Steven Thomas, Inc.

Updated September 20, 2017

Arts and Crafts

Below is a listing of our current inventory of Arts & Crafts era artwork. Most works are color woodblock prints but there are some color etchings, oil paintings and watercolors as well. We believe this listing is one of the largest collections of vintage Arts & Crafts artwork available in any one place.

You can jump to artist's last name by using the alphabet, below. Also, you can search for a given name, item (e.g. "elephant"), location, etc. by using the "Find" function on your web browser. PC users: Control + F and Mac users: Command + F.

Unless otherwise noted, all works are hand signed and all defects are noted. Shipping is at cost (about $25 for most items; more for larger pieces). Please contact us for a quote. Please go to our conditions of sale page for full details. Please contact us for pricing.

Please see our "Publications" page on this site for an article we wrote on Arts & Crafts prints in America.

Framing

Unless otherwise noted, all works are framed in new period style oak frames. These are an exact replica of a period frame I gave to a good friend and talented furniture maker, Josh Metcalf, who has faithfully recreated the framing using hand-selected oak and his skilled craftmanship. Views of the framing are in the first three listings, below. Of course, the artwork can be purchased without the framing if you wish (but don't tell Josh). Josh might be able to make custom frames for you, depending on his schedule. You view his website to see the amazing furniture he can create (and you can email him off of his site). Most of his orders are custom commissions.

To give you a rough idea of the framed size, most prints are matted with about a 2" border all around and the frame molding is 2 1/2" wide.

Alphabetical by Artist: A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

 

ARTS & CRAFTS FRAMES

This is an example of the framing used in most of the artwork on this page. This is a faithful copy of a period frame that I gave to Josh to replicate years ago. Of course, graining will be different on all frames. These frames are hand made and splined on all corners and hand finished by Josh.

ARTS & CRAFTS FRAME--Front Corner: Detail

ARTS & CRAFTS FRAME--Back: Detail

ALEXANDER K. BROWN (Attributed) (Brit. 1849-1922)

[FOREST SCENE], pastel, 1915, 10 x 6.” Signed. $495. Signed in the lower right corner “AKB,” which is how Brown signed many of his works. Stylistically it looks like other works I have seen.

JOHN WESLEY COTTON (Can./Amer 1869-1931))

"BEECHES, EPPING FOREST,” color etching & aquatint, 1914-15, ed.50, 10 3/4 x 16 3/4.” Signed in pencil. $1350. Another impression of this print was exhibited at important The Panama-Pacific Expo in 1915 as well as at the Chicago Society of Etchers exhibition in the same year. For a good discussion on the artist see A Spectrum of Innovation: Color In American Printmaking 1890-1960.

JOHN WESLEY COTTON (Can./Amer 1869-1931))

"LAGUNA COAST,,” color etching & aquatint, c. 1923, ed.75, 15 x 9 1/4.” Signed in pencil. $2750. With a fragment of the original matting identifying the artist and giving the title. Titled on a label on the reverse of the original frame and noted “Edition Exhausted.” Another impression of this print was exhibited in the March 1923 exhibit of the Chicago Society of Etchers at the AIC. For a good discussion on the artist see A Spectrum of Innovation: Color In American Printmaking 1890-1960.

ANNIE I. CRAWFORD (Amer. 1856-1942) and EMMA KAAN (Amer. 1860-1949)

Annie Crawford and Emma Kaan were artists who worked primarily in Buffalo, New York. They often collaborated on their artwork and many of their works can be found signed by both artists. A number of their works were exhibited in the 1991-92 exhibit at the Rochester Institute of Technology (Curated by Bruce A. Austin), The Arts & Crafts Movement in Western New York, 1900-1920. They were early practioners of the woodblock art, developing a unique style using a woodblock print printed from the end grain of the wood and then hand colored. Their work is unlike any other woodblock prints I have ever encountered. They were colleagues of the wood worker Charles Rohlfs and many of their works are found housed in his distinctive frames. Note: If we currently have works by these important artists, there will be listings on this page as "Crawford" (immediately below) and under "Kaan" (further below).

ARTHUR WESLEY DOW (Amer. 1857-1922)

“LILY," color metal relief print, 1902, ed. c. 800*, 5 1/2 x 4.” Signed in plate only as usual. $950. An “Ipswich Print” from the “1st Set” (1902). These prints were printed by hand on a foot-powered press. *Intended as teaching aids, many did not survive the years.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"OLDTOWN HILL, color metal relief print, 1901, ed. c. 800*, 3 x 4 7/8.” Unsigned as usual. $950. An “Ipswich Print” not included in any of the 3 portfolios. These prints were printed by hand on a foot-powered press.* Intended as teaching aids, many did not survive the years. Noted in letterpress in lower margin: “THE IPSWICH PRINTS, Series C, Print No. 1, Three colors. Copyright 1901 by Arthur W. Dow.”.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“POPLARS ON THE AVEN RIVER," etching, 1887, 5 3/4 x 3 3/4.” Signed in the plate as usual. $475. One of Dow’s earliest graphic works, it illustrates an old Breton song. Illustrated in Arthur Wesley Dow by Frederick C. Moffatt p. 30. Framed.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," (Yellow), color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $2950. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: from the estate of an heir of the artist.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," (Gray), color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $2950. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: From the artist’s estate.

ARTHUR WESLEY DOW (Amer. 1857-1922)

[TOWN SEAL OF IPSWICH,” color woodcut, c. 1895, ed. unknown, 2 1/4" in diameter. Unsigned as usual. $450.

Dow created this town seal for his beloved home town of Ipswich, Mass. It was also adopted by use of the Arthur Wesley Dow Association of Los Angeles.

ARTHUR WESLEY DOW (School of)

[TREES, HILLSIDE AT SUNSET], watercolor, c. 1910-15, 6 x 3.” Unsigned. $295. Framed in original dark oak frame. Reminscent of Arthur Wesley Dow’s pilar color woodblock prints. Most likely painted by a student of Dow's possibly at his summer Ipswich School of Art.

 

OSCAR DROEGE (Germ. 1898-1983)

[DUNES IN SNOW], color woodcut, c. 1930, 14 x 9 1/2." Signed in pencil. $775.

 

OSCAR DROEGE (Germ. 1898-1983)

"SILHOUETTES," color woodcut, 1925, 14 x 9 1/2. Signed in pencil. $750.

Oscar Droege was an exceptional woodblock artist and one of the best of the German woodblock practitioners. He was born and died in Hamburg, and is a quintessential German proponent of the woodblock, or the "farbholzschnitt". He worked with woodblocks in the 1920’s and 30’s after which we worked in watercolors and oils. Faint mat line, matted out.

OSCAR DROEGE (Germ. 1898-1983)

"SPRING IN THE MOUNTAINS," color woodcut, 1933, 14 1/8 x 9 3/8." Signed in pencil. $750.

With original label giving title.

OSCAR DROEGE (Germ. 1898-1983)

[TALL TREES, STREAM & SMALL STONE BRIDGE], color woodcut, c. 1930, 5 5/8 X 4 x 9 1/8." Signed in pencil. $750.

 

ARTHUR J. DRYSDALE (Amer. 1870-1934)

[BAYOU SCENE], oil wsh, 6 x 19 1/2.” Signed. $1250. Framed in original frame.

 

 
 

HUBERT VALENTINE FANSHAW (Can. 1878-1940)

“EVENING IN THE ROCKIES,” color woodcut, c. 1926, 7 1/2 x 6.” Signed in pencil. $750. With a typed label on the reverse giving the title. The artist exhibited similar prints at the Print Maker’s Society of California exhibit in 1926. See Images of the Land: Canadian Block Prints 1919-1945 for more information. In original frame with a label from the Hudson’s Bay Co., Winnipeg.

HANS FIGURA (Austrian 1896-1946)

“PINES WINTER MORNING...*”, color etching & aquatint on silk, c. 1920-30, 17 1/4 x 14.” Signed in pencil. $495. *”...Near Seefeld, Tyrol Alps, Austria.” Titled on original gallery label.Original frame.

HANS FIGURA (Austrian 1896-1946)

[TREES IN THE TYROLEAN ALPS, AUSTRIA, color etching & aquatint on silk, c. 1920-30,17 1/4 x 14.” Signed in pencil. $495. Original frame.

 
 

EIZA DRAPER GARDINER (Amer. 1871-1955)

“THE RIVER,” color woodcut, <1919, F37, ed. 40, 7 1/2 x 10.” An unsigned proof.. $595. Titled in pencil. There was an “E.D. GARDNER” (sic) listed as exhibiting at the Society of Arts & Crafts Boston in 1897 with a Rhode Island School of Design connection, which could very well be Eliza Draper Gardiner.

FRANCES H. GEARHART (Amer. 1869-1958)

JOSHUA TREE, color woodcut, c. 1920-30, ed. small, 6 3/8 x 4 3/8.” Signed in pencil. $1950.

EDNA BOIES HOPKINS (Amer. 1872-1937)

"PETUNIA," color woodcut, 1907-8, V51ii, 7 x 4 1/2." Signed with chop mark in block only. $750.

Signed with the artist’s chop mark only. This original woodcut was bound into a high quality short-lived literary publication in 1908. It was printed “from the original blocks by careful working on a hand press.” There was also a “very limited” number of this image that was hand printed and signed in pencil (I have seen only one of those in 25+ years).

HELEN HYDE (Amer. 1868-1919)

"AUGUST," color woodcut, 1914, M114, 7 1/8 x 2 3/4.” Signed in pencil. $675. Pictured in color on pg. 70 of Tim & Lynn Mason’s catalog, Helen Hyde. Another impression of this print is in the collection of The Library of Congress and another impression of this print was exhibited at the important Panama-Pacific Exposition in San Francisco in 1915.

 

HELEN HYDE (Amer. 1868-1919)

"THE BLUE UMBRELLA," color woodcut, 1914, M116,6 1/8 x 4." Signed in pencil. $750. Another impression of this print is in the collection of The Library of Congress.

 

HELEN HYDE (Amer. 1868-1919)

"A WEARY LITTLE MOTHER," color woodcut, 1914, M122, 4 3/8 X 4 1/2.” Signed in pencil. $625. Other impressions of this print are in the collections of the Library of Congress and the Art Institute of Chicago.

 

HELEN HYDE (Amer. 1868-1919)

"THE RED CURTAIN," color woodcut, 1907, M74, 7 x 3 3/4.” Signed in pencil. $675.

 

HELEN HYDE (Amer. 1868-1919)

"A SUMMER GIRL," color woodcut, 1905, M62, 7 1/4 x 2 3/8.” Signed in pencil. $695. An impression of this print was exhibited at the important Panama-Pacific Exposition in San Francisco in 1915.

 

JANE BERRY JUDSON (Amer. 1868-1935)

AFTERGLOW--SHEEPSCOT RIVER, ME.," color woodcut, c. 1925-30, ed. 18/100, 8 x 6.” Signed in pencil. $1350.

Upper right corner clipped, well out of image area. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932. NOTE: This image has slightly different coloration to the impression below.

JANE BERRY JUDSON (Amer. 1868-1935)

AFTERGLOW--SHEEPSCOT RIVER, ME.," color woodcut, c. 1925-30, ed. 19/100, 8 x 6.” Signed in pencil. $1350.

Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

JANE BERRY JUDSON (Amer. 1868-1935)

GORGE OF THE GENESEE, NO. 2," color woodcut, c. 1925-30, ed. 100, 6 x 8.” Signed in pencil. $1350. Judson studied at Pratt Institute in New York (where Dow taught but it has not been established if she studied with him) and studied woodblock printing with the British master, Allen Seaby in England. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

GEORGE KOCH (Germ./Amer. 1878-1947)

[BARN AND ROADWAY], gouache, c. 1910-20,7 1/8 x 10 1/4.” Signed. $995. The artist was born in Germany and emigrated to the New York City in 1892. This scene bears a striking resemblance to Dow’s work. Both artists wrote books for Prang and Co. of Boston. It seems highly likely that Koch knew Dow either in the Boston or in NYC where Dow taught at the Pratt Institute and Columbia Teacher’s College. See illustrations in Dow's Composition which are very similar to this.

A. LANG (Amer. early 20th c.))

[ROADWAY WITH MOUNTAIN VIEW] Santa Barbara??, color woodcut, c. 1930, ed. 50, 8 x 5 1/2.” Unsigned. $425. Unsigned but artist identified on label. Possibly a Santa Barbara view. Frank Morley Fletcher taught woodblock printing in Santa Barbara from 1923 and this print certainly has his “feel.” Lang was possibly one of his students. Little is known about the artist except that they also often signed their works “Lang Studio, Santa Barbara.”

ENGELBERT LAP (Austrian 1886-1970)

[ALPINE SCENE IN AUTUMN], color woodcut, c. 1925-30, 6 3/4 x 9 1/4.” Signed in pencil. $650. Born in Graz, Austria, Lap is believed to have studied in Vienna before settling in Innsbruck in 1910. There he produced color woodcuts which largely depicted the Austrian Alpine landscapes. His works were well-known, and he had financial backing from some British publishers, who circulated his prints during the 1920s.

ENGELBERT LAP (Austrian 1886-1970)

[ALPINE SNOW SCENE], color woodcut, c. 1925-30, 7 1/4 x 9 1/8.” Signed in pencil. $650. Born in Graz, Austria, Lap is believed to have studied in Vienna before settling in Innsbruck in 1910. There he produced color woodcuts which largely depicted the Austrian Alpine landscapes. His works were well-known, and he had financial backing from some British publishers, who circulated his prints during the 1920s.

ANTHONY LAPAGLIA (Amer. 1897-1993)

"AUTUMN," color woodcut, c. 1920-30, 8 1/8 x 13 5/8.” Signed in pencil. $675. Lapaglia was a New York artist who was a member of the Washington Square Outdoor Show Assn. The New York Historical Society has 10 of his woodblocks in their holdings. He was born in Italy and died in New York. Title was on original matting. Pigment bleed upper margins

BERTHA BOYNTON LUM (Amer. 1869-1954)

"INLAND SEA," color woodcut, 1922, ed. very small, 11 5/8 x 8 1/2.” Signed in pencil. $1250. Rare. Titled in lower margin. Not in Gravalos-Pulin catalog but in their addendum (#62bis) they list a print that is know from exhibitions or other records of the same size titled, alternately, “Junks, Trees and Mountains” and “Junks on Lake.”

JEANETTE MCMULLIN (Amer. 19th/early 20th c.)

"MT. WHITTIER," watercolor & gouache/board, c. 1920, 13 3/8 x 13 3/8.” Signed and dated. $950.With original label from the Marblehead Arts Association giving the title and the artist’s Marblehead address (also a label with her--old??--Boston address). Mt. Whittier is in Tamworth, New Hampshire.

LILIAN M. MILLER (Amer. 1895-1945)

"MOONRISE OVER A KYOTO HILLSIDE," color woodcut, 1934 B95, 6 7/8 x 9 3/8.” Signed in pencil. $850. Pictured in color on page 75 (Fig. 85) in Kendall Brown’s Between Two Worlds: The Life and Art of Lilian May Miller. Laid down.

 

HANS NEUMANN (Austrian 1888-1960)

"VIEW OVER STARNBERGER LAKE," color woodcut, 1909, 9 3/4 x 14 1/2.” Signed in pencil. $675.

Starnberger Lake is about 12 miles south of Munich. Light foxing in margin area.

MARGARET J. PATTERSON (Amer. 1867-1950)

“CAPE COD HOUSE," color woodcut, c. 1920, 7 x 10 1/8.” Signed in pencil. $4500. A wonderful, richly-inked, impression. Trimmed to image by the artist and mounted by her on card as is common.

MARGARET J. PATTERSON (Amer. 1867-1950)

MORNING GLORIES,” color woodcut, c. 1925, ed. 33/100,* 9 3/4 x 7.” Signed in pencil. $5250.

*Most of the artist's color woodblocks were planned as editions of 100 but it is widely believed that she didn't complete them. Strong colors and deep black background and with very good embossing of the blocks giving a three dimensionality to the piece. With original label from Randolph Galleries, NYC, who handled some of the best color printers of the day.

MARGARET J. PATTERSON (Amer. 1867-1950)

“THE SANDS, CHATHAM” (Mass.), color woodcut, c. 1915, 7 1/8 x 10 1/8.” Unsigned. $2250. Another impression of this print was exhibited at the famed Panama-Pacific International Exposition in San Francisco in 1915.

MARGARET J. PATTERSON (Amer. 1867-1950)

[SPANISH COASTAL TOWN], color woodcut, c. 1909, ed. very small, 6 5/8 9 ½.” Unsigned.  $2250. This relates very strongly to an oil painting of the same title (Bakker 1990 catalog, #7, pictured).  In 25+ years of dealing in the artist’s work, I’ve never seen this image.

MARGARET J. PATTERSON (Amer. 1867-1950)

"WINDBLOWN TREES," color woodcut, c. 1922, planned ed. 100, 7 1/8 x 10 1/4." Signed in pencil. $3950. Another impression of this print was exhibited at the Printmakers Society of California exhibit in 1922. Another impression of this print was pictured in Antiques Magazine, September 1996, p. 338 (“American Prints in the Arts & Crafts Tradition”). Trimmed and mounted by the artist as was common.

CHARLES H. RICHERT (Amer. 1880-1974)

THE RAIN BARRELL,”* color woodcut, 10 x 7." $395.

*A drawing (Skinner sale of March 4, 2005, lot #476) shows an enlarged view of this scene (in reverse) and it is identified as Richert's studio in Ellsworth, Maine.

HENRI RIVIERE (French 1864-1951)

LES BORDS DU TRIEUX AU CREPUSCULE,” color lithograph, 1903,13 1/4 x 8 5/8.” Signed in the stone only $375.

Plate 6 from Riviere’s “Le Beau Pays de Bretagne” (”The Beautiful Country of Brittany”) series. Printed in 12 to 14 colors. The series had 20 prints and he printed one per year from 1898 to 1917, this being the 6th in the series.

ROOKWOOD FAIENCE SHIP TILE

12 X 12.” $2250. Another example of this tile (from a frieze of 4 tiles) is embedded in the chimney of the Tasheira House in Berkeley, CA.

 

CARL ROTKY (Aus. 1891-1977)

[AUTUMN TREES IN THE MOUNTAINS], color woodcut, 9 7/8 x 8.” Signed in pencil. $695.

 

GEORGE SENSENEY (Amer. 1874-1943)

"MOONRISE," color etching & aquatint, 1916, No. 41, 13 3/4 x 16 7/8.” Signed in pencil. $1950. Senseney did very atmospheric prints and was a medalist at The Panama Pacific International Exposition in San Francisco in 1915. He was the first artist in this country to print etchings in color. He was the founder and director of the Holyoke (MA) League of Arts & Crafts. Fabulous colors!

GEORGE SENSENEY (Amer. 1874-1943)

[RIVER SCENE WITH FULL MOON], color etching & aquatint, 1919, 14 3/8 x 20.” Signed in pencil. $1350.

Noted “No. 91” in margin and dated in the plate. Very faint toning in old mat opening. A partic- ularly large and impressive print by the artist. Uncommon. Embossed in margin: “Brown Robertson Co. Print Publishers, New York.” (The company was an early important color print gallery).

GEORGE SENSENEY (Amer. 1874-1943)

[STREAM IN WINTER], color etching & aquatint, 1921, 16 X 11 7/8.” Signed in pencil. $1350.

Numbered “78” in pencil and stamped with the date. Senseney did very atmospheric prints and was a medalist at The Panama Pacific International Exposition in San Francisco in 1915. He was the first artist in this country to print etchings in color. He was the founder and director of the Holyoke (MA) League of Arts & Crafts.

UNKNOWN

[VENICE?], color woodcut, c.1920-30,4 1/2 X 6.” Signed in pencil. $450.

 

 

ERNEST W. WATSON (Amer. 1884-1969)

“COAL YARD,” color linocut, ed.100, 9 1/8 x 7 7/8.”  Signed in pencil.  $650.

Very faint mat line, matted out. Few specks of light foxing in the margins. Good colors in this very atmospheric image.

ERNEST W. WATSON (Amer. 1884-1969)

“FOREST ROAD,” color linocut, ed. 100, 9 1/8 x 6 1/2.”  Signed in pencil.  $850. Lovely colors. With original label from the Randolph Collection of New York which was an early champion of color woodblock prints.

 

 

HELEN REED WHITNEY (Amer. b 1878)

[OCEAN SCENE WITH ROCKS AND TREES*], pastel, c. 1920, 15 1/4 x 11 1/4.”  Signed.  $995. *Most probably Nantucket where the artist had a home. Whitney studied painting at the Boston Museum Fine Arts School with Frank Benson, Edmund Tarbell, Fred Wagner and Philip Hale. This shows a strong similarity to works of Margaret Patterson--it seems quite possible they may have known each other.

CHARLES WOODBURY (Amer. 1864-1940)

“THE CENTURY JULY ,” color lithograph, c. 1897, 12 1/8 x 7 1/2.”  Signed in the stone only.  $595. This is the from “Les Maitres de l’Affiche” portfolio, plate #32 and, as is the case with all of the “Maitres,” is smaller than the original but identical in all other respects. Small pressure mark by third lantern.

 
 

 

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