ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US SHIPPING: $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Leo Meissner (1895-1977) Wood Engraving 'Oconaluftee Rapids', pencil signed and numbered 13/50. Dimensions: sight is 8 1/4in x 10 1/2in, the frame 14in x 16in. Provenance: Property from a Chestnut Hill, Philadelphia Collection.
Leo John Meissner (1895-1977) Gulls at Dawn 1936 The wood engraving is signed and dated within the block lower left. Unframed. A fine, dark impression. Image measures 8 x 10, sheet is 13 x 18 inches. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
Leo Meissner (American, 1895 - 1977) original pencil signed wood engraving. Signed in pencil "Leo Meissner" lower right. Titled "Four Chimes" in pencil lower left. Numbered "29/50" in pencil lower center. Signed in lower left plate "M". Tape at top of sheet and top corners clipped. Measures approximately 7.25" x 6" image size and 12.5" x 10" sheet size. Very good to Excellent condition. Unframed, loose and not glued or mounted. Provenance: Estate collection of William Greenbaum, Gloucester, Massachusetts, Proprietor of William Greenbaum Fine Prints. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Leo John Meissner (Maine, New York Michigan 1895 - 1977) woodcut. Copyright, dated (1937) and artist's monogram in plate lower right. Title 'Watchful Waiting' included with documentation on print and artist from American Artists Group on verso of mat. Print measures 8 in. x 10.5 in. sheet size 13 in. x 18 in. Loose, unframed. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as condition can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
LEO MEISSNER (AMERICAN 1895-1977) Bleecker Street Follies, 1927 linocut print on paper 28 x 34 cm (11 x 13 3/8 in.) [sight] framed dimensions: 46.5 x 51.5 cm (18 3/8 x 20 1/4 in.) signed and dated in pencil lower right, titled and numbered 11/30 lower left
Leo John Meissner (1895-1977) Last Year's Corn Circa 1956 The wood engraving, numbered 29 from an edition of 50 prints, is signed by the artist in pencil below the image lower right and titled lower left. Image measures 13 x 6 with a framed size of 22.25 x 15.25 inches. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
Leo John Meissner (Maine, New York Michigan 1895 - 1977) woodcut. Copyright, signed and dated (1936) in plate lower left. Work titled 'Sea Gulls'. Measures 8-in. x 10-in. image size, 13-in. x 18-in. sheet size. Provenance: Amity Art Foundation, Inc. collection. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
"Summer", 1929, linocut, signed, titled, dated and numbered 24/30 in pencil, depicting a languorous nude woman seated at an open window. Unframed, in paper mat (AAA), in foamcore folio. Sheet size: 15" x 11", impression: 11" x 6 3/4". Glue stained edges to sheet.
Three wood engravings. Only the Asa Cheffetz print is pencil signed. 1. Leo John Meissner (1895-1977) wood engraving titled Sea Gulls published by the American Artists Group is signed Meissner and dated 1936 within the block lower left. Block size 8 x 10, sheet measures 13 x 15.5 inches. 2. Asa Cheffetz (1896-1965) wood engraving Rural Schoolhouse from an edition of 250 prints published by Associated American Artists in 1946 is signed by the artist in pencil below the image lower right and titled with the original AAA label. Block size 5.75 x 9, sheet measures 10.5 x 14 inches. 3. Rudolph Ruzicka (1883-1978) wood engraving titled A Summer Day published by the American Artists Group in 1936 is signed with the artist's monogram within the block lower right, titled verso with a AAG inkstamp. Block size 5 x 7.75, sheet measures 13 x 18 inches. Please see description for measurements. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
Leo John Meissner (1895-1977) Mountain Home, No. Car. The wood engraving, numbered 20 from an edition of 50 prints, is signed by the artist in pencil below the image lower right and titled lower left. Unframed, a very nice, dark impression perhaps never framed and thus never exposed to acidic materials. Image measures 9.75 x 5.75, sheet is 14 x 10.5 inches. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
Leo John Meissner (American 1995-1977 ) "War Bulletins," c.1942, wood engraving, signed in pencil lower right, titled lower left, numbered center 37/50, matted and framed. Museum Glass. Dimensions: 6 x 9 in. image size, 15 x 17.25 in. as framed. Condition: Light mat burn, not examined out of frame.
Meissner, Leo (American 1895-1977) Adam. 1930. Woodcut. Signed l.r. Titled l.l. Editioned center, 39/50. All in pencil. Artist monogram in plate, l.l. Image size: 8" x 10" Sheet size: 11 1/2" x 14 1/4". Condition: Very good, Tipped onto matting.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Prickly Pear: Ariz., signed in pencil on margin lower right "Leo Meissner". Approx. 6 1/2 x 10 in. (image). 11 1/4 x 13 1/2 in. (paper). Discoloration from previous mat. Tape residue on back top edge. Provenance: Childs Gallery, Boston, Ma.
 leo Meissner (1895-1977) Tidal Surge, 1961 1961 The wood engraving from an edition of 200 is signed by the artist in pencil lower right and titled lower left. This image served as the Prairie Print Makers Presentation Print for distribution to associate members and sale to the organization's membership. Image measures 8.5 x 10.75, sheet is 12.75 x 16, and frame is 17 x 19.5 inches. AN ABSENTEE BID PLACED IN ADVANCE COULD LOSE TO A LIVE BID OF EQUAL AMOUNT PLACED LATER. First bid precedence is not possible in auctions that incorporate live bidding via multiple online platforms, live bidders participating in the sale room and live telephone bidders. The only ways to avoid the possibility of losing the bid in this manner is to attend the live auction or bid absentee with plus-one option. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.
LEO JOHN MEISSNER Maine/New York, 1895-1977 "Sunburst" and "Dune Grasses". Both signed lower right and titled lower left. Numbered in pencil 57/60 and 17/50.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Prickly Pear: Ariz., signed in pencil on margin lower right "Leo Meissner". Approx. 6 1/2 x 10 in. (image). 11 1/4 x 13 1/2 in. (paper). Discoloration from previous mat. Tape residue on back top edge. Provenance: Childs Gallery, Boston, Ma.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
LEO J. MEISSNER (1895-1977) Cabby? Linoleum cut on cream paper, 1929. 229x145 mm; 9x5 3/4 inches, full margins. Signed, dated, titled and numbered 22/50 in pencil, lower margin.
LEO J. MEISSNER (1895-1977) Coney Island. Linoleum cut on cream paper, 1927. 178x314 mm; 7x12 3/8 inches, full margins. Signed, titled, dated and numbered 8/30 in pencil, lower margin.
LEO J. MEISSNER (1895-1977) Shine? Linoleum cut on cream paper, 1928. 293x216 mm; 11 1/2x8 1/2 inches, full margins. Signed, dated, titled and numbered 5/30 in pencil, lower margin.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Leo Meissner Adam 1930 woodcut sheet: 14.375 h × 11.625 w in (37 × 30 cm) image: 10 h × 8 w in (25 × 20 cm) Signed, titled and numbered to lower edge 'Adam 34/50 Leo Meissner' with artist's monogram in plate. This work is number 34 from the edition of 50. This work will ship from Lambertville, New Jersey.
Leo John Meissner (Maine/New York, 1895-1977) pastel on paper desert landscape drawing depicting cacti and shrubbery in front of rocky terrain. Signed "Leo Meissner" lower left. Housed and matted under glass in a giltwood frame. Sight: 23 1/2" H x 15 1/2" W. Framed: 34 14" H x 28 1/2" W. Early 20th century.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Meissner, Leo (American, 1895-1977), Clearing Away, undated, wood engraving on Arches paper, signed, titled, marked artist's proof and inscribed to author Isabel Currier in pencil at bottom, 8 x 11.75 inches, full sheet 12.5 x 15.5 inches.
Leo John Meissner (Maine/New York, 1895-1977) pastel on paper desert landscape drawing depicting cacti and shrubbery in front of rocky terrain. Signed "Leo Meissner" lower left. Housed in a giltwood frame with a mat under glass. Sight: 23 1/2" H x 15 1/2" W. Framed: 34 14" H x 28 1/2" W. Early 20th century.
LEO J. MEISSNER Shine? Linoleum cut, 1928. 302x213 mm; 12x8 3/8 inches, full margins. Signed, dated, titled and numbered 10/30 in pencil, lower margin. A very good impression of this scarce print. Meissner (1895-1977) was born in Michigan, studied at the Detroit Fine Art Academy, and after serving in France during World War I, won a scholarship to the Art Students League, New York, where he studied with George Luks and Robert Henri. Meissner worked as an illustrator as his career as a fine artist, and a printmaker in particular, progressed during the 1920s and 1930s. Like many fellow artists and contemporaries, Edward Hopper, William and Marguerite Zorach, Abraham Walkowitz, Rockwell Kent, and others, Meissner was drawn to the New England coast and, more specifically, Monhegan Island, which had been a retreat for American artists since the 19th century. While Meissner maintained a home in New York throughout his career, and depicted the urban lives and everyday scenes he witnessed around him, like the current work, he returned to Monhegan virtually every year for more than a half century to draw and paint the rugged coastline and its rocks, surf and sea.
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed (In-House framing available) SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Leo Meissner (1895-1977) ''Irresistible Force''- wood engraving, 1936-37, signed, titled, dated and annotated 'special edition' in pencil, good condition. 9 3/4 x 13 3/4''
Leo Meissner (1895-1975) 1). ''Chesapeake Boats''- wood engraving, 1934, signed, titled and numbered 28/50 in pencil. 10 x 7''; 2). ''Council of Elders''- wood engraving, edition of 50. 9 x 7 1/2''
ARTIST: Leo John Meissner (Maine, New York, Michigan, 1895 - 1977) NAME: Canyon Landscape MEDIUM: oil on canvas CONDITION: Very good. Very minor craquelure. No visible inpaint under UV light. SIGHT SIZE: 34 x 26 inches / 86 x 66 cm FRAME SIZE: unframed SIGNATURE: lower right NOTE: has remnants of artist's label on verso. SIMILAR ARTISTS: John Whorf, Samuel Peter Rolt Triscott, Carl Sprinchorn, Aldro Hibbard CATEGORY: antique vintage painting SKU#: 116859 US Shipping $90 + insurance. AD: ART CONSIGNMENTS WANTED. CONTACT US BIOGRAPHY: Leo Meissner was born in Hamtramck, Michigan in 1895 in the heart of the newly industrialized areas around Detroit. He enrolled at age fifteen in the Detroit Fine Art Academy where he studied with John P. Wicker (1860-1931). The exigencies of study without a scholarship or much financial support from his Bohemian immigrant parents led young Leo to have to balance schooling in art with working odd jobs. He made his way from about 1910 until he enlisted in World War I learning about art under Wicker and working to support his schooling. On the troop ship to France, Meissner fell in love with the turbulent swells of the Atlantic and decided that it would be a fine subject for painting. He pursued the sea as a major theme in his painting and printmaking for the rest of his life. After the war, Meissner continued to study at the Detroit Fine Art Academy where he won a scholarship to the Art Students League in New York. There he was able to study painting with Robert Henri and George Luks. With his newfound skills he got a job as assistant art director on the magazine "Charm". By 1923 he was established enough at his job and had saved enough money to take a vacation. He had heard that the coast of Maine would provide good subject matter for a young artist who wanted to sharpen his skills in drawing and painting rocks, surf, and sea. After the night boat to Boston he headed to Boothbay Harbor, Maine and shortly thereafter took a fishing boat to Monhegan Island. As he later recalled in a 1969 interview with Isabel Currier for Down East, "Monhegan was definitely the place I was looking for. The cliffs and surf and huge arch of twinkling stars overhead were completely new discoveries to the boy from New York." In that first summer he lived in a shack below White Head (one of the most famous of Monhegan's headlands) where he could draw and paint unmolested. He returned to New York with sketches and drawings that were to be the basis for a year's work of painting—and the determination to save enough money to return to Monhegan the following year. Meissner returned to Monhegan virtually every year for more than a half century. Although he supported himself in New York first at Charm magazine and later Motor Boating magazine and maintained a residence in Yonkers, New York, he was most closely identified with Monhegan Island where he married a girl he had met on the island and eventually owned two matching houses there. He retired from magazine work in 1950 to devote his entire artistic effort to his own work principally wood engraving in the 1950s and 1960s. Islanders on Monhegan often found themselves outnumbered in the summer by the artists from New York. Isabel Currier, however, reported that one of them avowed that he was considered "one of our own. Leo Meissner's an awful hard worker; starts early every morning and never stops…he's a city fellow, but he's no slicker; a homey man, easy to talk to his pictures make something you see every day look wonderful can't remember the island in summer without Leo, but he doesn't seem to have changed much in a 1l the years he's been here." Currier continued: "The unpretentious, serenely happy object of these plaudits is one of those wiry men, slight and trim of figure, who is unlikely to have altered greatly through the years, although his close-cropped, receding hair is gray and the deeply etched lines in his angular face bespeak and asceticism that seldom is evident in youth. His scholarly countenance is warmed by deepset, alert eyes, which reflect both Meissner's response to people and absorption with what he sees. It is true that his working day on Monhegan starts at about 6:30 in the morning, and he remains shut up in his studio in a small building across the garden from the back door of his home until about 1 p.m. when his wife calls him to lunch." Although Meissner was a fine painter in oil and an even more skilled pastellist, it is his mastery of woodcut, linoleum block and wood engraving that makes him the notable artist he is today. The relief block prints that Meissner produced to great acclaim he was included four times in 50 Prints of the Year (1927- 28-29 and 1933) were exhibited in virtually every American printmaking exhibition venue. In his career of over fifty years, Meissner produced more than 150 relief prints which were exhibited in over 60 one-man shows. In 1963 there was a major retrospective which included 72 of his works at Bates College in Lewiston, Maine. He took prizes for printmaking at the Library of Congress (1943, 1945); Wichita, Kansas (1937); Southern Printmakers (1937, 1938); Detroit Institute of Art (1943, 1945); as well as many other institutions. His landscape subjects are principally drawn from New York City, the Maine coast and Monhegan Island, rural North Carolina, southern Florida, and Arizona. Although Monhegan was the center of his artistic life and printmaking subjects for most of a half-century, Meissner also made brilliant Manhattan subjects in the 1920s and 1930s including the Plaza Hotel, Future New York, studies of Greenwich Village and scenes of life in a bygone lower Manhattan. In the early 1950s he spent time in North Carolina's Great Smoky Mountains where he chose mountain cabins, rural farms and rushing mountain streams as subjects. He then spent a season in Arizona in and around the Oracle Mountains where he contrasted his previous work in the lush mountains of North Carolina with the craggy, arid beauty of the desert landscape and flora. In addition to his personal printmaking, Meissner instituted the Leo J. Meissner prize in printmaking at the National Academy of Design for excellence in printmaking. The prize over the last few decades has been awarded to many of the most distinguished living American printmakers. His prints are widely held in American museums including the Metropolitan Museum of Art, Library of Congress, New York Public Library, Detroit Institute, Baltimore Museum of Art, Currier Gallery, Farnsworth Museum, Philadelphia Museum of Art, Smith College Museum of Art, Bates College Museum of Art, University of Michigan Museum of Art, University of Maine Museum of Art and others. Meissner was first an associate and then a full academician member of the National Academy of Design, as well as the Audubon Artists, Society of American Graphic Artists, the Print Club of Albany, Boston Print Makers, Michigan Academy of Science, Arts and Letters, the Prairie Print Makers, Old Bergen Art Guild, Salmagundi Club, Philadelphia Print Club, Boston Society of Independent Artists, Audubon Artists, and many others. He was listed in the American and International Who's Who and currently has an extensive entry in Who Was Who in American Art (1999).
Leo Meissner (American 1895-1977) ''Irresistible Force''- wood engraving, 1936-37, signed, titled, dated and annotated 'special edition' in pencil, good condition. 9 3/4 x 13 3/4''
Leo Meissner Am., 1895-1977 Northeaster Etching on paper, matted Signed l.r., titled l.l., numbered "33/50" l.c., biographical information affixed to verso
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