§ Agnes Miller-Parker (1895-1980) Gray's Elegy: To Scatter Plenty; Chill Penury; The Breezy Call each signed and dated 'AMillerParker 1938' (lower right); respectively numbered 12, 2, and 5 from the edition of 12 three wood engravings, framed as one each 16 x 13cm
AGNES MILLER PARKER (SCOTTISH 1895-1980) WOLF IN CELLAR Wood engraving, 5/12, signed, dated, inscribed and numbered in pencil to margin plate size 9cm x 12.5cm (3.5in x 5in)
AGNES MILLER PARKER (SCOTTISH 1895-1980) THE HORSE FAIR, 1928 Signed, tempera on canvas 81cm x 109cm (31.75in x 43in) Acquired from the Artist by Naomi Mitchison (1897-1999) and thence by descent to the present ownersOn loan to the National Galleries of Scotland, Edinburgh 2016 - 2025Exhibited: Scottish National Gallery of Modern Art, Edinburgh, Modern Scottish Women: Painters and Sculptors 1885-1965, 7 November 2015 – 26 June 2016Scottish National Gallery of Modern Art, Edinburgh, A New Era: Scottish Modern Art 1900-1950, 2 December 2017 – 10 June 2019, illustrated in colour p.100Scottish National Gallery, Edinburgh, A Point in Time: The 1920s, September 2023 – July 2025Literature: Louise Newton, ‘Inspirational Women of Scotland: Alice Strang and her Quest for Scotland’s ‘Lost’ Artists', The Caledonian, Summer 2017, illustrated in colour p.19.Alice Strang, ‘My Favourite Painting’, Country Life, 15 June 2020, illustrated in colour p.56 The Horse Fair of 1928 by Agnes Miller Parker is a rare and remarkable statement of British modernism, created by a Scottish artist in London between the wars. Moreover, it is one of what is believed to be a handful of such works by her, created during an especially productive period in the late 1920s in which she explored Vorticism, Cubism and their offshoots to create ‘original, complex and ambitious paintings.’ (Alice Strang, ‘From Annand to Zinkeisen: Forty-Five Scottish Women Painters and Sculptors’, Modern Scottish Women: Painters & Sculptors 1885-1965, National Galleries of Scotland, Edinburgh, p.21). The Horse Fair was acquired from the artist by her friend, the Scottish writer and social activist Naomi Mitchison (1897-1999), in whose family it has remained ever since.Miller Parker was born in Irvine and trained in Painting and Drawing at Glasgow School of Art, where she met fellow student William McCance (1894-1970). They married in 1918 and moved to London two years later. They lived with the avant-garde artist William Roberts (1895-1980) in Earl’s Court before moving to Chiswick, near Hammersmith, where they became friends with Mitchison (née Haldane) and her husband Gilbert Richard ‘Dick’ Mitchison (1890–1970). Other friends included the artists Blair Hughes-Stanton (1902-81) and his wife Gertude Hermes (1901-83). As art critic of The Spectator from 1923 until 1926, McCance kept abreast of the modern art movement and he and Miller Parker came into a contact with numerous artists and writers. Mitchison gleefully recalled this period in their lives, writing in 1979:“Hammersmith was presumably thought in other circles to be very avant-garde and we had a good share of love and hate affairs, rushing in and out of one another’s lives…There was always argument, admiration, dressing up and parties…Here was Robert Graves, who might be delightful or might bite…Here was Dylan Thomas holding forth, never sober. Here sometimes was Augustus John…who…had a glass of beer in each hand.” (Naomi Mitchison, You May Well Ask: A Memoir 1920-1940, Victor Gollancz Ltd, London, 1979, pp.80-81)In 1925, the McCances were described as ‘that clever couple from Scotland who believe in cubist methods’, whilst Hugh MacDiarmid declared that ‘Mr and Mrs McCance’ were ‘unquestionably the most promising phenomena of contemporary Scotland in regard to art.’ (Daily Chronicle, 30 November 1925, cited in Hal Bishop, ‘Parker, Agnes Miller (1895-1980)’, Oxford Dictionary of National Biography, Oxford, 2004, accessed 4 November 2025 and Christopher Murray Grieve, ‘William and Agnes McCance’, Scottish Educational Journal, November 1925, see Alan Riach (ed.), Contemporary Scottish Studies, Carcanet Press Ltd, Manchester, 1995, p.167). However, Mitchison disparagingly described McCance and Miller Parker’s relationship thus: ‘Mac himself was something of a phoney, demanding to be taken as a D. H. Lawrence-type genius; his wife, who in fact provided the family income and was a far better artist, was forced into practising mousemanship.’ (Naomi Mitchison, op.cit., p. 79). Mitchison went on to describe the cottage that she and Dick, the McCances and Margery and Dominick Spring Rice jointly owned on Bledlow Ridge called Pounds Scots, explaining:“It really was a cottage, barely modernised, with interesting sloping ceilings on which the taller inhabitants bumped their heads, a wood fire constantly needing to be fed, a steep and narrow staircase and quite a squash when we were all there…There were of course no servants; it was assumed that the three women would do all the work whilst the men went for bracing intellectual walks. After a few years, that came to an end.” (Naomi Mitchison, ibid., pp. 79-80)She also based the character of the engraver Phoebe Fraser on Miller Parker in her novel We Have Been Warned (Constable, London, 1935).In 1928, the year in which she painted The Horse Fair, Miller Parker, McCance, Hughes-Stanton and Hermes held a group exhibition at St George’s Gallery in London. The Kilmarnock Herald and North Ayrshire Gazette declared:“Two…Scottish artists, William McCance and Agnes Miller Parker (Mrs McCance) have been exhibiting in London and have favourably impressed the leading critics…Both are extraordinarily significant artists, immersed in consideration of abstract form, and at the very opposite pole from the pictorial platitudinising which is generally accepted as synonymous with Art in Scotland. Both, too, are keenly conscious of their Scottish nationality and that, together with a thorough knowledge of modern technique, is what Scotland needs most. Were they to repeat their exhibition in Glasgow it might well form the starting point for a new Scottish school.” (12 April 1928)Two years later, Miller Parker participated in the first and only exhibition of The Neo Society, at Godfrey Phillips Galleries in London. She showed five paintings, three of which, like The Horse Fair, were realised in tempera including The Uncilivzed Cat, now in the Fleming-Wyfold Art Foundation collection (acc.no.3259).At just over a metre in width, The Horse Fair is perhaps Miller Parker’s most ambitious painting. Writing with it in mind, Alice Strang has explained:“The work that McCance and Miller Parker produced during this decade shows an unusually imaginative and vigorous response to the evolving Cubist and Surrealist movements…Miller Parker’s…part-simplification, part-mechanisation of form, realised through the acute observation and skilful orchestration of human and animal interaction is remarkable.” (Alice Strang, ‘A New Era: An Introduction’, A New Era: Scottish Modern Art 1900-1950, National Galleries of Scotland, Edinburgh, 2017, p.10).Writing about The Horse Fair in Country Life, John McEwen described Miller Parker’s embracing of the:“…mechanical vision inspired by pre-First World War Italian Futurism and its London off-shoot Vorticism. Miller Parker’s crowd scene shows humans as tubular shaped with hands like implements…indebted to the crowd scenes of William Roberts who had been a signatory of the Vorticist Manifesto…scrutiny reveals her picture to be about more than trading horses. The diagonal composition descends from the distant bare-backed riders (top left) to two foreground men and their dogs (bottom right). The fair extends over three hills above a village (centre top). To the right of the glimpsed village are a beer tent, duck and chicken pens and ambling calves. Below them is a…cluster of people around some ewes and rams, among them a formidable woman in a summer hat. The most energetic group is the cart horses led by tugging handlers. That they contradict the scale of the adjacent groups emphasises their dynamism, as does the robotic exaggeration of their actions.” (‘John McEwen comments on The Horse Fair’, Country Life, 15 June 2020, p.56)In 1930, the McCances and the Hughes-Stantons moved to Wales to work at the Gregynog Press. Miller Parker’s reputation as an engraver and wood illustrator came to overshadow that of her as a painter. She and McCance separated in 1955 and she returned to Glasgow. Following their divorce in 1963, she moved to Arran before her death in Greenock in 1980. The Horse Fair was included in the landmark exhibitions Modern Scottish Women: Painters & Sculptors 1885-1965 of 2015 to 2016 and A New Era: Scottish Modern Art 1900-1950 of 2017 to 2018. It was included in the Scottish National Gallery’s collection display A Point in Time: The 1920s when a suite of new galleries dedicated to Scottish art opened after a major re-development project in 2023. The Horse Fair was on long-loan to the National Galleries of Scotland between 2016 and 2025.
Gwasg Gregynog.- Aesop.- Parker (Agnes Miller) [Eleven Esope Engravings], 11 wood-engravings by Agnes Miller Parker, on Japanese Gampi vellum paper, each one of 30 or fewer copies and numbered in pencil, each tipped to aperture paper mount with accompanying text from Caxton, with title and 5ff. commentary on the engravings by Eric Sweet, loose in modern cloth drop-back box, small folio, Newtown, Gwasg Gregynog, 1996. ⁂ From the Gwasg Gregynog Agnes Miller Parker: Wood Engravings from The Fables of Esope issued in 1996, with wood-engravings printed from the original woodblocks created for the Gregynog Press Aesop of 1931. The prints were purchased by the press from the National Library of Wales in 2001 and 8 were offered as individual prints. This unique set contains an additional 3 prints, as mentioned in a loosely inserted note to Eric Sweet from the printer David Esslemont.
Gwasg Gregynog.- Aesop.- Parker (Agnes Miller) Wood Engravings from The Fables of Esope. The Story of a Remarkable Book, by Ian Rogerson, number 143 of 200 copies, 17 wood-engraved plates printed on Japon from the original blocks, prospectus and correspondence between Eric Sweet and the printer David Esslemont loosely inserted, original cloth-backed patterned-paper boards, uncut, slip-case, preserved in an additional modern cloth slip-case, folio, Newtown, Gwasg Gregynog, 1996.
Parker (Agnes Miller, 1895-1980). Bison, 1929 * Parker (Agnes Miller, 1895-1980). Bison, 1929, wood engraving on thin laid paper, signed, titled, dated and numbered 9/40 in pencil, minimally secured to mount with tape in two places to sheet recto, image size 712 x 15 cm (4 3/4 x 6 ins), sheet size 18 x 20.5 cm (7 x 8 ins), window mounted, and Daglish (Eric, 1892-1966). The Aquarium, woodcut on thin laid paper, signed and titled in pencil, image size 15 x 19 cm (6 x 7 1/2 ins), sheet size 18 x 21.5 cm (7 x 8 1/2 ins), window mounted QTY: (2) NOTE: Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group, which included Blair Hughes Stanton and his wife Gertrude Hermes.
AGNES MILLER PARKER (SCOTTISH 1895-1980) SIAMESE CAT - 1940 Colour wood engraving, Artist's Proof, signed, dated, titled and inscribed ‘Proof in pencil to margin the image 13.75cm x 11cm (5.5in x 4.25in)
AGNES MILLER PARKER (BRITISH 1895-1980) The Challenge 1934 signed, dated, titled and numbered 5/35 in pencil wood engraving on wove image 14.2 x 16.2cm framed ARR Reference: see National Galleries Scotland, accession number GMA 2563 for another example of this edition.
AR * Parker (Agnes Miller, 1895-1980). Mayor of Casterbridge, circa 1964, two wood engravings, one showing a well dressed man and woman walking together through woods, the other showing a well dressed young lady peering around curtains, produced for The Mayor of Casterbridge, New York: Limited Editions Club, 1964, both signed in pencil to lower margin, image sizes 15.8 x 9.2 cm (6 1/4 x 3 5/8 ins), sheet sizes 24.4 x 16.4 cm (9 5/8 x 6 1/2 ins), mounted QTY: (2) NOTE: Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes.
Miller Parker, Agnes (Scottish 1895 - 1980). Four Signed wood engravings, one dated. ++ Two illustrations from The Mayor of Casterbridge. 1964. ++ Jude Looking Towards Oxford. Illustration from Jude the Obscure, 1969. ++ Illustration from Far From the Madding Crowd. 1958. ++ Each frame: 9" x 11 1/2". Condition: Sight fine. Not examined out of frame.
Parker (Agnes Miller, 1895-1980). Mayor of Casterbridge, circa 1964 AR * Parker (Agnes Miller, 1895-1980). Mayor of Casterbridge, circa 1964, two wood engravings, one showing a well dressed man and woman walking together through woods, the other showing a well dressed young lady peering around curtains, produced for The Mayor of Casterbridge, New York: Limited Editions Club, 1964, both signed in pencil to lower margin, image sizes 15.8 x 9.2 cm (6 1/4 x 3 5/8 ins), sheet sizes 24.4 x 16.4 cm (9 5/8 x 6 1/2 ins), mounted QTY: (2) NOTE: Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes.
Parker (Agnes Miller, 1895-1980). Greeting Card Proof, 1944 AR * Parker (Agnes Miller, 1895-1980). Greeting Card Proof, 1944, wood engraving, black and green end of year card proof 1944-45, image size 7 x 5.5 cm (2 3/4 x 2 1/8 ins), sheet size 21.7 x 11.5 cm (8 1/2 x 4 1/2 ins), part printed (one colour only) on verso, QTY: (1) NOTE: Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes. While Parker had taught herself the basics of wood engraving Stanton and Hermes encouraged her to refine her talent.
Parker (Agnes Miller, 1895-1980). Hill Tops, 1940 AR * Parker (Agnes Miller, 1895-1980). Hill Tops, 1940, wood engraving on japon paper, signed and titled in pencil by the artist to lower margin, image size 20.5 x 30.5 cm (8 1/8 x 12 ins), sheet size 26.2 x 35.6 cm (10 1/4 x 14 ins), mounted QTY: (1) NOTE: This wood engraving is shown with a preparatory drawing on page 294-5 of Ian Rogerson's catalogue raisonne, The Wood Engravings of Agnes Miller Parker. Rogerson suggests this may have been cut for London Transport. Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes.
Parker (Agnes Miller, 1895-1980). The Fables of Esope, circa 1931 AR * Parker (Agnes Miller, 1895-1980). The Fables of Esope, circa 1931, wood engraving, numbered XII/24/30 in pencil to lower margin, image size 7.9 x 12.3 cm (3 1/8 x 4 7/8 ins), sheet size 13 x 19.2 cm (5 1/8 x 7 5/8 ins), mounted QTY: (1) NOTE: Printed from the original block held in the National Museum of Wales by David Esslemont at Gwasg Gregynog Press. Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes.
Parker (Agnes Miller, 1895-1980). The Cock and the Jewel, circa 1931 AR * Parker (Agnes Miller, 1895-1980). The Cock and the Jewel, circa 1931, wood engraving, numbered 29/36 in pencil to lower margin, image size 7.8 x 12.4 cm (3 1/8 x 4 7/8 ins), sheet size 13 x 19 cm (5 1/8 x 7 1/2 ins), mounted QTY: (1) NOTE: Printed from the original block held in the National Museum of Wales by David Esslemont at Gwasg Gregynog Press. Agnes Miller Parker studied at Glasgow School of Art from 1911 to 1917. Married to fellow artist William McCance they became part of the Chiswick Group which included Blair Hughes Stanton and his wife Gertrude Hermes.
Agnes Miller Parker (1895-1980) ? Agnes Miller Parker (1895-1980) Ducks; Leaves and Seeds two wood engravings images 13 x 13cm and 6 x 13.5cm, both unframed (2) Condition Report: Both mounted. 28.4 x 28.4cm and 16 x 23.5cm. A small tear to right edge of Ducks.
Gwasg Gregynog.- Parker (Agnes Miller) Wood Engravings..., 2 vol., number 87 of 200 copies, 17 wood-engraved plates printed on Japon from the original blocks, prospectus loosely inserted, original cloth-backed patterned-paper boards, uncut, slip-cases, folio, Newtown, Gwasg Gregynog, 1996-97. ⁂ The first volume reprints the engravings from The Fables of Esope and the second those from XXI Welsh Gypsy Folk-Tales, originally published by the Gregynog Press in 1931 and 1933 respectively.
§ Agnes Miller-Parker (Scottish 1895-1980) Two unframed wood engravings, to include: Hilltop and Farmyard each signed and dated 'amillerParker. 1940.' (lower right); artist's proof 27 x 41.5cm (sheet) Ian Rogerson suggests in his catalogue raisonné, The Wood Engravings of Agnes Miller Parker, that the present two wood engravings were originally cut for London Transport but never used.
§ Agnes Miller-Parker (Scottish 1895-1980) A group of nine unframed wood engravings, to include illustrations from Through the Woods: The English Landscape, H.B. Bates, 1940 the largest 25 x 19.5cm (sheet)
§ Agnes Miller-Parker (Scottish 1895-1980) Reed Buck, an illustration from The Fables of Aesop, published by Gregynog Press, 1932 signed and dated 'amillerParker. 29.' (lower right); numbered 45/50 wood engraving, unframed 20 x 18cm (sheet)
§ Agnes Miller-Parker (Scottish 1895-1980) Wolf and Rams, an illustration from The Fables of Aesop, published by Gregynog Press, 1932 signed and dated 'amillerParker. 1931.' (lower right); numbered 5/12 wood engraving, unframed 26 x 20cm (sheet)
§ Agnes Miller-Parker (Scottish 1895-1980) Boys Skating, an illustration for Down by the River, H. E. Bates, 1937 signed and dated 'amillerParker. 37.' (lower right); numbered 8/35 wood engraving, unframed 21 x 18cm (sheet) One of the most gifted engravers of her generation, Agnes Miller-Parker’s body of work is characterised by skilful tonal control, delicate mark-making and springing, sinuous forms. Born in Ayrshire, Miller-Parker trained at the Glasgow School of Art before moving to London in 1920, where she studied wood engraving under Gertrude Hermes and Blair Hughes-Stanton. In 1930, Miller-Parker and her husband, painter, William McCance, left London to run the Greynog Press in Wales. It was during this period that Miller-Parker produced some of her most celebrated works, including The Fables of Aesop (1931), Through the Woods, by H. E. Bates (1936), The Open Air, by Richard Jefferies, and her most acclaimed work, Elegy Written in a Country Churchyard, by Thomas Gray (1938).
Parker, Agnes Miller (British 1895-1980), Fox, 1941, wood engraving, 1940, signed, dated, titled and numbered 5/250 in pencil, the Woodcut Society , Kansas City publication print for 1941, in original presentation.
† Agnes Miller Parker (1895-1980), 'Pericles', artist proof woodcut print, pencil signed and dated '59, 18.8 cm x 10.7 cm framed and glazed. Private collection. Condition report: Good, clean condition
° Rogerson, Ian - Agnes Miller Parker, wood engraver and book illustrator, 1895-1980, one of 300, original quarter cloth, with slip case, The Fleece Press, Wakefield, 1990
Agnes Miller Parker (British, 1895-1980) A collection of sixteen woodblock prints Within two gilt reeded frames, Size including frames: 51cm high x 59cm wide (2) For further information on this lot please visit the Bonhams website
Gwasg Gregynog.- Parker (Agnes Miller) Wood Engravings..., 2 vol., number 35 of 200 copies, wood-engraved plates printed on Japon from the original blocks, original cloth-backed patterned-paper boards, uncut, slip-cases, folio, Newtown, Gwasg Gregynog, 1996-97. ⁂ The first volume reprints the engravings from The Fables of Esope and the second those from XXI Welsh Gypsy Folk-Tales, originally published by the Gregynog Press in 1931 and 1933 respectively.
Fleece Press.- Rogerson (Ian) Agnes Miller Parker: Wood-Engraver and Book Illustrator, 1895-1980, one of 300 copies, 1990 § Selborne (J.) & Lindsay Newman. Gwen Raverat: Wood Engraver, one of 290 copies, 1996 § Garwood (Tirzah) Long Live Great Bardfield & love to you all: her Autobiography, 1908-43, edited by Anne Ullmann, one of 550 copies, 2012 § Lee (Brian North, editor) Dearest Joana: A selection of Joan Hassall's lifetime letters and art, 2 vol., one of 300 copies, 2000 § Wells (Margaret) A Selection of her Wood Engravings, one of 200 copies, prospectus and an additional wood-engraving of a bull loosely inserted, original cloth, uncut, 1985, plates and illustrations, some colour, some tipped in, all but the last original cloth-backed marbled or patterned-paper boards with slip-cases, Wakefield, Denby Dale or Upper Denby, Fleece Press; and another on Joan Hassall from the press, 4to & 8vo (7)
NO RESERVE Miller Parker (Agnes) Fox Cubs, book illustration for H.E. Bates's 'Through the Woods', wood-engraving on wove paper, signed in pencil, inscribed 'Fox Cub 1st proof', image 130 x 130 mm (5 1/8 x 5 1/8 in), under glass, framed, 1936; together with two original pen and ink drawings by various hands, one Renee Middleton, the other intialled V.B. (?Valerie Baines), various sizes, framed, 20th century (3) Provenance: From the collection of the late Mr. Laurence Lee This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Agnes Miller Parker (British, 1895â1918), Two Woodblock Prints to include Squirrel in a Pine Tree (1936) and Bathsheba, Ready to Leave (1958), both pencil signed and dated, one titled, in similar matting and framing. DOA 15 1/2 x 11 1/4 in. (the larger) Additional high-resolution photos are available at LelandLittle.com
Agnes Miller Parker (1895-1980). Wood engraving on paper titled "Barbary Sheep" depicting two barbary sheep locking horns. Signed and dated 1930 along the lower right, and titled and numbered 1/50 along the lower left. Plate; height: 5 in x width: 6 1/4 in. Sheet; height: 8 in x width: 10 1/2 in. SKU: 02222 Follow us on Instagram: @revereauctions
Agnes Miller Parker (1895-1980). Wood engraving on paper titled "Bison," depicting a pair of bison. Signed and dated 1929 along the lower right; titled and numbered 3/40 along the lower left. Plate; height: 4 in x width: 6 in. Sheet; height: 7 in x width: 8 in. SKU: 02221 Follow us on Instagram: @revereauctions
Agnes Miller Parker (1895-1980) British. "Coquette", A Cat under a Venus Fly Trap, Woodcut, Signed, Inscribed, Dated 1934 and Numbered 5/35 in Pencil, 6.75" x 4".
[§] AGNES MILLER PARKER (SCOTTISH 1896-1980) THE CHALLENGE Wood engraving, signed, inscribed, dated 1934 and numbered 12/35 15.5cm x 17.5cm (6in x 7in)
AGNES MILLER PARKER - ROGERSON, IAN AGNES MILLER PARKER, WOOD-ENGRAVER AND BOOK ILLUSTRATOR, 1895-1980. Wakefield: The Fleece Press, 1990. First edition, 4to, limited to 300 copies, one of 241 in quarter cloth, slipcase
AGNES MILLER PARKER (BRITISH, 1895-1980) & KITTIE BRUNEAU (CANADIAN, 1929-)“UNTITLED (MOVING DAY)” AND “L’ACROBATE”(TWO WORKS) FORMER - WOOD ENGRAVING; SIGNED AND DATED 1958 (Image, 6.5” x 4”); LATTER - COLOUR ETCHING; TITLED AND INSCRIBED E.A. LOWER LEFT; SIGNED AND DATED ‘80 LOWER RIGHT (Plate, 8” x 6”)Estimate: $150—200
Agnes Miller Parker (British 1895-1980)- ''Fox''- wood engraving, 1940, signed, dated, titled and numbered 131/250 in pencil,, the Woodcut Society , Kansas City publication print for 1941, in original presentation folder, some water damage to folder, print in good condition. 6 3/4 x 7 3/4''
Agnes Miller Parker (British 1895-1980)- ''Fox''- wood engraving, 1940, signed, dated, titled and numbered 23/250 in pencil, The Woodcut Society, Kansas City, 1941, presentation print in original presentation folder, very good condition; together with Claughton Pellew (British 1890-1966)- ''Kites''- woodcut, 1925, signed, dated, titled and numbered 13/2d-30 in pencil, very good condition; and Phyllis Winterburn (American 1898-1984)- ''Monterey Coast''- woodcut, signed and titled in pencil. 7 x 7 1/2''; 5 x 5 1/2''; 7 x 8''
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