Finding aid for the Harold L. Doolittle collection of art prints 0032

Finding aid prepared by Alex Shultz and Sue Luftschein
USC Libraries Special Collections
Doheny Memorial Library 206
3550 Trousdale Parkway
Los Angeles, California, 90089-0189
2013 November

Title: Harold L. Doolittle collection of art prints
Collection number: 0032
Contributing Institution: USC Libraries Special Collections
Language of Material: English
Physical Description: 8.65 Linear feet 5 boxes
Date: 1799-1964, undated [bulk 1920s-1960s]
Abstract: Prints by various artists, including John Taylor Arms and Arthur H. Heintzelman, from Harold L. Doolittle's collection; 41 prints from the Printmakers' Society of California (1922-64); about 150 prints by artists of the U.S. and Europe of the period 1915-1950; 38 original prints by Doolittle.
creator: Doolittle, Harold L., (Harold Lukens), 1883-1974

Preferred Citation

[Box/folder# or item name], Harold L. Doolittle collection of art prints, Collection no. 0032, Special Collections, USC Libraries, University of Southern California

Conditions Governing Use

All requests for permission to publish or quote from manuscripts must be submitted in writing to the Manuscripts Librarian. Permission for publication is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained.

Conditions Governing Access

Advance notice required for access.

Biographical note

Harold L. Doolittle (1883-1974) was born in Pasadena, California. He was an etcher and civil engineer who studied at Cornell University (1903-1906) and Throop Polytechnic Institute (later California Institute of Technology). He served as President of the Pasadena Society of Artists in 1943, and Vice President of the Los Angeles Section of the American Society of Civil Engineers in 1934. He worked for many years as chief design engineer for the Southern California Edison Company. Doolittle worked in all the graphic processes including photography and collotype, but he is most noted for his aquatints.

Scope and Content

Harold L. Doolittle's collection of etchings, engravings, and lithographs mostly comes from the first 50 years of the 20th century and represents a large number of artists, some more famous than others. Doolittle himself contributed more than 30 of his own etchings, all of which are landscapes. There are sketches of Yosemite, California hills, mountains and more. Other art in the collection, especially from the Chicago Society of Etchers and the Society of American Etchers, takes a similar approach. The oldest print dates to 1799 with Francisco Goya's “Ya es Hora," one of several 18th and 19th century works. Goya is joined by other well known artists including Gustaf Dalstrom, George Elbert Burr, Maxime Lalanne, Richard E. Bishop and Charles A. Platt.

Subjects and Indexing Terms

Arms, John Taylor, 1887-1953 -- Pictorial works
Chicago Society of Etchers. -- Archives
Costigan, John E., 1888-1972 -- Pictorial works
Dalstrom, Gustaf O., (Gustaf Oscar), 1893-1971 -- Pictorial works
Doolittle, Harold L., (Harold Lukens), 1883-1974 -- Archives
Doolittle, Harold L., (Harold Lukens), 1883-1974 -- Pictorial works
Heintzelman, Arthur William, 1891-1965 -- Pictorial works
Print Makers' Society of California. -- Archives
Society of American Graphic Artists. -- Archives

Box 1

Doolittle Etchings


H.L. Doolittle, "Alpine Firs--Rainer" undated


H.L. Doolittle, "Among the Redwoods" undated


H.L. Doolittle, "Arroyo Seco-Pasadena" undated


H.L. Doolittle, "California Hills" undated


H.L. Doolittle, "Canyon Crests" undated


H.L. Doolittle, "Carmel Coast" 1928


H.L. Doolittle, "Carmel Vista" undated


H.L. Doolittle, "Cypress--Monterey" undated


H.L. Doolittle, "Daybreak--Yosemite" undated


H.L. Doolittle, "Desert Clouds" undated


H.L. Doolittle, "Desert Rocks" undated


H.L. Doolittle, "Desert Skies" undated


H.L. Doolittle, "Desert Sunlight" undated


H.L. Doolittle, "El Capitan" undated


H.L. Doolittle, "From the Canyon Rim" undated


H.L. Doolittle, "From the High Sierras" undated


H.L. Doolittle, "Gathering Mists" undated


H.L. Doolittle, "In Death Valley" undated


H.L. Doolittle, "Islands of the Desert" undated


H.L. Doolittle, "Lengthening Shadows" undated


H.L. Doolittle, "Monterey Veterans" undated


H.L. Doolittle, "Morning in Yosemite" undated


H.L. Doolittle, "Mountain Mists" undated


H.L. Doolittle, "Mountain Serenity" 1944


H.L. Doolittle, [unidentified] 1919


H.L. Doolittle, [unidentified] undated

General note

Trees in foreground, mountain in background

H.L. Doolittle, [unidentified] undated

General note

Mountain in the background.

H.L. Doolittle, "Sierra Snows" 1927


H.L. Doolittle, "Silhouettes--Palm Canyon" undated


H.L. Doolittle, "Sunburst" undated


H.L. Doolittle, "The Choir Stairs San Gabriel Mission" 1919


H.L. Doolittle, "The Ruined Altar, San Juan Capistrano Mission" 1918


H.L. Doolittle, "The Three Brothers--Yosemite" 1923


H.L. Doolittle, "Twilight" undated


H.L. Doolittle, "Ventura Mission--evening" undated


H.L. Doolittle, "Yosemite" 1924

Box 4

Printmakers Society of California

Biographical/Historical note

The San Francisco Chronicle announced the beginning of The Printmakers Society of California in 1913, though the group was actually founded sometime between 1911 and 1912. Four artists are credited with creating the society, which held yearly exhibitions to show off the artwork of its members.

John Taylor Arms, " Anglia Antiqua" 1937


Richard E. Bishop, "Fall Ducks" 1938

Biographical/Historical note

Richard Bishop originally worked as an engineer after graduating from Cornell University in 1909. As it was told by the Meadowlark Gallery, Bishop’s entry into the world of art came about as more of a random occurrence than anything else. He worked with fabricated copper products, and instead of discarding them, he “covered [them] with wax, and etched a portrait---human, not avian---using a phonograph needle as his stylus.” He contributed “Fall Ducks,” a 1938 etching, to Doolittle’s collection.

Cornelis Botke, "Beside a Valley Road" 1942


Mildred Bryant Brooks, "Memories" 1935


Benjamin C. Brown, "Curb Market, Arles, France" 1940


Malcolm Cameron, "The Black Sheep" 1946


Charles M. Capps, "Village in the Sun" 1951


F. Tolles Chamberlin, "Near Pasadena" 1947


Alison Clark, "There She Blows" 1936


E. Stetson Crawford, "Navicello, Harbor of Menton" 1959


Eugene M. Frandzen, "New England Snow" 1948


Gordon Grant, "Men of Gloucester" 1941


Trude Hanscom, "The Tempest" 1952


Polly Knipp Hill, "Suwannee River" 1962


Peter Thorvald Jensen, "Un Pueblo Viejo" 1964


Hans Kleiber, "Flight of Ducks, Lake Solitude" 1933


Gene Kloss, "Moonlight Circle Dance" 1956


Malcolm Osborne, "L'Oiseau De Bourges" 1932


Orville H. Peets, "Dome and Spire" 1954


Carl M. Schultheiss, "Pastoral III" 1957


James Swann, "Half Moon Bay" 1943


Walter Title, "Blossom Time" 1934


Reynold H. Weidenaar, "Cathedral Repairs, Mexico City" 1949


Stow Wengenroth, "Woodland Ledge" 1960


R.W. Woiceske, "Winter Chores" 1939

Box 3

Chicago Society of Etchers

Biographical/Historical note

From 1910 to 1972, the Chicago Society of Etchers served as a group for artists to exchange their works in a variety of states across the country. When the society originally formed, it had 20 members, a number which quickly grew in the ensuing years.

John Taylor Arms, "Saint Germain, L'Auxerrois, Paris" 1928


Dirk Baksteen, "Les Trois Moulins" 1921


Cyrus LeRoy Baldridge, "Pagan Princess-Nigeria" 1938

Biographical/Historical note

Cyrus Leroy Baldridge contributed “Pagan Princess,” a 1938 etching depicting a Nigerian woman looking into the distance with a profound sense of sadness. It was the result of Baldridge’s 19 month trip through Africa. Before creating “Pagan Princess,” Baldridge was known for illustrating life on the battlefield in different publications. He served as a war correspondent during WWI and was also a member of the National Guard back in the United States.

Mildred Bryant Brooks, "Companions" 1937


Gustaf O. Dalstrom, "An Abandoned Farm" 1934

Biographical/Historical note

Gustaf Dalstrom contributed “An Abandoned Farm,” a 1934 work, to the Chicago Society of Etchers. Dalstrom himself served as the president of the society beginning in 1927. One of his most famous works was “The Great Indian Council.” Dalstrom died in 1971 after making art for most of his life.

Sears Gallagher, "Heavy Surf at Monhegan" 1925


Gerald Geerlings, "Electrical Building at Night" 1933


Arthur W. Hall, "Bird Creek in Thaw" 1944


Martin Hardie, [unidentified] undated


Arthur W. Heintzelman, "A Donkey Cart in Montmarte" 1923


Lester G. Hornby, "Palais du Justice in the Rain" 1920


Troy Kinney, "Terpsichore" undated


Martin Lewis, "Night in New York" 1932


R.H. Palenske, "Over The Pass" undated


Louis C. Rosenberg, "Rue de Chartres, St. Malo" 1926


Ernest D. Roth, "Our Neighbors Yard" 1916


Chauncey F. Ryder, "Road to Bristol" 1943


Carl M. Schultheiss, "Pastoral II" 1947


Ralph Fletcher Seymour, "A Paris Wine Shop" 1935


Lee Sturges, "Rocky Mountain Lake" 1951

Biographical/Historical note

In 1951, “Rocky Mountain Lake,” a Lee Sturges etching, was a featured work for the Chicago Society of Etchers. It was one of more than 400 pieces by Sturges (1865-1954), who had a variety of his finished products appear in the Smithsonian Institute and the National Museum of Art.

John Winkler, "Kong Tong & Co." 1919


R.W. Woiceske, "Winter Interlude" 1948

Box 4

Society of American Etchers

Biographical/Historical note

Originally known as the Brooklyn Society of Etchers at the start of the 20th century, the Society of American Etchers got its namesake in 1952. The group has held dozens of exhibitions over the years, and is still in existence today with a different name--the Society of American Graphic Artists (SAGA).

John Taylor Arms, "French Lace" 1949

General note

There are two etchings titled "French Lace."

Peggy Bacon, "Varied Wares" 1952


George Elbert Burr, "Evening, Arizona" 1930

Biographical/Historical note

George Elbert Burr (1859-1939) contributed “Evening, Arizona” to Doolittle’s collection, which was one of many desert pieces he constructed as an artist. His etchings and other works appeared in publications like Harper’s and The Cosmopolitan. He moved from Denver to Phoenix, where he continued to make art until his death. His works are featured at the Smithsonian Art Museum and the Congressional Library, amongst other locations.

John E. Costigan, "Cutting Fodder" 1940

Biographical/Historical note

In 1940, John Costigan etched “Cutting Fodder,” which depicts a woman and her child on a field surrounded by animals. The piece is currently viewable at the Library of Congress in Washington D.C. It was far from Costigan’s only contribution to the world of art—he worked with a variety of mediums and was recognized by the National Academy of Design as an academician. He spent much of his adult life in Orangeburg, New York, a short distance from the Hudson River.

Stephen Csoka, "Brooklyn Landscape" 1945


Ralph Fabri, "Americana" 1948


Douglas Warner Gorsline, "Express Stop" 1948


Armin Landeck, "Manhattan Nocturne" 1938


Martin Lewis, "Chance Meeting" 1941


Luigi Lucioni, "Stony Pasture" 1943


Donald Shaw MacLaughlan, "Pastoral" 1932


Thomas W. Nason, "Approach of Spring" 1937


Charles H. Woodbury, "Sea Pasture" 1936

Box 5 (L-W), Box 2 (B-K)

Miscellaneous Etchings


Harry Lewis Bailey, [unidentified] 1917

General note

Country road with gates and trees on each side.

Lionel Barrymore, "Point Magu" 1935


Alfred Bentley, "A Summer Day in France" undated


William Blake, "Act Directs" 1825

Biographical/Historical note

William Blake (1757-1827) spent his early years attending different art schools in London, England. A deeply religious man, his works often revolved around biblical figures and events. In addition to contributing etchings like “Act Directs” (part of the Doolittle collection), Blake was an author and an engraver. His writings and art were mostly unappreciated during his life, but have since become more popular.

Jessie Arms Botke, "Farmyard Geese" undated


Mildred Bryant Brooks, "Among Branches" 1941


Mildred Bryant Brooks, "Aspen Meadow" 1941


Benjamin C. Brown Etchings


"Market Day #1" undated


"Oaks at San Ysidro" 1932


"The Outside Stair, Venice"


Three unlabeled prints by Brown


Howell C. Brown, [unidentified] 1917


Howell C. Brown, "Old Willows" 1915


Félix Buhot, "Louise Abbéma" 1874

Biographical/Historical note

Félix Buhot (1847-1898) was a well-known French artist who worked mostly with etchings. His pieces spread in popularity from Europe to the United States in the late 19th century. Buhot was also a fan of photography and embraced it to a degree that other artists at the time did not. He contributed “Louise Abbéma” to Doolittle’s etching collection.

Charles W. Cain, "The Hunter" 1928


Samuel Chamberlain, "The Waterfront-Villefranche" undated


Leslie Cope, "The Junk Collectors" 1948


Crawford, "Porta Rocca Orvieto" 1953


H. Daumier, "Le Czar a Sebastopol" undated


Eugene M. Frandzen, "Old Curiosity Shops, New York" 1947


Francisco Goya, "Ya es Hora" 1799

Biographical/Historical note

Francisco Goya (1746-1828) was one of the most prominent artists of the 18th and 19th centuries. He spent much of his life in Spain, constructing works on a wide variety of topics, most notably the multiple wars that affected his home country. He also etched pictures like “Ya es Hora,” which makes an appearance in Doolittle’s collection. The etching, which dates back to 1799, translates to “It is Time” and is one of his more disturbing pieces.

David Green, "Weed Forms" 1956


Francis Seymour Haden, "A Brig at Anchor" 1870


Arthur W. Hall, "Pecos" 1930


Arthur W. Hall, "Stone Bridge in Winter" 1932


Trude Hanscom, "Early Spring" 1940


Alfred Hartley, "In the Isle of Purbeck" 1921


A.W. Heintzelman, [unidentified] 1921


Victoria Hutson Huntley, "Nocturne" 1951


Alfred Hutty, "Pines" 1924


Margaret Kidder, "Mother and Child" 1955


Margaret Kidder, "Voila L'eglise" undated


Hildegard Koegler, "O. Haupt voll Blut und Wunden" undated


Maxime Lalanne, "Richmond" 1871


Stella Langdale, "The Hostus of the Sidhe" undated


Alphonse Legros, "Portrait of EJ Poynter" 1877


Elizabeth Lewis, "World Forgetting" undated


William Libby, "Indian Summer" undated


Westley Manning, "The Avenue-Normandy" 1922


Paul Matthes, "Drawbridge" undated


R. Partridge, "The House of Alvarado" undated


R. Partridge, "Willows" 1925


Ralph M. Pearson, "San Felipe" 1922


Joseph Pennell, "Hell Gate Bridge"


Leon Pescheret, "Chicago Museum of Science and Industry" 1931


C.A. Platt, "Willows of Cape Ann" 1888

Biographical/Historical note

Charles A. Platt (1861-1933) was best known as an American architect who designed dozens of buildings and homes throughout the country. Many of these buildings were constructed for the rich and famous in the early 20th century. Platt was also an accomplished artist who was responsible for works such as “Willows of Cape Ann,” which was etched in 1888. He later became a member of the U.S. Commission of Fine Arts, a position he held until 1921.

Chang Reynolds, [unidentified]


C.E. Riley, [unidentified] undated


Edouard Rosotte, "Fac Simile D'un Dessin Du Parmesan" undated


Ernest D. Roth, "Florentine Shops" 1915


Ernest D. Roth, "Tomb of Mary, Mother of Washington and Meditation Rock" 1928


Birger Sandzen, "A Kansas Creek" undated


Otto J. Schneider, "Statue of Abraham Lincoln" 1926


Carl M. Schultheiss, "Friends" undated


C.A. Seward, "Adobe Village-New Mexico" 1936


Eileen A. Soper, "Snooks" 1930


W.M. Strang, "The Christ Upon the Hill" undated


D.C. Sturges, "The Print Lover" 1931


David Swanson, "Desert Crags" undated


David Swanson, "Forest Pool" undated


W. Unger, "Druck der Gesellschaft f. vervielf Kunst in Wien" undated


Reynold Weidenaar, "Demolition in the Plaza del Toro" 1950


Levon West, "The Prairie Rider" 1933


J.W. Winkler, "Le Tryer, Normandie" 1924

Box 1

Unidentified Etchings