Finding aid for the Harold L. Doolittle collection of art prints
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
Title: Harold L. Doolittle collection of art prints
Collection number: 0032
USC Libraries Special Collections
Language of Material:
8.65 Linear feet
Date: 1799-1964, undated [bulk 1920s-1960s]
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.
Doolittle, Harold L., (Harold Lukens), 1883-1974
[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.
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
H.L. Doolittle, "Alpine Firs--Rainer"
H.L. Doolittle, "Among the Redwoods"
H.L. Doolittle, "Arroyo Seco-Pasadena"
H.L. Doolittle, "California Hills"
H.L. Doolittle, "Canyon Crests"
H.L. Doolittle, "Carmel Coast"
H.L. Doolittle, "Carmel Vista"
H.L. Doolittle, "Cypress--Monterey"
H.L. Doolittle, "Daybreak--Yosemite"
H.L. Doolittle, "Desert Clouds"
H.L. Doolittle, "Desert Rocks"
H.L. Doolittle, "Desert Skies"
H.L. Doolittle, "Desert Sunlight"
H.L. Doolittle, "El Capitan"
H.L. Doolittle, "From the Canyon Rim"
H.L. Doolittle, "From the High Sierras"
H.L. Doolittle, "Gathering Mists"
H.L. Doolittle, "In Death Valley"
H.L. Doolittle, "Islands of the Desert"
H.L. Doolittle, "Lengthening Shadows"
H.L. Doolittle, "Monterey Veterans"
H.L. Doolittle, "Morning in Yosemite"
H.L. Doolittle, "Mountain Mists"
H.L. Doolittle, "Mountain Serenity"
H.L. Doolittle, [unidentified]
H.L. Doolittle, [unidentified]
Trees in foreground, mountain in background
H.L. Doolittle, [unidentified]
Mountain in the background.
H.L. Doolittle, "Sierra Snows"
H.L. Doolittle, "Silhouettes--Palm Canyon"
H.L. Doolittle, "Sunburst"
H.L. Doolittle, "The Choir Stairs San Gabriel Mission"
H.L. Doolittle, "The Ruined Altar, San Juan Capistrano Mission"
H.L. Doolittle, "The Three Brothers--Yosemite"
H.L. Doolittle, "Twilight"
H.L. Doolittle, "Ventura Mission--evening"
H.L. Doolittle, "Yosemite"
Printmakers Society of California
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"
Richard E. Bishop, "Fall Ducks"
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"
Mildred Bryant Brooks, "Memories"
Benjamin C. Brown, "Curb Market, Arles, France"
Malcolm Cameron, "The Black Sheep"
Charles M. Capps, "Village in the Sun"
F. Tolles Chamberlin, "Near Pasadena"
Alison Clark, "There She Blows"
E. Stetson Crawford, "Navicello, Harbor of Menton"
Eugene M. Frandzen, "New England Snow"
Gordon Grant, "Men of Gloucester"
Trude Hanscom, "The Tempest"
Polly Knipp Hill, "Suwannee River"
Peter Thorvald Jensen, "Un Pueblo Viejo"
Hans Kleiber, "Flight of Ducks, Lake Solitude"
Gene Kloss, "Moonlight Circle Dance"
Malcolm Osborne, "L'Oiseau De Bourges"
Orville H. Peets, "Dome and Spire"
Carl M. Schultheiss, "Pastoral III"
James Swann, "Half Moon Bay"
Walter Title, "Blossom Time"
Reynold H. Weidenaar, "Cathedral Repairs, Mexico City"
Stow Wengenroth, "Woodland Ledge"
R.W. Woiceske, "Winter Chores"
Chicago Society of Etchers
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"
Dirk Baksteen, "Les Trois Moulins"
Cyrus LeRoy Baldridge, "Pagan Princess-Nigeria"
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"
Gustaf O. Dalstrom, "An Abandoned Farm"
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"
Gerald Geerlings, "Electrical Building at Night"
Arthur W. Hall, "Bird Creek in Thaw"
Martin Hardie, [unidentified]
Arthur W. Heintzelman, "A Donkey Cart in Montmarte"
Lester G. Hornby, "Palais du Justice in the Rain"
Troy Kinney, "Terpsichore"
Martin Lewis, "Night in New York"
R.H. Palenske, "Over The Pass"
Louis C. Rosenberg, "Rue de Chartres, St. Malo"
Ernest D. Roth, "Our Neighbors Yard"
Chauncey F. Ryder, "Road to Bristol"
Carl M. Schultheiss, "Pastoral II"
Ralph Fletcher Seymour, "A Paris Wine Shop"
Lee Sturges, "Rocky Mountain Lake"
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."
R.W. Woiceske, "Winter Interlude"
Society of American Etchers
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"
There are two etchings titled "French Lace."
Peggy Bacon, "Varied Wares"
George Elbert Burr, "Evening, Arizona"
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"
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"
Ralph Fabri, "Americana"
Douglas Warner Gorsline, "Express Stop"
Armin Landeck, "Manhattan Nocturne"
Martin Lewis, "Chance Meeting"
Luigi Lucioni, "Stony Pasture"
Donald Shaw MacLaughlan, "Pastoral"
Thomas W. Nason, "Approach of Spring"
Charles H. Woodbury, "Sea Pasture"
Harry Lewis Bailey, [unidentified]
Country road with gates and trees on each side.
Lionel Barrymore, "Point Magu"
Alfred Bentley, "A Summer Day in France"
William Blake, "Act Directs"
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"
Mildred Bryant Brooks, "Among Branches"
Mildred Bryant Brooks, "Aspen Meadow"
Benjamin C. Brown Etchings
"Oaks at San Ysidro"
"The Outside Stair, Venice"
Three unlabeled prints by Brown
Howell C. Brown, [unidentified]
Howell C. Brown, "Old Willows"
Félix Buhot, "Louise Abbéma"
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"
Samuel Chamberlain, "The Waterfront-Villefranche"
Leslie Cope, "The Junk Collectors"
Crawford, "Porta Rocca Orvieto"
H. Daumier, "Le Czar a Sebastopol"
Eugene M. Frandzen, "Old Curiosity Shops, New York"
Francisco Goya, "Ya es Hora"
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"
Francis Seymour Haden, "A Brig at Anchor"
Arthur W. Hall, "Pecos"
Arthur W. Hall, "Stone Bridge in Winter"
Trude Hanscom, "Early Spring"
Alfred Hartley, "In the Isle of Purbeck"
A.W. Heintzelman, [unidentified]
Victoria Hutson Huntley, "Nocturne"
Alfred Hutty, "Pines"
Margaret Kidder, "Mother and Child"
Margaret Kidder, "Voila L'eglise"
Hildegard Koegler, "O. Haupt voll Blut und Wunden"
Maxime Lalanne, "Richmond"
Stella Langdale, "The Hostus of the Sidhe"
Alphonse Legros, "Portrait of EJ Poynter"
Elizabeth Lewis, "World Forgetting"
William Libby, "Indian Summer"
Westley Manning, "The Avenue-Normandy"
Paul Matthes, "Drawbridge"
R. Partridge, "The House of Alvarado"
R. Partridge, "Willows"
Ralph M. Pearson, "San Felipe"
Joseph Pennell, "Hell Gate Bridge"
Leon Pescheret, "Chicago Museum of Science and Industry"
C.A. Platt, "Willows of Cape Ann"
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]
Edouard Rosotte, "Fac Simile D'un Dessin Du Parmesan"
Ernest D. Roth, "Florentine Shops"
Ernest D. Roth, "Tomb of Mary, Mother of Washington and Meditation Rock"
Birger Sandzen, "A Kansas Creek"
Otto J. Schneider, "Statue of Abraham Lincoln"
Carl M. Schultheiss, "Friends"
C.A. Seward, "Adobe Village-New Mexico"
Eileen A. Soper, "Snooks"
W.M. Strang, "The Christ Upon the Hill"
D.C. Sturges, "The Print Lover"
David Swanson, "Desert Crags"
David Swanson, "Forest Pool"
W. Unger, "Druck der Gesellschaft f. vervielf Kunst in Wien"
Reynold Weidenaar, "Demolition in the Plaza del Toro"
Levon West, "The Prairie Rider"
J.W. Winkler, "Le Tryer, Normandie"