Marion Greenwood Vintage Green Giraffe

After comparing signatures online I believe I have identified the artist behind this green Giraffe lithograph. 950/1000

Marion Greenwood is arguably one of America's greatest twentieth century women artists. She left high school at the age of fifteen to study painting and printmaking at the Art Students League of New York, under John Sloan and George Bridgman (1924-1928). She then completed her education at the Academie Colarossi, in Paris. Greenwood also took lessons in lithography from Emil Ganso in Woodstock, New York (1929-1930).   At the age of twenty-two, Marion Greenwood traveled to the Southwest to paint Navajo Indians. A year later she was living and working in Mexico, where her murals brought her work to the attention of the Mexican President and of Mexico's most famous artist, Orozco. Marion Greenwood's work in Mexico made her reputation in the United States, and when she returned to America in 1936 the government frequently commissioned her for public murals.   Marion Greenwood was a Professor of Art at the University of Tennessee (1954-1955) and at Syracuse University (1965). She was elected a full member of the prestigious National Academy of Design in 1959. Today her paintings and lithographs are included in the following collections; the Pennsylvania Academy of the Fine Arts, Woodstock Artists Association, Georgia Museum of Art, The University of Arizona Museum of Art, Brigham Young University, Yale University Art Gallery and the Smithsonian American Art Museum. *( "Tape-Recorded Interview with Marion Greenwood at Woodstock, New York (1964)," Smithsonian Archives of American Art, oralhist/greenw64.htm).   Beginning in the Second World War, Marion Greenwood worked for and exhibited her art with the Associated American Artists of New York. The Associated American Artists was created in the mid 1930's and commissioned original graphic art from such great American masters as Grant Wood, Thomas Hart Benton, Reginald Marsh and many others. All lithographs and etchings published by the A.A.A. were produced in editions ranging from 100 to 250 impressions. From 1950 to 1970 original lithography became as important to Greenwood's art as her easel painting or murals