Sunday, May 31, 2015

San Ysidro - patron saint of farming and gardening

      One of my readers sent me a photo of his Fred Geary print and gave me permission to post his story of it.

       Karl, great hearing from you.  Hope you are well.  I’m in southern California right now and will be heading back to New Mexico on Sunday.
So here’s the story: I generally have always been interested in western history.  Further, I am a long-time fan of the Santa Fe Railway and over time developed an interest in the Fred Harvey Company.  Of course, when you are interested in Fred Harvey you become aware of and develop an appreciation of Fred Geary.

My wife and I have stayed at La Posada Hotel in Winslow many times over the past ten years.

There we became aware of the the Fred Geary woodcut print San YsidroOne of the prints, in the original stylized frame made at the hotel, is on display in a glass curio case in the lobby of La Posada.  As you know, prints from the woodcut hung in the guestrooms at La Posada during the Harvey years and today you may purchase items with the San Ysidro graphic in the hotel’s gift shop.
Last October 11-13, my wife Catherine and I attended the Fall For Antiques dealer show at the Millicent Rogers Museum in Taos, New Mexico.  Here’s a the museum’s page for that annual show:
While looking at the dealer displays on Friday evening, my wife spotted a San Ysidro print in a plain black frame.  It had been brought to the show by a dealer from Montecito, California, named Michael Haskell.  Here’s a link to his business:
We went back to our hotel room and proceeded to research online Fred Geary and the print.  Your name came up in Google searches and so we contacted you and we had our phone conversation.  We did purchase the print on Sunday, the last day of the show.
We were told by Michael that the print had come from the estate of Robin Jones.  As it turns out, Robin Jones was a fine art and antiques dealer in Santa Barbara.  Here is her obituary:
Here the trail grows cold.  We don’t know how Ms. Jones came to acquire a copy of the San Ysidro print.  Michael Haskell dealt with Robin Jones’ son Evan.  Evan’s contact information is in the obit.  I have not yet tried to contact him to find out more.
So that’s the story as I know it.
If you think it would be helpful, when I return to New Mexico I can photograph the framed print and email you a copy of the photo.  It is hanging in our dining room there and is in the same condition as when we purchased it.
Hope this helps!  If you have any other questions, please let us know.
Best regards,

Brian Kreimendahl
Edgewood, New Mexico 

Brian Kreimendahl,
Rio Rancho, New Mexico,
Documenting, photographing and modeling BNSF in the Southwest photo of brian

Brian Kreimendahl
Edgewood, New Mexico
Documenting, photographing and modeling BNSF in the Southwest

"Hanging in each room was a picture of San Ysidro, the patron saint of farming and gardening, a hand-colored linoleum-block print created by Harvey artist Fred Geary that depicted the saint standing behind a plow with oxen and attended by guardian angels, conveying the essence of La Posada's make-the-desert-bloom aura." p.174-175. [La Posada in Winslow, Arizona, 1930.]

As a followup, Tony Garcia III, an antique dealer in southern Texas sent me this photo of his print. Which I believe is one of the prints, in the original stylized frame made at the hotel, on display in a glass curio case in the lobby of La Posada.  (double click on next photo)

    COMPARE both images. It looks like a border was added on the bottom edge of the print, where Fred Geary hand printed his name in pencil. Makes me one how large his edition was of that particular print.

Monday, May 26, 2014

ray parkins - nautilus art editor

"My father, Ray F. Parkins, knew Fred Geary of Carrollton," recounts Julia Murray of Overland Park, Kansas, RIGHT. She talks about her father, her Carrollton relatives, her parents, Fred Geary, and her background. Double click on images to enlarge.

"I have checked out your blog about Fred Geary.  My connection with him is that he and my father grew up in Carrollton and of course went to the same high school.  They both did art work for the school annual. After graduation they each went their separate ways." Julia Ellen Parkins Murray 

      "Mary (Parkins) Magee was my aunt. She was the middle Parkins child. The sister with 3 older Parkins boys and 3 younger Parkins boys. The 3 older ones stayed in Carrollton for the most part -- Bill, Charlie and Sam.  The 3 younger ones went on to college.  Harry, Ray and Hugh." Julia Ellen Parkins Murray
Pen and ink illustrations by Ray F. Parkins. 
Double click to see images enlarged.
"Parkins and Geary's illustrations are everywhere in my edition of the 1914 Nautilus yearbook. The book is worn with pages falling apart. A man who grew up in Carrollton gave me this book recently. His name is John R. Jackson of Odessa, Missouri." Karl Marxhausen

"Small world that someone would bring in a Nautilus to you!  I gave all of mine to the Missouri Historic Society and every now and then I wished I still had them." Julia Ellen Parkins Murray  


"My father was athletic. I believe he was quarterback for Carrollton's football team. He went on to Warrensburg State Teachers College where he and some other students lived and boarded in the Forrest (Phog) Allen home.  The fellows were  p.e. majors and several, including my father, went on to coach sports around the country. " Julia Ellen Parkins Murray

Read  "The Quitter" by Ray Parkins, from pages 43 and 44 of the 1914 Nautilus, BELOW.

     "My friend CB Magee tells me her mother-in-law was Mary (Parkins) Magee. She knew the Parkins brothers and they were fun to be around when they all got together. She said she had seen some of Ray's art once. She said all the brothers are planted in a row at the cemetery. She was divorced from a Magee." Karl Marxhausen 

   "You are a friend to Clara Beth Magee.  She was married to Jack, and they produced 2 sons.  She was a Roseberry and her mother had the drugstore there, as I remember it." Julia Ellen Parkins Murray

    "My dad married my mother who had graduated from Chillicothe Business College and had come to Carrollton to seek her fortune.  She roomed in her sister May Melton's home. Aunt May's son Raymond grew up to marry and live in Carrollton all his life--post office, fire department.       
     "The newly married couple stayed for 6 months while
my dad became principal of the high school.  He then got a position as a coach in a Minnesota high school coaching all sports--finally focusing on coaching basketball.  He was a terrific coach and had many winning seasons."      
     "I only learned last year with college records that my cousin Jack sent me -- that my dad actually majored in history -- it seemed to be a passion with him but I never knew.  One time he helped me with my history homework in 7th grade and made it come alive.  I thought then if only my teacher could do that." Julia Ellen Parkins Murray
    "The Chillicothe reference is interesting too.  I tried to get my mother's school records from the business college but never got anywhere with finding records.  I was curious about what she did study.  I am impressed learning about my parents' lives before I was existed.  She ended up being a clerk in a dry goods store in Carrollton.  Women didn't work after marriage so that was that." Julia Ellen Parkins Murray

    "What year was my dad principal? Let me look up the exact marriage date. They were married Nov 13, 1920. They had eloped and announced their marriage that Christmas and he was principal of the high school at that time. I have the delightful quaint clippings from the paper about the wedding --headline "HIGH SCHOOL PRINCIPAL KEPT WEDDING SECRET".   I think he spent that year (1920-21) as the principal, then going on to the coaching job in Duluth for a short time, then to Minneapolis for the rest of his career.  It was the only high school building in Carrollton that I knew of." Julia Ellen Parkins Murray

     "My dad would have LOVED March Madness!  In Minneapolis during high school playoffs it was kind of like March Madness. The media pace was slower back then, and basically the newspaper was the big source of news and so the newspapers filled the sports pages with articles on the coaches of the teams, and perhaps a special player on each team and detailed reports on the games.         
     "My dad was involved in the ruling that when a ball went out of bounds, the two teams would no longer have to have a tip off but instead the referee would throw the ball in to the receiving player. Think how plodding it was to constantly have to have a jump ball to resume playing!" 
    "One time I asked my dad why he hadn't become an artist and he said it was because you can't support a family as an artist." 

Carrollton High School building in 1914, ABOVE.
Geary's student signature, BELOW. 
Pen and ink illustrations by Fred Geary 
from 1914 Nautilus NEXT, and his selection
"The Pilgrims of New England" from page 41.

     "I first learned about you through your interest in Fred Geary. You have a lot of information about him on your blog about him. He is a bit mysterious in that there is not that much about him out there and you have quite a bit of it." 
     "I was researching him (Geary) for a report recently and found him in the1930 census, when he was living in Kansas City and is shown as age 34, and married --at age 34.  Didn't think he was ever married. He is so difficult to find in online records.  I believe someone in Carrollton told me that he was mentoring a young woman in Carrollton and folks thought he might marry her but never did." Julia Ellen Parkins Murray 
     "My report was informal and called attention to Fred Geary's art work for the Fred Harvey organization. It was for a reading group and we had read the book: Appetite for America by Stephen Fried -- a biography of Fred Harvey. I pointed out that Fred Geary was not mentioned at all in the book and he played a definite part in the Fred Harvey expansion of tourism in the west. I thought he deserved a mention." Julia Ellen Parkins Murray

      "I did show them the book of his woodcuts from the historical society. I was disappointed the prints were so dark that quite a bit of detail was lost. I complained politely to the society and the response was that that was the quality of the prints furnished to them to use and she too seemed sorry they were so dark." Julia Ellen Parkins Murray
     "My family lived in Minneapolis until I was twelve. My mother was in a wheelchair from Parkinson's Disease, an aftermath of encephalitis a few year's earlier.  She was requiring more care."    
     "My father died, and my mother and I came down to Kansas City, where her two sisters, one in Kansas City and one in Rayville MO, set about taking care of her but soon found she needed to be in a nursing home.  The oldest sister, May Melton, lived with her daughter and her son-in-law at 38th and Walnut, and they took me into their household, where I had an enjoyable family life.  It was a wonderful solution for me after the sadness of my father's death. I visited the Parkins side of the family often during those years, often spending a summer visit with Aunt Mary.  Visits in Carrollton gave me a taste of the small town life as opposed to the big cities I had lived in otherwise. Every one knew each other in Carrollton."  
     "It was easy to attend junior college and quite affordable but getting the last two years were out of the question.  I did not plan to continue.  The head of the nursing home determined I should finish college and connected me with the Volker Foundation, which helped me with the last two years at Kansas City University -- KCU we called it.  It is UMKC now.  Talk about helping angels everywhere.  I look back in amazement at them." 
     "After that was marriage to my husband, who was attending KCU  on the GI bill. Then I decided to teach school. So it was back to college at KU extension classes. I taught one year of 1st/2nd grade in KCMO, then I stayed home with family of 3. Still later, I went back to KU extension to get certified to teach gifted students and taught about 10 years in KCK gifted ed." Julia Ellen Parkins Murray 

     "It is funny that you should mention Wilbur Phillips.  I just ran across his name in one of your blogs yesterday and thought I know something about him --but what?  It was connected with my husband's job with Kansas City maintenance of buildings--repairs, painting.  We just talked about it this morning.  He (my husband, Truman Murray) feels that Wilbur Phillips was for a short time the acting director of the Kansas City Museum.  My husband met him through the maintenance of that building.  I seemed to remember that Wilbur was involved in painting the backgrounds for the natural history displays in the museum. And I think Phillips  was a classmate of my cousin Raymond Melton at Carrollton High School.  I wonder what happened to him.   More on Carroll County artist Wilbur Phillips, click HERE. 

 Julia Murray and blogger Karl Marxhausen
meet at the Nelson Atkins Museum in Kansas City, Missouri.

(correspondence courtesy of Julia Ellen Parkins Murray, 2014. Carrollton high school 1914 Nautilus yearbook images courtesy John R. Jackson of Odessa, MO, 2013; Chillicothe Business College, and; Appetite for America  courtesy of, Video link of Appetite for America by Stephen Fried,; Wilbur Phillips link,, accessed May 26, 2014)

Sunday, March 2, 2014


Double click on image to enlarge.

“Dear Mr. Marxhausen, Fred Geary's print “Merry Go Round” was a gift through the American Institute of Graphic Arts. It was part of a group of impressions that were shown in the Ninth Exhibition of Fifty American Prints. The exhibition was shown in New York at the Society of Illustrators, 128 East 63rd Street, New York, Oct. 10-22, 1944. The exhibition later traveled in Europe and was shown in England, France and Switzerland. 

This information is from our accession books. The dimensions of the print are: Image: 9 1/8 x 13 3/8 in. (23.2 x 33.9 cm)    Paper / Sheet: 10 7/8 x 14 15/16 in. (27.7 x 37.9 cm)                                             

I hope this information can be helpful for your research. 
Sincerely, Alvaro G. Lazo, 
Print Collection, New York Public Library, (via email May 25, 2010)

Wednesday, October 2, 2013

Contemporary Woodcuts - 1932 - Americans and Europeans

The forty-one woodcut artists Alfred Fowler selected in 1932 came from all backgrounds. Thirty-one were Americans, six were Europeans and four were undetermined at the publishing of this post. Some had been doing woodcuts for some time. Titles within this exhibit are listed in orange
Image sizes were determined from the Nelson-Atkins Museum Print Collection. Additional information and 2011 Internet links have been listed beneath each artist where possible. The workmanship of this collection is a testament to the critical eye of Alfred Fowler. Thank you Alfred for introducing these superb woodcuts to all of us throughout the States. KM

Grace Albee - bio - from Rhode Island, U.S.A.
Cyclamen,1932, wood engraving, 6 by 4 inches, 6/20  Sixth of twenty hand-pulled impressions. 
On The Canal - Lac d'Annecy, 1932, wood engraving, 7 by 8 1/2 inches, 9/100   Ninth of one hundred hand-pulled impressions.
(There is a full bio and two hundred and thirty relief prints at, sponsored by the Childs Gallery Inc. You must log in with a user name and password, but it is well worth it. Her woodcut was selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.) 

Anne Anderson - bio - from Scotland, U. K.

A Tree, woodcut, 12 by 11 7/8 inches, 1/7   First of seven hand-pulled impressions.

(See other example ABOVE, Provincetown Gossip 1930, click on photo. See other example click HERE . She was listed as a book illustrator and here. The Smithsonian Museum offers these other examples of her etching. There may be more than one Anne Anderson)

Thomas Barrett - bio - from Poughkeepsie, New York, U.S.A.

Home Brew, 1932,  7 15/16 by 6 inches, 7/50  Seventh of fifty hand-pulled impressions.  
Mount Mondadnock, 1932, 6 by 8 inches, 26/40   Twenty-sixth of forty hand-pulled impressions. 

Riding Hall, West Point

Steam Roller, 1932, wood engraving, 6 by 7 15/16 inches, 13/50  Thirteenth of fifty hand-pulled impressions.

Ray Bethers - bio and this - Corvallis, Oregon, U.S.A.

Taxco, woodcut, 4 by 4 7/8 inches.

"Artist, world traveler, engraver and illustrator, Ray Bethers is best known through his wood engravings...[O]ne of the most popular of his wood-engravings of Mexican scenes is "Taxco." It was exhibited in the collection of the California Society of Etchers, which toured the principal large cities in the country.  It was acquired for the permanent collection of the Woodcut Society of Kansas City.  A print of "Taxco" is in the private collection of John H. Cully, Los Angeles. Seven of Ray Bethers' engravings from this traveling exhibition were sold; two are in the permanent collection of the Texas College for Women. Several were sold in the San Francisco Museum of Art."Taxco" was also shown in 1934 at the International Exhibition of Wood- Engravers and Lithographers at the Art Institute of Chicago. "Taxco" and "Thatched Roofs" were exhibited at the show of the Rocky Mountain Print Makers at the Denver Art Museum of 1934." (courtesy of California Art Research by Gene Haile,, accessed January 1, 2011)

Will Collins  --- 1892 - 1979, American
origin unknown ?         
Rain Washed, 1932, woodcut, 9 3/8  by 6 7/8 inches.

Jessiejo Eckford - bio and this - from Dallas. Texas, U.S.A.

Dark Cedars, 1932, woodcut, 4 7/8 by 6 1/2 inches,  6/25  Sixth of twenty-five hand-pulled impressions.

Near Monterray, 1932, woodcut, 5 3/8 by 7 1/2 inches, 9/25   Ninth of twenty-five hand-pulled impressions.

Peaceful Landscape, 1932, woodcut, 6 1/8 by 8 1/8 inches, 9/25  Ninth of twenty-five hand-pulled impressions.   

The Lineman, 1932, woodcut, 8 by 5 7/8 inches, 12/25  Twelfth of twenty-five hand-pulled impressions.

Dorothy Lizzete Eisenbach - bio -  Lafayette, Indiana, U.S.A. 

Untitled, 1932, 10 by 12 13/16 inches.

Josie Eresch - bio - from Beloit, Kansas, U.S.A.

Sheep on Plum Creek, 1932, 3 by 4 1/2 inches.

Main Street, 1932, 4 by 4 1/8 inches. See other example, click HERE . Ms. Eresch was a member of the Kansas Authors Club. She published  "Elegant Amusement," Beloit, KS.: Gazette Press, 1937. 32 p.  Notes and sketches of Beloit, KS from the summer of 1936. Flower arrangement.)

Hortense Fern - bio - from New York, New York, U.S.A.
Bull Fight, woodcut, 5 1/8 by 8 7/8 inches. 
In The Souk, Tunis, woodcut, 7 7/8 by 5 7/8 inches.

Grace Martin Frame - bio - from Morgantown, West Virginia, U.S.A.
Charleston Cottages, 1932, color woodcut, 12 1/8 by 14 1/16 inches.
Trinity Church

Rhea Garber ----  American
origin unknown

The Rabbit Gate, 6 1/8 by 4 3/4 inches.

Water Lilies, color woodcut, 4 1/8 by 6 1/2 inches.
Frances H. Gearhart - bio and this - from Sagetown, Illinois, U.S.A. 
Day Departs, 1933, color woodcut, 11 by 9 3/4 inches, click here 
Valley Ramparts, 1932, color woodcut, 10 3/16 by 12 inches,click here 
Winter Looks Down On Spring, 1930, color woodcut,11 3/8 by 10, click here 
Winter Regalia, 1930, color woodcut, 12 1/4 by 10 1/8 inches, click here 
(See other examples click HERE . Images are grouped alphabetically across the top of page)
Fred Geary - bio - from Clarence, Missouri, U.S.A. 

New Mexico, (listed as Untitled, Mexican on donkey in Nelson-Atkins Print Collection), woodcut, 4 3/8 by 6 3/4 inches.
Old House in Waverly (listed as Untitled, farm house in the Nelson-Atkins Print Collection)(ABOVE, click on image), woodcut, 4 1/2 by 6 1/8 inches.

Old Maple Tree (listed as Untitled, frame house in the Nelson-Atkins Print Collection)(ABOVE, click photo), woodcut, 4 by 5 3/4 inches.

Steamboat Bixby, (listed as (ABOVE, click photo), woodcut, 6 1/8 by 9 1/2 inches.

Hendrik Glintenkamp - bio and this - from Augusta, New Jersey, U.S.A.
Cofradias, Easter Procession, Seville
Manhattan, Backyards, West 12th Street
Manhattan, Construction, Radio City
Rue Descartes, Paris
The Palace Door, Cathedral, Valencia
Tyne Church, Night, Prague
Vieux Port, Notre Dame de la Garde, Marseilles

(See other example ABOVE, Anis Del Recino 1922, click on image.  

See other example ABOVE, Gypsies, Grenada, Spain 1932, click on image. See other examples click HERE)

John F. Greenwood - bio - from Great Britain, U. K. 
Darwin's Farm
Halton East
Hebden Road, Grassington
Old Forge, Rievaulx

(See other example ABOVE, Castle Bridge over River 1927, click on image.

See other example ABOVE, Portrait of Judith 1925, click on image. See other examples click HERE and HERE. His wood engravings were selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.)

Another example ABOVE, Cove Lane (1919-1921), click on image. (courtesy of British Printmakers (1855-1955) Garton and Company, Spencer Art Reference Library, 4525 Oak Street, Kansas City, Missouri 64111,, accessed Oct 5, 2013) 
Dorothy Hay (Jensen) - bio on page 136 - from Cape Elizabeth, Maine, U.S.A.
Million Dollar Bridge, linoleum cut, 6 1/2 by 6 inches.  
Purpoodock, linoleum cut.
Shipyard, linoleum cut, 6 5/8 by 6 5/8 inches.

(See other example, ABOVE, Property of the Underwriters, click on picture. See other example, Southwest Section of Portland, linoleum cut, Portland City Guide, page 66, click HERE. See Island Steamers, linoleum cut, Portland City Guide, page 130, click HERE. In 1935 Hay was the Maine State Director for the Federal Art Project of the Works Progress Administration, page 138)

Helen West Heller - bio - from Rushville, Illinois, U.S.A.

The Barker, 1932, 8 1.2 by 5 7/8 inches.
East Wind,1932, woodcut, 8 x 6 inches. Click HERE

Plowman of India, 1932, 12 3/4 by 9 1/4 inches.

(See other example ABOVE, Pulling Beets 1931, click on image.)

(See another example ABOVE, Dune 1927, click image.  

See another example ABOVE, Flight Arrow 1931, click on image. See other examples click HERE and HERE and HERE and HERE. Her woodcut was selected for the First International Exhibition of the Lithography and Wood Engraving  in 1929.)

Edith L. Horle - bio - from Syracuse, New York, U.S.A.
Advancing, 6 by 4 inches, 9 of 30  Ninth of thirty hand-pulled impressions.
Maude I. Kerns - bio and this (scroll down on link page) and this - from Portland, Oregon, U.S.A.
Faces of Depression
Kraemer Kittredge - bio - from Clinton, Massachusetts, U.S.A.
Aunt Mamie's Parlor
J. J. Lankes - bio - from Buffalo, New York, U.S.A
In North Newport News
Main Street        
Troutdale, Virginia

See other example ABOVE, Dawn, 1900, courtesy of the Nelson Atkins Museum of Art.
See other examples click HERE . His work was selected for the Sixth Annual Exhibition of Contemporary Bookplates in 1921. He received the Certificate of Honorable Mention for the personal design for Buddy Lankes, according to The Bookplate Annual For 1921, edited by Alfred Fowler. Lankes woodcuts were selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.)
Blanche Lazzell - bio - from Maidsville, West Virginia, U.S.A.

My Provinetown Studio, 1933, color woodcut, 14 by 12 inches.
(Her woodcuts were selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.
Claire Leighton - bio  - from London, England, U.K.

Lambing  (typo in catalouge) Lambing, 1933, wood engraving, 28 x 34.5 cm., click HERE  
(See other examples click HERE . Her wood engravings were selected for the First Exhibition of the Lithography and Wood Engraving in 1929.)
Bessie Cary Lemly - bio - from Jackson, Michigan, U.S.A.
Yellow Jasmine
(June 4, 1871---Born. Daughter of William S. and Susan Smith Lemly. 1897---Graduated from Belhaven College with a special diploma in art. 1914---Chosen as head of the Art Department at Belhaven College and continued in that position until her retirement in 1941. From 1915-16...Served as business manager of the Belhaven, when the school did not have a President. From 1899-1902 and 1914-1941...Professor of Art, Belhaven College. (courtesy of Charlie Gaudin, Reference / Periodicals Librarian, Warren A. Hood Library, Belhaven University, Box 305,1500 Peachtree Street, Jackson, MS 39202,in an email Tuesday, 25 Jan 2011) "Bessie Cary Lemly, the next and present instructor at Belhaven (College), at once caught the spirit of growth already begun, and combined with it her own vitality and love for art. It has been said of Miss Lemly that she is one of the few great Art teachers of her time, for though she has not had the number of students nor the equipment of other teachers, she has made herself necessary to Belhaven and her advice is sought throughout the state on Art subjects. She organized both the Art Study Club, of which she is president, and the Mississippi Art Association, of which she was also president for a time, and is one of the eight directors of the Southern States Art League. In Provincetown Miss Lemly studied under Mr. E Amboise Webster. She has also been abroad and enriched her work with an intimate study of the old masters. In the summer of 1926, Miss Lemly, among carefully selected instructors of twenty other colleges throughout the United States, was given a course in Art Appreciation at the Art Institute in Chicago by the Carnegie Corporation which is interested in establishing Art more firmly in the nation. She also did summer work in 1929." (pages 149-150, History of Art in Mississippi by Cantey Venable Sutton, president of the Mississippi Art Association from 1928-1930. It was published by The Dixie Press, Gulfport, Mississippi, courtesy of Jennifer Baughn in an email, Saturday, January, 2011) 

Allen Lewis - bio - and this - from Mobile, Alabama, U.S.A.
Two woodcuts in black and white, both titles unknown
Two woodcuts with tint, both titles not given in catalogue.
However, there are two color woodcuts by Lewis in the Nelson-Adkins Print Collection. That information is as follows: 

St. Francis Preaching To The Birds, 1933, color woodcut, 9 3/4 by 7 inches,178/200. One hundred and seventy-eighth of two hundred hand-pulled impressions.

Sower, color woodcut, 10 1/4 by 8 1/2 inches. (See more examples click HERE and HERE . Curator Alfred Fowler wrote about Chiaroscuro Bookplates of Allen Lewis in The Bookplate Annual For 1922, click HERE
Tod Lindenmuth - bio - from Allentown, Pennsylvania, U.S.A.

Dory Fishermen, woodcut, 9 1/2 by 11 1/2 inches.

Dory Fishermen, color woodcut, 11 1/4 by 13 7/8 inches, 2/50 Second of fifty hand-pulled impressions.
New England House Tops
The Riding Light

Alexander Simeon Masley - bio - from Akeley, Minnesota, U.S.A. 

Depot Corners,  6 7/8 by 9 inches, 7/25  Seventh of twenty-five hand-pulled impressions.

Sunday Afternoon, 7 1/2 by 10 1/4 inches, 12/25  Twelfth of twenty-five hand-pulled impressions.

(See other example ABOVE, Mendota South 1935, click on image. Another example click HERE

Thomas Willoughby Nason - bio - from Dracut, Massachusetts, U.S.A. 
Leaning Silo,
1932, wood engraving, click HERE
Wooded Shore

See an example, Upland Pastures, 1933.
(See other examples click HERE  His wood engravings were selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.
Elizabeth Norton - bio and this - from Chicago, Illinois, U.S.A.
A Winner

Pair of Cairns1932, colored block print, 6 1/4 by 7 inches, click HERE 
Study in Black and Tan, 1932, color block print, 6 1/4 by 7 inches, fine Japanese machine made paper, click HERE
(Her woodcut was selected for the First International Exhibition of the Lithography and Wood Engraving in 1929.)
Betty Waldo Parrish - bio - from New York
Administration Building, Wellesley, 7 7/8  by 6 inches
Fountain, Smith College, 8 by 6 inches, click HERE
Thompson Memorial, Vassar, 10 by 7 1/2 inches
Wellesley Chapel, 1932, 7 7/8 by 5 7/8 inches, click HERE
(See other examples click HERE

Wilfred A. Readio ---  
origin unknown 

On The Divide, 1932, 8 by 9 1/8 inches.

Richardson Rome - bio - from Minneapolis, Minnesota, U.S.A. 
Deep Blue

 High Country, click ABOVE image 
 Into the Sky, click ABOVE image.  
North to Wyoming
Shelter in the Hills, wood block, 7.25 x 5.25 inches, click on ABOVE image.) 
Sundown, Garden of the Gods
Sunrise, Garden of the Gods
 Birger Sandzen - bio  and this from Blidsberg, Sweden, Europe 

Blue Valley Farm, woodblock, 9 1/2 by 12 1/2 inches, click HERE 
Brook with Poplars, woodblock, 5 by 4 1/2 inches  
Coxcombs, click HERE 

Kansas Sunflowers, 1932, woodcut, ABOVE, click image.
Old Reservoir, Central City

(See other example ABOVE, Willow And Cottonwoods 1931, linocut, click image )

Ruth Thomson Saunders - no bio found - from Galesburg, Illinois, U.S.A. 

Adobe Bell Tower, 3 1/32 by 3 inches.

Against California Hills, 2 1/2 by 3 3/4 inches.

George Bernard Shaw, 2 7/8 by 2 3/8 inches.

(Galesburg native Ruth Thomson operated the Saunders Studio Press with her husband Lynne Saunders in the 1920’s and ‘30’s in Claremont, California. Among the imprints issued by the press were titles on bookplates, a particular interest of Ms. Saunders. The bookplates exhibited here are representative of the dozens of plates which she designed and printed for friends and libraries in southern California. (Knox College,, accessed 1.23.11.)  She was a Printer, a Typographer, and a Designer. (Memorable Moments: Women Working In Design 1900-1980,, accessed January 23, 2011.) See other examples click HERE)

Ethel Mavis Scott ---  
origin unknown ?

Narcissus, color woodcut, 9 7/8 by 7 inches.

May Aimee Smith - no bio found - from England, U.K.
Indian Toy
Spanish Shop

(See other example ABOVE,The Spanish Jar, click on image.)
(Four other examples in the Nelson Atkins Museum of Art include HousesVase of FlowersSheep And Lamb,
and Lady in Booth

Victor Stuyvaertbio  - from Ghent, Belgium, Europe, (1897- 1974)
A Woodcut, no other title is given.

See above example, click HERE

Ex Libris Miele Louise, click HERE

Bergmans Simone, click HERE

Ex Musius Ans V.D. Kuylen, click HERE

Geerlandt Lea M., click HERE

De Pillecyn F., click HERE.
(courtesy of Lu Boeykens, Internationaal Exlibriscentrum Sint-Niklaas, in an e-mail Wednesday, Feb. 16, 2011)
Stuyvaert's work was selected for the Seventh Annual Exhibition of Contemporary Bookplates in 1922. He was listed in a  Belgian bookplate portfolio .) 

There are two woodcuts by a V.Stuyvsent (a different spelling of the name) in the Nelson-Atkins Print Department. It may have been one or the other. That information is as follows:

Church, woodcut, 3 1/2 by 2 7/8 inches.

OR Portvil, woodcut, 9 7/8 by 7 1/2 inches.
It is UNCLEAR which spelling is correct. Perhaps these are TWO VERY DIFFERENT woodcutters.

Edith Truesdell - bio - from Derby, Connecticut, U.S.A.
Convalescent Boy
Kitchen Work
The Puzzle
Waiting Room
(Ms. Truesdell was an Artist Member of the California Art Club and an Associate Editor of the CAC Bulletin (from Jan. 1929 through about 1931). Her work was accepted in the CAC Exhibitions: 15th Annual, 16th Annual (1925): 17th Annual (1926): 18th Annual (1927): 20th Annual (1929): 21st Annual (1930): 22nd Annual (1931): 23rd Annual (1924); (1932). (California Art Club,, accessed 1.23.11.)

Zona Lorraine Wheeler - bio and this - from Linsborg, Kansas, U.S.A.

Deserted House, 5 3/4 by 7 1/4 inches.(courtesy of the Nelson Atkins Museum of Art) The same image can be seen HERE.

Summer in the Smoky Valley, 3 7/8 by 5 inches.

Donald Frederick Witherstine
bio - from Herkimer, New York, U.S.A.
Among the Souks, Fez
Bringing in the Nets

Glimpse of Provincetown, 8 by 7 1/4 inches.

Pont Valentre, Cahors, woodcut, 8 1/2 by 10 1/2 inches
The Old Wharf, wood block, 12 by 9 1/2 inches

Richard Zoellner - bio - from Portsmouth, Ohio, U.S.A.

In the Park, 5 7/8 by 7 inches.

Nude, 1932, 10 by 7 3/4 inches.

Rainy Morning, 1931, 7 1/4 by 10 inches. Click HERE.

Street Corner,1931, 7 7/8 by 10 inches. Click HERE

Under the Big Top, 1932, 7 7/8 by 10 inches. Click HERE.

(courtesy of Raisonne. org,, accessed Jan 2, 2011, Anne Anderson, prolific book illustrator, accessed Jan1,2011. Smithsonian Art Museum,, accessed Jan 1, 2011. Ask Art,, accessed Jan 1, 2011. Outer Cape Auctions,, accessed Jan 1, 2011. Woodcut size information courtesy of The Collections of the Nelson-Adkins Museum of Art: Prints, 1460-1995 by George L. McKenna, 1996, pg.268-273, courtesy of Carrollton Public Library, 1 North Folger Street, Carrollton, Missouri, United States, accessed Jan 7, 2011.The Annex Galleries,, accessed Jan 16, 2011. Smithsonian American Art Museum,, accessed Jan 16, 2011. Nicholas Angelo Fine Art,, accessed Jan 16, 2011. Marianna Kistler Beach Museum of Art, Jan 16, 2011. Sullivan Goss American Gallery,, accessed Jan 18, 2011. National Museum of Womens Arts,, accessed Jan 18, 2011. Cambridge Book and Print Gallery,, accessed Jan 18, 2011. Steven Thomas Inc. Fine Prints And Antiques,, accessed Jan 18, 2011. J.J.Lankes bio courtesy of Meibohm Fine Arts,, accessed Jan 20, 2011. Allen Lewis Bookplates courtesy of Archive.Org,, accessed Jan 20, 2011. Dorothy Lizzete Eisenbach, Ask,, accessed Jan 22, 2011. Bessie Lemley, (Art in Mississippi, 1720-1980, by Patti Carr Black, p181,,+directors,+Bessie+Cary+Lemly&source=bl&ots=Fez2VKTj-H&sig=QUA4Stu_FGyneo89FrQtCbhRwe8&hl=en&ei=AzY8TdqONIX7lwfzocjpBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBcQ6AEwAA#v=onepage&q&f=false, accessed Jan 23, 2011. Jean Bragg Gallery,, accessed Jan 23, 2011. The Mississippi Museum of Art,, and Mississippi Art Association,, accessed Jan 23, 2011. Minnesota Historical Society,, accessed Jan 23, 2011. AskArt.Org,, accessed Jan 23,11. California Arts Club,, accessed Jan 23,11. British Council Collection,, accessed Jan 23,11. Helen West Heller II,, accessed Jan 29,11. Heller links, courtesy of Nelson Atkins Museum of Art,, and;  accessed Oct 5, 2013. Birger Sandzen,, accessed Jan 29,11. Birger Sandzen,, accessed Jan 29,11, Birger Sanzen,, accessed Jan 29,11., Art Knowledge News,, accessed Jan 29,11, Thomas Nason,, accessed Jan 29,11,William Second Gallery,, accessed Jan 28,11. Thomas Nason, courtesy of Nelson Atkins Museum of Art,, accessed Oct 5, 2013. Susan Teller Gallery,, accessed Jan 29,11, Provincetown Art Association and Museum Consignment Auction,, accessed Jan 31,11, Portland Community College Library,, accessed Jan 31,11. Campbell Fine Art,, accessed Feb 1,11. AngelFire:Helen West HellerII,, accessed Feb 1,11, Biographical Directory of Kansas Artists (Active Before 1945) by Susan V. Craig,, accessed Jan 31,11, Washburn University Center for Kansas Studies,, accessed Jan 18, 2011. Diverse Ayres Fine Art,, accessed Nov 19, 2010, Treadway Gallery,, accessed Feb 4, 2011.,, accessed Fe 4, 2011, .eBay,, accessed Feb 4, 2011, Victor Stuyvaert birthplace from email, Dr Mark Ferson (, Honorary Secretary, Book Collectors Society of Australia President, New Australian Bookplate Society, Sydney  Sat, 12 Feb 2011, Victor Stuyvaert examples from email, Lu Boeykens,, Internationaal Exlibriscentrum Sint-Niklaas, i, Wed, 16 Feb 2011, Untitled (Mexican on a donkey), courtesy of Nelson Atkins Museum of Art,, Untitled (farm house),  courtesy of Nelson-Atkins Museum of Art,, Untitled (frame house), courtesy of Nelson Atkins Museum of Art,, accessed October 5, 2013; Steam Boat Bixby by Fred Geary, courtesy of The State Historical Society of Missouri, 1020 Lowry Street, Columbia, Missouri, Thursday, Nov.10, 2011 and Nelson Atkins Museum of Art,, accessed Oct 5, 2013; Witherstine graphic link from Steven Thomas Inc.,, accessed Feb 13,2012, Eckford, Bosque Crossing Gallery,, Feb, 21, 2013;
Garber graphic link, courtesy of Nelson Atkins Museum of Art,, and; Collins graphic link, courtesy of Nelson Atkins Museum of Art,, and; Scott link, courtesy of Nelson Atkins Museum of Art, and; Smith links, courtesy of Nelson Atkins Museum of Art, and and and;
accessed Sept, 29, 2013; Anderson link, courtesy of Nelson Atkins Museum of Art,;  Bethers link, courtesy of Nelson Atkins Museum of Art,;  Eckford,,,,;  Eisenbach,; Eresch,,;  Julius J. Lankes link, courtesy of Nelson Atkins Museum of Art,;  Lazzell,; Allen Lewis link, courtesy of Nelson Atkins Museum of Art,, and;  Lindenmuth, and;  Masley, courtesy of Nelson Atkins Museum of Art,; Witherstine,; Zoellner, courtesy of Nelson Atkins Museum of Art,, and, and, and, accessed Oct.5, 2013. )