highlights international perspective
Mabel A. Royds, (English, 1874-1941)


Color woodblock print. Signed in pencil at lower right, M. A. Royds, Self-carved and self-printed by the artist, from an edition of approximately 50 impressions, ca. 1920-30's.

25 by 18.4 cm

Garton & Cooke, London, Catalogue Twenty-Eight, 1984, MB (Marjorie Barton, daughter of the artist) no. 31

By 1918, Royds was back in Edinburgh, again teaching at the College of Art, where she was certainly influenced by Frank Morley Fletcher (1866-1949), the Director at the college from 1907-1923. Fletcher is largely credited with bringing Japanese woodblock printmaking techniques to Britain (and later, to America when he took a position teaching at the Santa Barbara School of the Arts in 1924). He, like Dow (cat. nos. 1-2), and Orlik (cat. no. 3), had also come across the breakthrough article by T. Tokuno, Japanese Wood-Cutting and Wood-Cut Printing, published by the Smithsonian in 1894. Fletcher began to experiment with woodblock printing in 1895, and devoted himself to mastering the technical difficulties while adapting it to Western artistic sensibilities. In 1916 he published his own book, Woodblock Printing by the Japanese Method, which quickly became the handbook for a new generation of print artists, by describing the process in great detail (far more thoroughly than Dow had in Compositions published in 1899), and illustrating each step, including examples of his own work demonstrating the progression of the applications of the color blocks.


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site last updated
June 16, 2021

Scholten Japanese Art
145 West 58th Street, suite 6D
New York, New York 10019
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