2. Carroll Thayer Berry. (1886–1978) “Winslow Homer’s Studio, Maine Coast,” c. 1937.
Wood engraving in black, unnumbered. From an edition of approximately 70. 9 5/8 x 7 3/8." Sheet: 15 1/8 x 9 7/8." Signed, l.r. and titled, l.l. in ink. Bright and crisp. Excellent condition.
Price: $750. [ Order ]
“Winslow Homer’s Studio, Maine Coast” stands as a masterful achievement among Berry’s early wood engravings (1935–40) and foreshadows the accomplishments of his later works. With simple forms and rich textures, the artist conveys the various elements of wind, waves, rocks, trees, and the stalwart cliff house at the end of Prouts Neck from which Winslow Homer studied the Maine coast.
Carroll Thayer Berry “. . . was a man of contradictions. His close friend, writer Lew Dietz describes him as ‘a romantic and a realist, a man who thought like an engineer and dreamed like an artist.’ Fortunately, the romantic and realist elements both benefited his art. . . After a varied career ranging from Chicago to the Panama Canal . . . Berry returned to his native Maine, where he could at last pursue his favorite activities: sailing and art. During his last thirty-five years, he also created the numerous wood engravings that form the base of his artistic reputation. These prints show Berry as a bold experimenter with color and form, drawing his inspiration from the landscapes and the people of Maine. . . Berry’s style of engraving, which consisted of bravura jabs at the block, gave his work that woodcut appearance, rather than the more engraved look often associated with the typical wood engraving. Because he worked with end-grain blocks, his major prints are technically wood engravings, although he made a number of woodcuts of considerable merit . . . During an earlier period (1935–40), he produced many linocuts, both in black and white and in color, some of them quite powerful . . .” — Elwyn Dearborn
“Winslow Homer’s Studio, Maine Coast” is held in the permanent collection of the Farnsworth Library and Museum.
Ref: Elwyn Dearborn, Carroll Thayer Berry (1983), no. 46.