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Steven Thomas, Inc.

Uploaded August 1, 2021

The Arts & Crafts In August Virtual Antiques Show

 

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.

 

Contact/Hours: You can reach us by email (stinc@sover.net), text (1-802-291-3764) or phone (1-800-781-8028). We will actively be fielding calls/emails from 8am to 6pm every day. You can contact us after hours and the timestamp of the email or voicemail will give you priority over later contacts (this applies too during "open" hours if we are busy with another shopper).

 

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 $35 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 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

JAMES ALLAN (Amer. 1892-1966)

"MOUNT RAINIER FROM VAN TRUMP PARK," color woodcut, 1932*, C143, ed. very small, 18 x 12.” Signed in pencil. $2950. Signed in the image and noted #7 and ‘32 and PCP (Pacific Coast Printers). Rare. According to David Martin (in Territorial Hues: The Color Print and Washington State 1920-1960, p. 23; illus. p. 25) “the effort was so strenuous that he made no other prints after this initial endeavor.” This is an incredibly complex print...no wonder he was a one hit wonder! *The block was created between 1921 and 1924.The watermark on the paper is faintly visible in the trees in the lower foreground.

KARL BIESE (Germ. 1863-1926)

MOUNTAIN FARM IN WINTER, chromolithograph, c. 1900-1910, 17 x 23 1/4.” Signed in the stone only. $475. The Germans were leaders in the field of chromolithography (lithographs printed in colors) and printed wonderful prints during the Arts and Crafts era. In early (original?) frame.

HEINRICH CARL (Early 20th Century)

"SYLVIA," color woodcut, c. 1920-30, 9 3/8 x 7 3/8.” Signed in pencil. $625. Carl is a puzzle: I have had many woodblock prints by him with widely varying subject matter yet I have never found any biographical data on him....

 

GABRIELLE DE VEAUX CLEMENTS (Amer. 1858-1948)

"AT THE GREEN DOOR," color etching, c. 1920, 9 7/8 x 8.” Signed in pencil. $450. Noted “No. 1”in lower left margin. Slight cockling to paper.

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

"GREEN PASTURES,” color etching & drypoint, c. 1925, 9 3/4 x 6 3/4.” Signed in pencil. $450.

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.

 

LEO F. DORN (Amer. 1879-1964)

"NEW ENGLAND FARM," color woodcut, c. 1925-30, 4 1/8 x 3 1/4.” Signed*. $650. *Signed and titled at bottom of original sheet, now affixed to the reverse of the frame. Also noted, “Original woodcut in 5 colors printed from the blocks.”

ARTHUR WESLEY DOW (Amer. 1857-1922)

"ANCIENT JAPANESE TEXTILE PATTERN," color metal relief print, 1902, ed. c. 800,* 5 1/8 x 2 1/8." Unsigned as usual. $350. 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)

"BY SALT MARSHES" [Book], color woodcuts, 1908, ed. c. 200, 9 7/8 x 7 3/4.” Numbered 130 in pencil. $4,750. RARE FIRST EDITION OF DOW’S MASTERPIECE, ONE OF THE MOST CELEBRATED EXAMPLES OF COLOR WOODBLOCK ILLUSTRATIONS. ONE OF ONLY 200 COPIES PRINTED.  Especially rare in such excellent condition.
By Salt Marshes is Arthur Wesley Dow's tribute to the old North Shore town of Ipswich, where he was born and spent most of his life, and to his boyhood friend, Everett Stanley Hubbard. It is a collaboration somewhat in the spirit of Meteyard, Carman and Hovey in their Vagabondia books, though Hubbard was undoubtedly a lesser poet and Dow a greater artist. [It] is his masterpiece, and it is evident from the numerous sketches and proofs in the Ipswich Historical Society and the Society for Preservation of New England Antiquities - some dating back as far as 1895 - that it was a labor of love. Infinite care and craftsmanship were expended on every detail.”

Dow displayed a complete mastery of the color woodblock technique, "using as many as four or five different blocks, accurately registered, thinly inked to show the grain of the wood, and printed in subtle gradations of tone to achieve a luminosity that effectively evokes the quality of the light on the marshes" (Finlay, Artists of the Book in Boston, 1890-1910). (The frontispiece of the Finlay catalog, and its only color illustration).

This copy was exhibited in Arthur Wesley Dow (1857-1922) His Art and Influence, at Spanierman Gallery November 9, 1999 -January 15, 2000 and pictured on p. 46 of the book that accompanied the exhibit. Marilee Meyer's footnote 9 on p. 70 provides more details on this volume.

Complete with seven color woodcut illustrations plus title, colophon, endpaper, and head and tailpiece vignettes.

Ipswich, Massachusetts: Privately printed, 1908. Thin small octavo, original brown linen-backed boards with woodcut cover title and vignette.  

Corners of cover slightly chipped. Cover bright and internally fine.

ARTHUR WESLEY DOW(Amer. 1857-1922)

"BY SALT MARSHES" [Book], interior photo.

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. $525. An “Ipswich Print” from the “1st Set” (1902). These prints were printed by hand on a foot-powered press. Initialled on the reverse on pencil, “RHJ” (Ralph H. Johonnot 1880-1940) from whose estate this came from.
*Intended as teaching aids, many did not survive the years.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"THE DORY," color woodcut, c. 1893-95, ed. very small, 5 x 2 1/2.” Signed and dated in pencil. $12,500. Wonderful colors--one of the best colorations of this print I’ve seen. Tipped to its original mount. Signed and titled in ink on the reverse of the mount and with Dow’s NYC ink stamp on the reverse as well Titled on original mat. Titled and located “Ipswich” in lower margin. Slight toning in margins. From Dow’sseminal portfolio “Along Ipswich River.”

ARTHUR WESLEY DOW (Amer. 1857-1922)

"HENRY MAYNE HIS HOUSE, THE PIRATE OF IPSWICH," color woodcut, 1908, ed. very small, 4 1/2 x 5 1/2.” Signed and dated in pencil. $1750. I have located only one other impression of this print and it was dated 1910. That one was exhibited at the prestigious Panama-Pacific Exposition in San Francisco in 1915.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"INK SKETCH," (Old Buildings Along the Shore," metal relief print, 1902, ed. c. 800,* 4 1/8 x 5 1/2.” Signed with chop only. $575. An “Ipswich Print” from the “2nd Set” (1902). These prints were printed by hand on a foot-powered press. *Intended as teaching aids, many did not survive the years. Unsigned as usual. Another impression of this print is in the collection of the Smithsonian in Washington, DC.

 

ARTHUR WESLEY DOW (Amer. 1857-1922)

IPSWICH SREET WITH FIGURES, color woodcut, c. 1901-6, ed. very small, 4 1/2 x 6.” Signed in the block only $595. I have not been able to find another example of this print. I believe this to be an original woodblock print rather than one of the metal relief prints as were the Ipswich Print series as this is larger than any of those, rare, and has a different print quality.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"A MARSH ISLAND, color metal relief print, 1902, ed. c. 800*, 3 1/2 x 5 1/2." Unsigned as usual. $850. An “Ipswich Print” from the “1st Set” (1902). These prints were printed by hand on a foot-powered press. Titled in letterpress, lower left margin. Inscribed “AWD” upper left margin in what appears to be Dow’s hand. *Intended as teaching aids, many did not survive the years.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"MODERN ART," color lithograph, 1895, 17 5/8 x 13 5/8” (image). Signed in the stone only as usual. $4950. Excellent colors. Numerous professionally repaired tears to sheet edge, 2 entering image. This is the original--and VERY RARE--Modern Art poster from which the Maitres de l’Affiche was copied.From the estate of artist Curtis Wager-Smith, writer and artist d. 1950 and student of Dow’s.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"MODERN ART," color lithograph, 1895, 14 x 10 3/4.” (image). Signed in the stone only as usual. $1250. Excellent colors. This is the original--and VERY RARE--Modern Art poster from which the Maitres de l’Affiche was copied. It has been matted into the image because of tears in the outer image area (Compare to full sheet of the poster above). From the estate of artist Curtis Wager-Smith, writer and artist d. 1950 and student of Dow’s.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"MODERN ART," color lithograph, c. 1897, 10 1/8 x 8.” Signed in the stone only as usual. $850. This is the from “Les Maitres de l’Affiche” portfolio, plate #36 and, as is the case with all of the “Maitres,” is smaller than the original but identical in all other respects.

 

ARTHUR WESLEY DOW (Amer. 1857-1922)

"THE OLD SHIPYARD," metal relief print, c. 1902-6, ed. small, 5 x 3.” Signed in the block only. $525. Not included in any of the Ipswich Print portfolios, this print was likely printed in a smaller edition (I have never seen it before). Framed in a nice ribbed gold frame.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"OLDTOWN HILL, color metal relief print, 1901, ed. c. 800*, 3 x 4 7/8.” Unsigned as usual. $850. 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)

“RIVER REFLECTIONS," (Yellow), color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $1950. This impression exhibited at the Minnesota Institute of Art in "Color Woodcuts in the Arts and Crafts Era," September 14, 2019-March 22,2020. 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 REFLECTIONS," (Gray), color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $1950. This impression exhibited at the Minnesota Institute of Art in "Color Woodcuts in the Arts and Crafts Era," September 14, 2019-March 22,2020. 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. $325.

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 (Amer. 1857-1922)

"VILLAGE ROOFS," metal relief print, 1902, ed. c. 800,* 4 1/8 x 5 1/2." $395. An “Ipswich Print” from the “1st Set” (1902). These prints were printed by hand on a foot-powered press. Another impression of this print is in the collection of the Smithsonian in Washington, DC.
*Intended as teaching aids, many did not survive the years.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"WILLOW TREE AND SUNSET CLOUDS," color metal relief print, 1902, ed. c. 800,* 3 1/4 x 5 5/8." Signed in the block only. $795. An “Ipswich Print” from the “2nd Set” (1902). These prints were printed by hand on a foot-powered press. *Intended as teaching aids, many did not survive the years. Another impression of this print is in the collection of the Smithsonian in Washington, DC.

ARTHUR WESLEY DOW (Amer. 1857-1922)

"WILLOWS IN THE MEADOW," color metal relief print, c. 1902, 3 1/2 x 5 1/2.” Signed in the block only. $950. An “Ipswich Print” not published in one of the 3 Portfolios (hence the edition may very well have been much smaller than the usual edition of c. 800). Intended as teaching aids, many did not survive the years. Same composition as the Ipswich Print“Willows in Bloom,” but with different coloration giving evidence that Dow varied the colors in his Ipswich prints as well as his woodblock prints.

 
 

OSCAR DROEGE (Germ. 1898-1983)

[DUNES IN SNOW], color woodcut, c. 1930, 14 x 9 1/2." Signed in pencil. $750.

 

OSCAR DROEGE (Germ. 1898-1983)

"SPRING IN THE MOUNTAINS," color woodcut, 1933, 14 1/8 x 9 3/8." Signed in pencil. $675.

With original label giving title.

RACHEL ROBINSON ELMER (Amer. 1878-1919)

"OFFICIAL BIENNIAL POST CARDS, VIEWS OF NEW YORK,” color linocuts, 1916, 5 1/2 x 3 1/2” (each card). Signed in the block only as usual. $2350. 6 postcards: I.“Times Building from Hotel Astor;” II. “The Stadium, City College;” III. “Woolworth Building, June Night;” IV. “Statue of Liberty;” V. “Grant’s Tomb;” and VI. “Brooklyn Bridge, Late Afternoon;” See Arthur Wesley Dow and his Influence (1990) p. 60. Also The Antiques & Arts Weekly, July 23, 1993, p.105 and Style 1900 Vol. 18, No. 4 (Fall/Winter 2005-6) pp. 61-2 for more on the artist. These spectacular hand-printed cards are not commonly encountered and even rarer with the original folder.

 

RACHEL ROBINSON ELMER (Amer. 1878-1919)

"TIMES BUILDING FROM HOTEL ASTOR,” color linocut, 1916, 5 1/2 x 3 1/2." Signed in the block only as usual. $395. From the set “Official Biennial Post Cards, Views of New York.” See Arthur Wesley Dow and his Influence (1990) p. 60. Also The Antiques & Arts Weekly, July 23, 1993, p.105 and Style 1900 Vol. 18, No. 4 (Fall//Winter 2005-6) pp. 61-2 for more on the artist. These spectacular hand-printed cards are not commonly encountered.

OSCAR ERICKSON (Amer. 1883-1970)

"MOONLIGHT,” color linocut, c. 1925, ed. 100, 7 1/4 x 6 1/2.” Signed in pencil. $650. Erickson was a member of the Hoosier Salon.

HANS FRANK (Aus. 1884-1948)

LANDSCAPE WITH POND, color etching, 1921, ed. 7/50, 5 1/8 x 7.” Signed in pencil. $295.

WILHELM FUNK (Germ./Amer. 1866-1949)

TALL TREES, color woodcut, c. 1920's, 11 3/4 x 15 3/4.” Signed in pencil. $575.

\

FRANCES H. GEARHART (Amer. 1869-1958)

"RINCON," 1930, color woodcut, 9 7/8 x 9.” Signed in pencil. $2500. 2 tiny unobtrusive thin spots in paper likely from printing. On rare occasions Gearhart created prints with only single block or, as in this case, with the addition of only a tint block. Another impression of this print was exhibited at the Wichita Art Association in 1930, An impression without the tint block is pictured in Frances H. Gearhart: Color Block Prints in Wichita 1922-1937, by Roger Genser.

 

WILLIAM GILES (Brit. 1872-1939)

ADA SHRIMPTON BOOKPLATE, color woodcut, 2 x 3 1/4.” Signed in pencil. $275. This was created by the artist as a bookplate for his wife, the print maker Ada Shrimpton (Brit. 1858-1925).

OTTO HAKE (Germ./Amer. 1876-1965)

"FISHERMAN'S HUT," color woodcut, 1933, 10 x 9 1/4.” Signed in pencil. $895. Hake emigrated to the U.S. while in his teens and apprenticed with a wood engraver in St. Louis. He began exhibiting at the Art Institute of Chicago in 1917. He begin marking color woodblock prints perhaps as early as the mid 1910’s.

OTTO HAKE (Germ./Amer. 1876-1965)

"FISHERMAN'S HUT," Framing.

NORMA BASSETT HALL (Amer. 1889-1957)

"CABIN IN THE BLUE RIDGE," color woodcut, 1940, P72, ed. 50, 9 1/2 x 12.” Signed in pencil. $1750. Another impression was shown in the Prairie Print Makers Exhibition in 1941 in Tulsa, Oklahoma. This is a cabin the Halls built in Bluemont, VA and I’m guessing that’s Arthur Hall on the porch.

NORMA BASSETT HALL (Amer. 1889-1957)

“OCTOBER IN SANTA FE, color woodcut, 1948 ,P86, ed. 100, 10 x 8.” Signed in pencil. $2950. 9th Presentation Print for the American Color Print Society and with the original folder cover.

CARROLL J. HOLLIDAY (Amer. early 20th c.)

"DAILY BREAD," color woodcut, c. 1920-30, 8 x 9 5/8.” Signed in pencil. $375. In original simple tan frame. I find reference to the artist in the New Canaan CT area. Known for illustration work for magazines in the 1910’s and 20’s as well as woodblock prints. The style shows the influence of Arthur Wesley Dow. One could assume the artist studied with Dow or was exposed the his textbook Composition. Light creasing in image noticeable only under raking light.

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 30+ years).

DARD HUNTER (Amer. 1883-1966)

"THE ROYCROFT INN" (Portfolio of 6 prints), color lithograph after woodcuts, 1910, 3 1/4 x 5 1/4” (image size), 6 1/2 x 8 1/2” (sheet). Initialled in print only. $1350. The complete set of 6 prints depicting the campus of the Roycroft Inn in 1910. Very uncommon to find all prints intact with portfolio cover and colophon. 1. Reception Room of the Rofcroft Inn 2. The Roycroft Chapel East Aurora 3. Roycroft Shop in East Aurora 4. Entrance to the Roycroft Inn 5. The Music Room of the Roycroft Inn 6. The Peristyle of the Roycroft Inn.

 

HELEN HYDE (Amer. 1868-1919)

"AUGUST," color woodcut, 1914, M114, 7 1/8 x 2 3/4.” Signed in pencil. $575. 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)

"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)

"AN INTERLUDE," color woodcut, 1912, M94, 11 1/8 x 12 3/4.” Signed in pencil. $750. aka “The Breadman’s Donkey.” “It was in San Angelo that we so often saw the breadman's donkey, pausing with his cowhide panniers before the green door." Helen Hyde, "The Colour Lure of Mexico" in the International Studio, Novemeber 1913. An impression was exhibited at the Panama Pacific International Exposition in San Francisco in 1915.

 

HELEN HYDE (Amer. 1868-1919)

"AN INTERLUDE," Framing.

HELEN HYDE (Amer. 1868-1919)

"THE RED CURTAIN," color woodcut, 1907, M74, 7 x 3 3/4.” Signed in pencil. $575.

 

HELEN HYDE (Amer. 1868-1919)

"A SUMMER GIRL," color woodcut, 1905, M62, 7 1/4 x 2 3/8.” Signed in pencil. $595. 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. 19/100, 8 x 6.” Signed in pencil. $1250. 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)

CAPT'N SETH'S DOORWAY," color woodcut, c. 1920-30, ed. 20/100, 8 x 6.” 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.

 

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.”

ENGLEBERT LAP (Austrian 1886-1970)

"NEAR SEEFELDT, AUSTRIA," color woodcut, c. 1925, 10 x 8 1/8.” Signed in pencil. $775. 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. With label from Hermann & Hummel, Inc.

BERTHA BOYNTON LUM (Amer. 1869-1954)

"INCENSE," color woodcut, 1932, GP144, 14 5/8 x 10 5/8.”” Signed in pencil. $750. One of the artist’s complex raised-line woodcuts that she created later in her career. Light crazing to some of the thickly-applied gouache coloring.

BERTHA BOYNTON LUM (Amer. 1869-1954)

"INCENSE," Framing.

BERTHA BOYNTON LUM (Amer. 1869-1954)

"LAND OF THE BLUEBIRD," color woodcut, 1913, GP40, 16 1/4 x 9 5/8.” Signed in pencil. $1650. Another impression of this print is in the collection of The Library of Congress. Also exhibited at the Art Institute of Chicago in 1919. Illustration for an article in The American Magazine of Art in August 1917 and in International Studio, January 1921. Very faint foxing, lower left.

BERTHA BOYNTON LUM (Amer. 1869-1954)

"TEMPLE IN RAIN," color woodcut, 1916, GP48, ed c. 29, 10 1/4 x 4 3/4.” Signed in pencil. $1295. Also known as “Pagoda in Rain.” Provenance: Hirschl & Adler Galleries, New York. In a nice Arts & Crafts style gilt frame. Another impression of this print is in the collection of the Brooklyn Museum.

WILLIAM H. MALE (attributed) (late 19th/early 20th c.)

"RUSSO-JAPANESE FAIR AND DANCE," pen & ink & white, 1905, 11 x 8 1/8.” Signedl. $595. This is a original drawing for a poster signed “H. Male” and dated Feb. 16, 1905. The connection between Pratt Institute and this war is unclear. (The war ended in September of 1905). Arthur Wesley Dow taught at Pratt from 1896-1903. There was an artist by the name of William H. Male was a member of the Brooklyn Art Association and listed in the 1892-3 New York Art Guide and Artists’ Directory.

HELENE MASS (MAAS) (Germ. 1871-1955)

TREES IN A FIELD, color woodcut, c. 1920,11 x 8.” Signed in pencil. $495. Mass had trained at the Academy of Arts in Berlin before taking up colour woodcut. How she learned and why is hard to say but her early style is well in keeping with the late Impressionism used by artists associated with the Berlin Secession. As we have no dates for any of her work, it is impossible to say when she began to make woodcuts but it cannot have been earlier than about 1905.(Thanks to the amazing blogpost “The Linosaurus.”)

MILDRED "Dolly" McMILLEN (Amer. 1884-1940)

"HOUSETOPS" (Provincetown), woodcut, 1918, ed. small, 17 1/4 x 14 5/8.” Signed in pencil. $3750. One of the original Provincetown Printers. McMillen never worked in color and her prints are uncommon. An impression of this print was exhibited at the Chicago Society of Etchers exhibit at the Art Institute of Chicago in 1919. An impression is in the collection of the National Gallery of Art. The artist was featured in Janet Flint's landmark 1983 exhibition, Provincetown Printers: A Woodcut Tradition. Very faint creasing in image. Another imaage by the artist was illustrated in Inspriing Reform: Boston’s Arts & Crafts Movement (Marillee Boyd Meyer, et al., 1997) #137. Framed in a thin tan modern wood frame.

 

PHILLIP G. NEEDELL (Brit. 1886-1974)

"iN THE DOLDRUMS," color woodcut, 1928, ed. 50, 9 x 10 3/4.” Signed in pencil. $695. Somewhat reminiscent of Margaret Patterson’s “Summer Clouds.”

 

PHILLIP G. NEEDELL (Brit. 1886-1974)

"THE ANCHORAGE, BOSHAM," color woodcut, c.1925, 6 x 8 1/2.”” Signed in pencil. $525.

 

KATE NEUFELD (Russ./Amer. 1905-2004)

"EARLY SPRING," color woodcut, c. 1940, 6 1/4 x 9 3/8.” Signed in pencil. $495. Neufeld was the sister of Woldemar Neufeld. She studied at the Cleveland School of Art from 1939-41. She worked on block prints while in Cleveland but her reputation was primarily for her enamel work.

 

HANS NEUMANN (Austrian 1888-1960)

"VIEW OVER STARNBERGER LAKE," color woodcut, 1909, 9 3/4 x 14 1/2.” Signed in pencil. $575.

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

BROR J.O. NORDFELDT (Amer. 1878-1955)

"THE PIANO," color woodcut, 1906, Minn12, ed. small, 8 1/8 x 10.” Signed in pencil. $8950. Trimed by the artist is usual for his early prints and attached to mount at the corners. Arguably the artist’s best non-white line print. aka “The White Gown,” “Lady at the Piano.” Pictured in Janet’s Flint’s Provincetown Printers p. 9. Impressions in the Metropolitan Museum of Art, Smithsonian,etc. Framed in a stunning period ornate gilt frame.

BROR J.O. NORDFELDT (Amer. 1878-1955)

"TWO MEN DIGGING," color woodcut, 1906, Minn17, ed. small, 11 1/2 x 7 5/8.” Signed in pencil. $7950. Trimed by the artist as usual for his early prints; mounted to a support sheet. aka “The Pine Trees.” Impressions in the Art Institute of Chicago and the Smithsonian.
UNFRAMED.

ELIZABETH NORTON (Amer. 1887-1985)

"CYPRESS," color woodcut, 1922, LOC8*, ed. c. 100, 5 1/4 x 3 3/4.” Signed in pencil. $850. *Another impression of the print is in the Library of Congress Collection. Framed in a reproduction oak frame.

 

EDWARD L. PALMER (Amer. early 20th c.)

“AUGUST," color linocut, ed. 50, 8 1/8 x 6 3/8.” Signed in pencil. $375.

MARGARET J. PATTERSON (Amer. 1867-1950)

“CAPE COD HOUSE," color woodcut, c. 1920, 7 x 10 1/8.” Signed in pencil. $3500. 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)

“GARDEN FLOWERS," color woodcut, 1921, ed. 100,* 10 1/4 x 7 1/4.” Signed in pencil. $2950. Light soiling in the margins; lovely colors. *Patterson planned editions of 100 but it is widely believed that she didn't complete them.
UNFRAMED.

MARGARET J. PATTERSON (Amer. 1867-1950)

“LITTLE HOUSE, SLUIS" (Holland), color woodcut, 1911, ed. small, 8 1/4 x 6.” An usigned proof. $750. An uncommon early image by the artist.

J. PRESCHER (German/Austrian School))

FLOWERS IN A VASE, color woodcut, c. 1920, 8 x 7.” Signed in pencil. $495. The artist is presently unknown but numerous works by the artist appear in the states. Likely an Austrian or German artist.

CHARLES H. RICHERT (Amer. 1880-1974)

"COVERED BRIDGE," color woodcut, c. 1920-30, 5 x 7.” Signed in pencil. $425.

 

CARL ROTKY (Aus. 1891-1977)

[AUTUMN TREES IN THE MOUNTAINS], color woodcut, 9 7/8 x 8.” Signed in pencil. $595.

 

D. SANBORN (Amer. 20th c.)

"ADIRONDACKS," etching & aquatint, c. 1920-30, 3 3/8 x 5 1/4.” Signed in pencil. $275.

GEORGE SENSENEY (Amer. 1874-1943)

"NOCTURNE," color etching & aquatint, 1921, ed. 100, 16 x 12.” Signed in pencil. $1395. 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. Noted “No. 37” and stamped with the date. With a nice ornate period frame (with few tiny chips).

MAUD W. SHERWOOD (NZ 1880-1956)

FLOWERS IN A GREEN VASE, color woodcut, c. 1920-30's,8 1/2 x 7 3/4.” Signed in pencil. $650. Sherwood was a notable New Zealand artist, exhibiting at the New Zealand Academy of Fine Arts, the Royal Academy of Arts, London and the Paris Salon. Numbered “5” in margin.

 

RUDOLF SIECK (Germ. 1877-1957)

"MARCH WINDS," color etching & aquatint, ed. 30/150, 13 5/8 x 11 3/8.” Signed in pencil. $525. With a label from Franz Hanfstaengl Gallery, NYC, giving artist and title.

CLARA SIPPRELL (Can./Amer. 1885-1975)

"HOLLYHOCKS," gelatin silver photograph, c. 1920-30, 6 3/4 x 9.” Signed. $495. Tipped onto and signed on the mount. Few pinhole-sized specks of foxing. From the estate of publisher William Edwin Rudge.

 

F. LESLIE THOMPSON (Amer. 1889-1965)

"WINTER MORNING," color etching & aquatint, c. 1944, ed. 100, 8 1/2 x 13 1/2.” Signed in pencil. $695. Thompson studied under George Senseney who was an important early practitioner of the color aquatint. Another impression of this print was exhibited at the Printmakers Society of California exhibit in 1933. Another impression of this print is in the collection of the Library of Congress.

F. LESLIE THOMPSON (Amer. 1889-1965)

"WINTER NIGHT," color etching & aquatint, c. 1930, ed. 100, 8 1/4 x 13 3/4.” Signed in pencil. $695. Thompson studied under George Senseney who was an important early practitioner of the color aquatint. Another impression of this print was exhibited at the Printmakers Society of California exhibit in 1933.

(JOHN) HALL THORPE(Austral. 1874-1947)

“HOME,” color woodcut, c. 1922, 8 x 7 3/8.” Signed in pencil.  $850. An impression of this print was exhibited at The Print Makers Society of California exhibit in March of 1922. Shortly before the beginning of the First World War, John Hall Thorpe moved from Australia to London. Most of his woodcuts were created between 1920 and 1927. His paintings and woodcuts were the subject of one man exhibitions in Paris and London.

UNKNOWN

"THE ROAD," color woodcut, ed. 150, 7 1/8 x 5 1/2.” Signed in pencil. $495. This print is signed “Jacque K” and I am unable to identify the artist. It has been suggested that this could be the work of a student of John Butler who taught as the University of Washington c. 1930’s.

UNKNOWN

[VENICE?], color woodcut, c.1920-30, 4 1/2 X 6.” Signed in pencil. $395.

 

HANS R. VOLKMANN (Germ. 1860-1927)

"AUTUMN IN THE EIFEL," chromolithograph, c. 1900-1910, 11 3/4 x 15 1/2.” Signed in the stone only. $395. The Germans were leaders in the field of chromolithography (lithographs printed in colors) and printed wonderful prints during the Arts and Crafts era. With the monogram of the publisher, B.G. Tuebner of Leipzig. Tuebner published many of the best Arts & Crafts chromolithographs of the time. With original label giving its titled on German, “Herbst in der Eifel.”

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. Watson received a degree from Pratt Institute in Brooklyn in 1907 and taught there from 1908 to 1929.

ERNEST W. WATSON (Amer. 1884-1969)

“OCTOBER DAY,” color linocut, c. 1925, ed. 100, 10 1/2 x 9 3/4.” Signed in pencil.  $550. Watson received a degree from Pratt Institute in Brooklyn in 1907 and taught there from 1908 to 1929.

 

HELEN REED WHITNEY (Amer. b 1878)

[OCEAN SCENE WITH ROCKS AND TREES*], pastel, c. 1920, 15 1/4 x 11 1/4.”  Signed.  $495. *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.

ANDREW KAY WOMRATH (Amer. 1974-1953)

In over 35 years of dealing in woodblock prints, I hadn’t seen any works by this artist.  Most in the art world know of his work but his woodblocks have rarely been seen. 

Womrath was born near Philadelphia in 1874. He moved to London to study, and then went to Paris, working in both cities for several years. He studied woodblock printing under Urushibara Mokuchu, who bought many of his works. The British Museum has a number of his color woodcuts in their collection.

ANDREW KAY WOMRATH (Amer. 1874-1953)

“ANEMONES,” color woodcut, c. 1920, 9 x 6 1/8.” Signed in pencil.  $525.

ANDREW KAY WOMRATH (Amer. 1874-1953)

“CREPUSCULE" ("Twilight"), color woodcut, c. 1920, 5 1/2 x 7 3/8.” Signed in pencil.  $625. An early state printed without the key block.

ANDREW KAY WOMRATH (Amer. 1874-1953)

VILLAGE STREET, color woodcut, c. 1920, ed. 14, 5 x 6 1/2.” Signed in pencil.  $525.

WILFRED RENE WOOD (Brit. 1888-1976)

"WILLOWS, CAMBRIDGE," color woodcut, c. 1930's, ed. 22/60, 12 5/8 x 9 1/2.” Signed in pencil.  $650. The artist was known primarily for his watercolors and poster work but produced a small number of color woodblock prints. He studied art at Manchester School of Art, and at the Central School of Arts and Crafts and the Slade School of Fine Art in London.

 

 

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