The Prairie Print Makers was organized in Wichita, Kansas in 1930 with ten charter members:
Lloyd Foltz, Arthur W. Hall, Norma Bassett Hall, C. A. Seward, Birger Sandzen, Charles M. Capps, Edmund Kopietz, Herschel Logan, Clarence A. Hotvedt and Leo Courtney
William Dickerson was invited to join and was elected as the first Artist Member in 1931.
The purpose of the organization was to help artists sell their work through collaborative shows throughout the country and by their Associate Member program. Associate Members (non-artists) payed a $5 membership fee. The primary benefit of their membership was that they were sent a Presentation Print each year.
Secretary-Treasurers of the Prairie Print Makers:
1931-1938 – C. A. Seward
1939 – Leo Courtney
1940-1942 – Charles Capps
1943 – William J. Dickerson
1944-1946 – Arthur W. Hall
1947-1965 – James Swann
Presentation Prints produced for Associate Members:
1931 Presentation Print – A Kansas Creek, 1930 by Birger Sandzen (1871-1954), Lithograph, (7″ X 10″), Edition: 200
1932 Presentation Print – Stone Bridge in Winter, 1932 by Arthur W. Hall (1889-1981), Drypoint, (7 1/2 X 8 7/8), Edition: 150
1933 Presentation Print – The Prairie Rider, 1933 by Levon West (1900-1968), Etching, (8 1/4 X 7 7/8), Edition:200
1934 Presentation Print – Woodbine, 1934 by Ernest Watson (1884-1969), Color Linoleum Cut, (6 3/4 X 9 1/4), Edition:200
1935 Presentation Print – Ozark Valley, 1935 by Lloyd C. Foltz (1897-1990), Etching, (7 3/16 X 10 3/16), Edition: 200
1936 Presentation Print – Adobe Village – New Mexico, 1936 by C. A. Seward (1884-1939), Lithograph, (9 X 11 3/4), Edition: 200
1937 Presentation Print – Job, 1937 by William-Auerbach Levy (1889-1964), Etching, (9 7/8 X 7 7/8), Edition: 200
1938 Presentation Print – Mexican Barber Shop, 1938 by Charles M. Capp (1898-1981), Aquatint, (8 1/2 X 11 3/8), Edition: 200
1939 Presentation Print – Loblolly Pines, 1939 by Alfred H. Hutty (1877-1954), Drypoint, (6 5/8 X 8 3/8), Edition: 200
1940 Presentation Print – New England Village, Castine, Maine, 1940 by Stow Wengenroth (1906-1978), Lithograph, (7 3/8 X 13 3/4), Edition: 214
1941 Presentation Print – Spring, 1941 by Doel Reed (1884-1985), Etching and aquatint, (10 X 14), Edition: 200
1942 Presentation Print – Church at Canyoncitto, by William J. Dickerson (1904-1972), Lithograph, (8 7/8 X 12), Edition: 200
1943 Presentation Print – La Gaude – France, 1943, by Norma Bassett Hall (1890-1957), Color Woodcut, (7 X 9 1/2), Edition:200
1944 Presentation Print – Soo Chow Canal, 1944, by Cyrus LeRoy Baldridge (1899-1977), Drypoint, (12 X 8 3/4), Edition: 200
1945 Presentation Print – Southwestern Summer, 1945, Gene Kloss (1903-1996), Etching and Drypoint, (8 1/2 X 11), Edition: 125
1946 Presentation Print – The Pianist, 1946, Grant T. Reynard (1887-1968), Etching, (8 3/4 X 10 1/4), Edition:200
1947 Presentation Print – Heave and Haul, 1947, Gordon H. Grant (1875-1962), Etching, (8 X 10), Edition: 200
1948 Presentation Print – Cinnamon Fern and Verry, 1948, James D. Havens (1900-1960), Color Woodblock, (8 1/2 X 6 1/2), Edition: 200
1949 Presentation Print – Going Home, 1948, Leslie Cope (1913-2002), Drypoint, (8 X 9 7/8), Edition: 200
1950 Presentation Print – Gloxinias, 1950, Elizabeth Saltonstall (1900-?), Lithograph, (9 7/8 X 11 1/4), Edition: 200
1951 Presentation Print – Sleepy Afternoon, 1951, Ted Hawkins (1911-1969), Etching and Aquatint, (10 X 13 1/2), Edition: 200
1952 Presentation Print – Corn Pulling, 1952, Clare Leighton (1901-1989), Wood Engraving, (6 5/8 X 5 1/2), Edition: 100
1953 Presentation Print – Willow, 1953, James Swann (1905-1985), Drypoint, (10 13/16 X 8 3/8), Edition: 200
1954 Presentation Print – Old Friends, 1954, Agnes Tait (1894-1981), Lithgraph, (10 1/2 X 8 1/2), Edition: 200
1955 Presentation Print – Themes in White, 1954, Luigi Lucioni (1900-1988), Etching, (8 5/8 X 11 3/8), Edition:100
1956 Presentation Print – Ballerina, 1956, Margaret Ann Gaug (1909-1994), Etching and Aquatint, (10 X 8), Edition: 200
1957 Presentation Print – The Far Shore, Ocunquit, Maine, 1957, Stow Wengenroth (1906-1978), Lithograph, (8 X 13 7/16), Edition: 200
1958 Presentation Print – Waterfall, Lake of the Woods, 1934, Walter J. Phillips (1884-1963), Wood Engraving, (4 3/8 X 7 1/2), Edition:200
1959 Presentation Print – Fishing Off the Maine Coast, 1959, Robert von Neumann (1888-1976), Lithograph, (10 1/2 X 14 3/4), Edition: 200
1960 Presentation Print – White Breasted Nuthatch, 1960, Maurice Bebb (1891-?), Color Etching, (9 1/4 X 7 1/4), Edition: 200
1961 Presentation Print – Tidal Surge, 1961, Leo Meissner (1895-1977), Wood Engraving, (8 1/2 X 10 7/8), Edition: 200
1962 Presentation Print – Ghost Town, 1962, Lloyd C. Foltz (1897-1990), Lithograph, (7 X 12 1/2), Edition: 200
1964 Presentation Print – Lake Biwa, 1964, James Swann (1905-1985), Drypoint, (10 7/8 X 6 1/2), Edition:130
1965 Presentation Print – Idyl of New Mexico, 1965, Charles M. Capps (1898-1981), Etching and Aquatint, (7 X 12 1/4), Edition: 130
To some extent the Prairie Print Makers organization was modeled after the older and more established Chicago Society of Etchers. In fact, James Swann served as Secretary-Treasurer of the CSE before taking the same role in the PPM.
Unlike the CSE that only allowed intaglio prints, the Prairie Print Makers realized that they needed to be more inclusive in their types of art by including woodcuts, lithographs and wood engravings in their Presentation Prints. Of the 34 Presentation Prints of the PPM, 9 were lithographs, 7 were etchings, 6 were drypoint, 1 was aquatint, 3 were wood engravings, 1 was a linoleum cut, 4 were a combination of etching and aquatint, 2 were color woodcuts and 1 was a combination of etching and drypoint. In other words 15 of the 34 prints would not have been eligible to be considered by the Chicago Society of Etchers.
Although the Prairie Print Makers was more “modern” in its inclusion of different media than the Chicago Society of Etchers, both organizations saw a decrease in their support by the late 1940’s resulting in the closure of the CSE in the mid 1950’s and by the mid-1960’s the PPM had ceased operations. As the “representational” style of art promoted by both groups lost favor with the public and the art world, the interest level was not sufficient to retain Associate Members and retain the economic viability of the organizations.
Note: The Spencer Art Museum has a full set of all Prairie Print Makers Presentation Prints on their website at www.spencerart.ku.edu. Each print is displayed with a brief description.
The full set is also included in the excellent book: James Swann: In Quest of a Printmaker by Joseph S. Czestochowski (Cedar Rapids Museum of Art: 1990) which is used as the reference for this listing.
Thank you for the information. My father’s mother was given Charles M. Capps etching “Be it Ever So Humble” in 1936 by the Ladies Society of the Hilltop Methodist Church in Wichita. I found the framed etching which was signed by the artist in 1932. My grandfather attached Capps’ obituary which led me to want to find out more about him and The Prairie Printmakers. My father and his parents lived in Wichita for several years.
Charles Capps was a very well regarded member of the Prairie Print Makers. His prints are desirable and continue to sell at a premium. I am sure you enjoy the work he gave to your Grandmother.
Right now until the end of September 2019, the Wichita Art Museum is holding a comprehensive exhibition Charles Capps’ prints. It is accompanied by a complete catalogue of his prints including yours. You can buy it at the WAM museum shop.
Thank you for the information on the Charles Capps exhibit at the Wichita Art Museum. I will buy a copy of the catalogue when I visit the Museum to see the exhibit. I am a big fan of Charles Capps. I love his aquatints. He also was an important part of the Prairie Print Makers – serving as Secretary-Treasurer for two years and President for 23. After James Swann was forced to resign from his position of Secretary-Treasurer of the Chicago Society of Etchers, Charles Capps asked him to serve as the S-T of the Prairie Print Makers. Swann admirably filled this role from 1947 to 1965. I plan on telling this story in more detail in a future blog post.
I found a Cyrus Leroy Baldridge etching, Soo Chow Canal signed 1944. I am not sure if we are related but enjoy his work.
Susie Baldridge
Baldridge was an excellent artist and I also enjoy his work. His life story is “Hemingway-like” in many ways. I plan to write about him in a future blog.
Hello, fine presentation of the Print Makers. Are you aware of a print of the Airplane factory by William Dickerson done in 1941? Can’t seem to fine an image of it anywhere, but I know it exists as I have one. So any infor would be appreciated.
I have never seen this print from William Dickerson. It does not surprise me that he made it. Many artists of this period did commercial work before WWII and were very active producing prints supporting the military during the War. I am writing about John Taylor Arms now and he created a complete series of etchings of Naval vessels.
For anyone interested, I have created a website about my great uncle, Clarence Hotvedt, founding member of the Prairie Print Makers. Check out http://www.cahotvedt.com
Great new website on Clarence Hotvedt – one of the original members of the Prairie Print Makers. Thank you for sharing information about it.