Mills Gate on the Fence Art Gallery

With the new construction project on the corner of Limestone Street and Xenia Avenue being called the Mills Park Hotel, it was only natural that the Yellow Springs Historical Society sponsor a panel for the Fence Art Gallery Project with reference to the original Mills property.

Kayla Gray, an art student at Central State,  gave us an interpretation of the “Mills Gate”, the imposing entry to what is now Mills Lawn where the original Mills House stood. Where might the Gate have been located? Since Mills House fronted on Walnut Street, perhaps the Gate stood roughly across from the current Presbyterian Church Fellowship Hall, and according to Historical Society president Dave Neuhardt, an 1855 wall map positions the main entrance in that general location. Robin Heise of Yellow Springs Heritage adds, “According to Jane Baker’s book, ‘…Mills built “Little Antioch” near the main entrance to Mills Lawn.’  Little Antioch was located approximately where the funeral home sits today so that would put the main entrance on Walnut Street which seems to match up to the 1855 map.”

If the main drive to the property entered from Phillips or Elm Streets (Limestone did not exist as a through street at that time, ruling it out as a possible location), that may have been the location of the Gate.

The Fence Art Gallery Project is a colorful and varied collection of installations and well worth a stroll down that block of Xenia Avenue to inspect it.

The Mills Gate panel for the Fence Art Gallery Project

The Mills Gate panel for the Fence Art Gallery Project

The actual Mills Gate

The actual Mills Gate

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From the Antioch Bookplate Archives — Richardson Rome

With winter finally having eased its grip enough that contemplation of the great outdoors is pleasurable rather than daunting, today’s offering of bookplate designs from the Antioch Bookplate archives features Richardson Rome, an artist who became so entranced with landscapes (Colorado’s in particular) that he felt compelled to arrange a life where he could spend several months a year devoted to the artist’s life.

The four bookplate designs in Antioch Bookplate catalogs were introduced in 1948 as intaglio prints from steel engravings, and all but one remained in the offer until 1960. Unfortunately the technological aspects of printing from steel engravings doomed them in the long run, as noted by Ernest Morgan: “We wore out the plates despite stripping and re-chroming. They were spoiled by being ‘restored’ by Freitag in Chicago.” Another artist with a passion for natural subjects, Robert Whitmore, redrew W-5 for printing by letterpress, giving it a revival 1966-1972.

Antioch bookplate W-5



Antioch bookplate M-767


Antioch bookplate W-6



Antioch bookplate W-7



Antioch bookplate W-8



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