel, paper, and silkscreen on paper, 30 1/2 x 26 in.

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© 2013 Woodmere Art Museum. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher.

Photography by Rick Echelmeyer unless otherwise noted. Front and back cover: Untitled (Panic Button) (diptych), collage, 1984, by Lois M. Johnson (Woodmere Art Museum: Promised Gift of Ann and Donald McPhail, 2013)

This exhibition was supported in part by the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.

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