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

CHARLES W. BARTLETT (Brit. 1860-1940)

“MADURA,” color woodcut, 1916, M4, 11 3/4 x 8 3/4.” Signed in pencil.

The scene is a former king’s palace used by Hindu merchants for displaying their wares. Lovely colors; likely never framed.

CHARLES W. BARTLETT (Brit. 1860-1940)

“NEGISHI,” color woodcut, 1916, M29, 14 x 9.” Signed in pencil.

Light even toning to the sheet.

CHARLES W. BARTLETT (Brit. 1860-1940)

“SILK MERCHANTS, INDIA,” color woodcut, c. 1919, M22, 10 x 14 1/4.” Signed in pencil.

CHARLES W. BARTLETT (Brit. 1860-1940)

“TAJ MAHAL, TWILIGHT,”c. 1919 M14, color woodcut, 10 x 14 1/2.” Signed in pencil.

SYLVAN BOXSIUS (Brit. b. 1878)

“ROUGE ET NOIR,” color woodcut, c. 1920's, 3 3/4 x 6 1/4." Signed in pencil.

With a title that sounds like it was taken from Dow’s Composition, this print is strikingly similar to Dow’s woodcut of cows silhouetted on a hillside, “In the Sand Hills.”

NEVILLE L. COCKER (Unknown)

“AUTUMN,” color woodcut, 1924, 7 x 5." Signed in pencil.

Titled in the lower margin in pencil.

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

“MOUNTAIN STREAM,” color etching & aquatint, c. 1920, ed. 27/50, 10 1/2 x 7 3/8..” Signed in pencil.

A color variation of the following print. For a good discussion on the artist see A Spectrum of Innovation: Color In American Printmaking 1890-1960. Another impression of this print was exhibited at the Seventh Annual Exhibition of the Brooklyn Society of Etchers at the Brooklyn Museum December 1922-January 1923.

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

“THE POTTERY PAINTER (Native American Decorating a Pot), color aquatint, c. 1918, ed. 1/25, 9 1/2 x 6.” Signed in pencil.

Another impression of this print is in the collection of the California State Library. Very faint spot in sky.

ESTHER M. CRAWFORD (Amer. 1872-1958)

“OLD BRIDGE, KIOTO,” color woodcut, c. 1915, 4 3/8 x 6 1/2.” Signed in pencil.

A gem! A very strong Dow influence both in style, subject matter and size. Studied with Dow at Pratt Institute in New York and also with Nordfeldt in Chicago. She may also have been influenced by Frank Morley Fletcher who taught in Santa Barbara .May be the same image as “Old Canal--Kioto,” exhibited at The Print Makers of Los Angeles (later Printmakers Society of California) in 1915.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“CLOVER,” color metal relief print, 1902, ed. c. 800*, 5 1/4 x 5 3/8." Signed in the block only, as usual.

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)

“OLD BUILDINGS ON THE SHORE,” metal relief print, 1902, ed. c. 800*, 4 1/8 x 5 1/2." Signed in the block only, as usual.

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)

[SUNSET, IPSWICH MEADOWS], watercolor, c. 1890, 9 3/4 x 12 1/2” (sight).Unsigned.

Unsigned. This came from a collection of Dow items including 2 signed paintings, an Ipswich print, a rare Dow exhibition catalog and Dow’s own copy of the book By Salt Marshes that was exhibited at the Panama Pacific Exposition of 1915. These came to Arthur Warren Johnson (Dow’s first biographer and author of Arthur Wesley Dow, Historian—Artist—Teacher 1934) from Minnie Dow and passed through to the Ladd family of Ipswich. Full provenance. Framed in a stunning gilt carved period frame.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“[TOWN SEAL OF IPSWICH,” color woodcut, c. 1895, ed. unknown, 2 1/4" in diameter, Signed in the block only, as usual.

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.

OSCAR DROEGE (Germ./Amer. 1898-1983)

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

OSCAR DROEGE (Germ./Amer. 1898-1983)

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

With original label giving title.

OSCAR DROEGE (Germ./Amer. 1898-1983)

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

VADIM DMITRI FALILEEF (Russ. 1879-1944)

“TWILIGHT” [Dock Scene], color linocut, 1916, 10 1/2 x 13 7/8.”Signed in pencil.

Pictured in color in Vadim Dmitri Falileef by V. Tchesnokov (Moscow, 1975), catalog #43 as well as in V. Falileev by N.I. Romanov, 1923, color plate opposite p. 50. With the usual pigment “bleed” in the margins.

FRANK MORELY FLETCHER  (Brit/Amer. 1866-1949)

WOODBLOCK PRINTING [book], Book w/ original color woodcut, 1916, 7 1/2 x 5 1/8 [book].” Unsigned as usual.

HANS FRANK (Aus. 1884-1948)

[WINTER FIELD], color woodcut, c. 1920, 6 3/8 x 9 1/4." Signed in pencil.

FRANCES H. GEARHART (Amer. 1869-1958)

“LONELY SIERRA,*” color woodcut, 9 x 6 1/4." An unsigned proof.

Insribed with the artist’s name in the margin.

GERMAN SCHOOL (Early 20th c.)

[HOUSE IN A LANDSCAPE], color woodcut, c. 1920, 3 1/4 x 2 3/8." Unsigned.

With a blindstamp from Wohlgemuth & Lissner, Berlin on the original mat. (The firm was a major German publisher of etchings and woodcuts in the first part of the 20th c.).

JEAN GOODWIN* (Ames) (Amer. 1903-1986 )

Book: BLOCK PRINTS OF THE SOUTHLAND, color linocuts (8), 1931, ed. 250 (?), 12 1/4 x 9 1/2” (prints: 8 x 6 1/2.”).

*WPA printer, enamelist and muralist who lived in Southern California and likely came into contact with the large contingent of students of Dow who were assembled there. A stunning book with 8 color linocuts by the artist. Verses by Eleanor H. Northcross and printed by Thomas E.Williams and Arthur Ames at the Press of the Santa Ana [California] Junior College. Binding chipped , some light staining on prints.

NORMA BASSETT HALL (Amer. 1889-1957)

“MY NEIGHBOR'S HOUSE,” color woodcut,ed. 79/100, 8 1/2 x 11.” Signed in pencil.

Two thin spots professionally backed verso (one in margin one in sky) which are virtually undetectable. This impression pictured in American Bungalow magazine No. 72, Winter 2011, p. 60.

WILLIAM LEE HANKEY (Brit. 1869-1952)

[WOMAN AND MOONRISE], color etching & aquatint, c. 1920, 12 x 10.” Signed in pencil.

With a nice muslin ground. Color prints by the artist are not common. A wonderful image!

EDNA BOIES HOPKINS (Amer. 1872-1937)

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

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)

"IN THEIR HOLIDAY CLOTHES," color woodcut, 1914, M119, 13 1/4 x 5 1/8.” Signed in pencil.

Other impressions of this print are in the collections of the Library of Congress, the Art Institute of Chicago and one was exhibited at the prestigious Panama-Pacific Expo of 1915. Paper tape in margin edges far from image area.

HELEN HYDE (Amer. 1868-1919)

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

ROBERT BRUCE INVERARITY (Amer. 1909-2000)

“AT REST" [Boat in Moonlight], 6 x 6 1/4.” Signed in pencil.

With original typed label reading “An original block print cut and hand printed by Bruce Inverarity, FRSA [Fellow of the Royal Society of Artists, London].”

JANE BERRY JUDSON (Amer. 1868-1935)

“AFTERGLOW--SHEEPSCOT RIVER, ME.," ed. 18/100, 8 x 6.” Signed in pencil.

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.

JANE BERRY JUDSON (Amer. 1868-1935)

“CAPT'N SETH'S DOORWAY," ed. 38/100, 8 x 6.” Signed in pencil.

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.

JANE BERRY JUDSON (Amer. 1868-1935)

“OUR VILLAGE STREET," 6 x 8.” Signed in pencil.

With the artist’s Castile, NY label as well as a label from The 19th Annual Exhibit of Rochester Art, April 1932 at The Memorial Art Gallery, Rochester, NY. 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.

MAXIMILLIAN KURZWEIL (Austrian 1867-1916)

“DER POLSTER” (“The Cushion”), color woodcut, 1903, ed. unknown, 11 ¼ x 10 ¼.” Unsigned as usual.  

As published in Jahrsmappe der Gesellsschaft fur Velvielfaltigende Kunst, Vienna.  Full margins. 

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

[ROADWAY WITH MOUNTAIN VIEW] Santa Barbara??, color woodcut, c. 1930, ed. 50, 8 x 5 1/2.” Unsigned.

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)

[MOUNTAIN CABINS IN SNOW] color woodcut, c. 1925, 7 x 9 3/4.” Signed in pencil.

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. Noted “No. 49” in margin.

ENGELBERT LAP (Austrian 1886-1970)

“WINTER DAY" (Tracks in the Snow), color woodcut, c. 1925, 7 x 9 3/4.” Signed in pencil.

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)

[MOUNTANS IN SNOW], color woodcut, c. 1925, 6 1/8 x 8 1/4." Signed in pencil.

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. Noted “No. 49” in margin.

ENGELBERT LAP (Austrian 1886-1970)

“NEAR SEEFELDT" (Austria), color woodcut, c. 1925, 10 x 8 1/8.” Signed in pencil.

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. Noted “No. 49” in margin.

ANTHONY LAPAGLIA (Amer. 1897-1993)

[FIELD WITH FLOWERING TREES], color woodcut, c. 1925, ed. 21/50, 8 1/4 x 13 1/2.” Signed in pencil.

*Mallett’s Index of Artists Supplement lists Lapaglia as a New York artist who was a member of the Washington Square Outdoor Show Assn. The New York Historical Society has 7 of his woodblocks in their holdings including this image. Noted in pencil in right margin “Landscape #3.”

PAUL LESCHHORN (Germ. 1876-1952)

“FROSTED BEECHES" ("Bereift Buchen"), color woodcut, c. 1915, 9 1/4 x 12 3/8.” Signed in pencil.

PAUL LESCHHORN (Germ. 1876-1952)

“WEG IM SCHNEE” (”Path in the Snow”), color woodcut, c. 1915, 17 1/4 x 13 1/8.” Signed in pencil.

From the estate of renowned print collector Robert O. Muller.

TOD LINDENMUTH (Amer. 1885-1976)

“IN THE WEIR,” color linocut, c. 1917, 9 1/8 x 7.” Signed in pencil.

Toning in old mat opening not apparent in current matting configuration.

TOD LINDENMUTH (Amer. 1885-1976)

“ON THE MOORING,” color linocut, c. 1917, 6 1/8 x 8.” Signed in pencil.

BERTHA B. LUM (Amer. 1869-1954)

“ELEPHANT PROCESSION AT ANGKOR WAT,*” raised line hand colored color woodcut**, 1927, GP95a, small edition, 19 1/4 x 10 1/4.” Signed in pencil.

  *This is the left panel of the triptych of the same name. The Gravalos Pulin catalog lists this as being created in 1930 but this impression is noted 1927 in pencil. One chip in tree leaf, center, and light wrinkling, lower right. **With extensive silver leaf applied to the background. Uncommon. In a simple gold leaf frame.

BERTHA B. LUM (Amer. 1869-1954)

"THE PIED PIPER,”  color woodcut, 1916*, GP43, ed. at least 91, 9 1/2 x 13 5/8.” Signed in pencil.

*This impression printed 1921. Here Lum has combined the Western world’s Pied Piper with the Japanese god, Jizo, who befriends children in the underworld. Glue stains on back not visible on front.

HELENE MASS (Germ. b. 1871)

[HOUSE AND TREE], color woodcut, 4 x 4.” HOLD.

FRANCES PERCY McNEILY (Unknown)

[HOUSE IN THE MOUNTAINS], color woodcut, 1914, 3 3/8 x 4 5/8.” Signed in pencil.

Small repaired chip upper sheet edge stopping at print border. Inscribed and dated on reverse of old backboard.

LILIAN M. MILLER (Amer. 1895-1943)

"SANPANS AT SUNSET, JAPAN," color woodcut, 1934, M90, 10 3/4 x 9 1/2." An unsigned proof.

Pictured in Kendall Brown’s Between Two Worlds: The Life and Art of Lilian May Miller, p. 74.

HANS NEUMANN (Austrian 1888-1960)

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

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

MARGARET J. PATTERSON (Amer. 1867-1950)

[FLOWERS IN A VASE], watercolor and gouache, 1929, 13 ½ x 9 ½.”  Signed.  

Signed and dated 1929.  This is somewhat similar to the woodblock “Grandmother’s Flowers” but differs in a number of ways.  It may be a study for a yet-undiscovered print.  Wonderful colors and composition.

MARGARET J. PATTERSON (Amer. 1867-1950)

“GARDEN FLOWERS,” [Larkspurs], color woodcut, T4, B90 1/2 x 7 1/2" An unsigned proof.

An unsigned proof with an old typed label. Brilliant colors! Trimmed to the margin by the artist and on its original mount. Another impression of this print was exhibited in the landmark Smithsonian exhibit Provincetown Printers: A Woodcut Tradition (1983).

MARGARET J. PATTERSON (Amer. 1867-1950)

“HOUSES ON CANAL, NIGHT,” [near Bruges], pastel, c. 1906-11*, 14 3/4 x 11 3/4.”Signed in pencil.

Titled on many old undated labels, verso. One lists only an address: 215 W. 57th St., NYC, which is the location of the Art Students League where this was apparently exhibited. Others: Art Institute of Chicago; “Water Color Club” (Boston?); another just noted “Los Angeles.” Light staining, lower margin edge. *An early work, this is typical of work in style and medium that Patterson was creating during this period.

MARGARET J. PATTERSON (Amer. 1867-1950)

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

*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)

“SWANS,” color woodcut, c. 1920, 7 1/8 x 10 1/8.” An unsigned proof.

An unsigned proof from the estate of Sylvan Cole. A particularly luminous impression of this print with nice embossing ("gauffrage") on the wings. The sheet is trimmed to the borderline which is often the case with Patterson's woodcuts.

MARGARET J. PATTERSON (Amer. 1867-1950)

74. “WINDBLOWN TREES,” color woodcut, c. 1922, planned ed. of 100,* 7 1/8 x 10 ¼.”  Signed in pencil.   Especially rich colors (never framed or matted since printed).  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”).

WALTER JOSEPH PHILLIPS (Can. 1884-1963)

“ZINNIAS,” color woodcut, 1928, B122, ed. 7/100, 10 ¼ x 10 ¼.” Signed in pencil.

 Exceptional colors. A particularly dark impression of this great image. Phillips, Canada’s preeminent woodblock printer, at times worked in this country and exhibited widely here.  He credited Frances Gearhart as one of his major influences.

JOHN E. PLATT (Brit. 1886-1967)

“SNOW IN SPRINGTIME,” color woodcut, 1920, C6, ed. 39/100*, 9 5/8 x 11 7/8.” Signed in pencil.

* (Only 71 impressions recorded).Very nice colors and impression. Nice embossing in the sky with the use of uninked blocks.

FRANZ REVESZ-FERRYMAN (Hung./Am. 1893-1947 )

“VILLAGE BRIDGE,” color woodcut, 1922, ed. 7 1/2 x 9 3/4.” Signed in pencil.

The artist studied with Brangwyn and worked in Budapest and he emigrated in the 1920's to the United States and settled in Little Neck, New York. He had over thirty internationl one man shows in venues such as Philadephia, Chicago, Australia, Dresden, Budapest, London, and New York. A heavily inked print with wonderful colors.

WILLIAM SELTZER RICE (Amer. 1873-1963)

[TREES], watercolor, 9 1/2 x 13 5/8' (sight). Signed.

CHARLES H. RICHERT (Amer. 1880-1974)

“THE RAIN BARRELL,”* color woodcut, 10 x 7." Signed in pencil.

*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.

SHIRELY RUSSELL (Amer. 1886-1985)

“CARMEL MISSION,” color woodcut, c. 1935, ed. 27/50, 14 1/8 x 11 1/8.” Signed in pencil.

Printed in Japan by Watanabe.

KARL SCHMIDT-WOLFRATSHAUSEN (Germ. 1891-1971)

[ROAD TO WILDERNESS], color woodcut, c. 1915, 8 5/8 x 8 7/8." Signed in pencil.

GEORGE SENSENEY (Amer. 1874-1943)

[RIVER LANDSCAPE WITH CRESCENT MOON], color etching & aquatint, c. 1915-20, 16 x 10” (image). Signed in pencil.

Senseney 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. Noted “No. 47” in the margin. A few tight, inconspicuous printer’s creases in the image as is common with the artist’s work.

GEORGE SENSENEY (Amer. 1874-1943)

[RIVER SCENE WITH FULL MOON], color etching & aquatint, c. 1921, 16 x 11 7/8.” Signed in pencil.

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.

GEORGE SENSENEY (Amer. 1874-1943)

[RED HOUSE BY STREAM, WINTER], color etching & aquatint, c. 1922, 11 7/8 x x 8 1/2.” Signed in pencil.

Noted “No. 33” in margin. This may be the print “Mill River, Winter” exhibited at the Print Makers Society of California in 1922. Senseney 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. A stunning image.

GEORGE SENSENEY (Amer. 1874-1943)

"THE BIG CLOUD," color etching & aquatint, c. 1917, 11 3/4 x 9 1/4.” Signed in pencil.

Noted “No. 81” in pencil. Another impression of this print is in the Library of Congress collection, p. 441. Senseney did very atmospheric prints; he was a medalist at the PPIE 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.

GEORGE SENSENEY (Amer. 1874-1943)

[TREES AND FULL MOON], b&w etching & aquatint, c. 1920,, 7 1/4 x 4 3/4.” Unsigned.

Senseney was a medalist at The Panama Pacific International Exposition in San Francisco in 1915.

M. LOUISE STOWELL (Amer. 1861-1930)

“GEORGE P. HUMPHREY: AT THE SIGN OF THE OLD BOOKMAN,” color lithograph, c. 1897, 12 1/2 x 8.” Signed in stone only.

This is the from “Les Maitres de l’Affiche” portfolio, plate 76. Stowell was an important Rochester artist who studied with Arthur Wesley Dow, perhaps as early as 1892 at his Ipswich Summer School of Art and possibly at The Art Students League in NYC. Repaired tears, margin edges, not affecting image. Faint crease in vertical horizontal region.

M. LOUISE STOWELL (Amer. 1861-1930)

“SANCTA CECELIA,” color woodcut*, ed. small, 7 1/8 x 9 1/8.” Signed in block only.

Not pencil signed. After a design by Harvey Ellis (and with his monogram in the image, upper left). Tipped onto its original mount and signed, dated noted “The Far East Shop, Rochester, N.Y.” in letterpress on the mount. Mount is stained but print is fine. Uncommon. *There seems to be other printing elements involved in addition to woodcut...

M. LOUISE STOWELL (Amer. 1861-1930)

[ST. MICHAEL OVER MONT SANIT-MICHEL], color woodcut*, ed. small, 6 1/4 x 9.” Signed in block only.

Not pencil signed. After a design by Harvey Ellis (and with his signature in the image, upper left). Tipped onto its original mount and signed & dated in letterpress in the margin. Embossed “M.L.S.” in print. Noted “The Far East Shop,Rochester, N.Y.” on the mount. Mount is stained but print is in fine Uncommon. *There seems to be other printing elements involved in addition to woodcut...

GLENN WHEETE (Amer. 1884-1965)

“DESERT DAWN,” color woodcut, 1941, ed. 15, 12 1/8 x 14 7/8.” Signed in pencil.

Paper tape, upper margin edges. Nice colors.Wheete was one of the Prairie Printmakers.

THOMAS JEFFERSON (T.J.) WILLISON (Amer early 20th c.)

[ LANDSCAPE], oil on baord, 6 x 8.” Signed..

Framed in its original 3/4" wide painted frame.