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October 2014 Showcase- Read it Now!

Our new October 2014 Showcase has been sent out to our mailing list, and should hit mailboxes this week. The month’s catalog features a wide range of prints and maps from our collection, focusing on woodcuts and wood engravings.

We share 16th century woodcut maps, woodcut portraits from a scarce 18th century volume covering the discovery and exploration of America, and wood engravings from 19th century illustrator and artist Winslow Homer. The famous Fry-Jefferson map of Virginia can be found on page 6 and 7, and is supplemented with additional examples of great 18th century maps of North America. We highlight several striking Currier and Ives small folio landscapes and pair them with a breathtaking and exquisitely-colored impression of Landscape, Fruit and Flowers, published by the lithographic firm in 1862. We round out the catalog with a sampling of early 20th century and contemporary woodcuts, many of which are are featured in our current exhibition Ink & Grain.

Published in both traditional and digital media formats, we are now able to share our fantastic collection in a whole new way.  We are already working on our next issue, which should arrive during the holiday season. To receive our next Showcase, just send us your mailing information, via email.

Read the October Showcase:

The Old Print Gallery Showcase. October 2014. Volume XXXVII, Number 3. Click to read here.

The Old Print Gallery Showcase.
October 2014. Volume XXXVII, Number 3.
Click to read here.

We hope you enjoy it!

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18th Century Maps, 18th Century Prints, 19th Century Prints, Abstract, Aquatint, Citiscapes, Collagraph, Contemporary, Copperplate, Drawing, Early 20th Century, Engraving, Etching, Landscapes, Linocut, Lithograph, Maps, Mezzotint, Multi-stone Lithograph, Prints, Science, Wood

Print Round-Up: The Moon

In honor of this morning’s “Blood Moon” total lunar eclipse (read about it here), we are sharing a print round-up of our favorite moon related prints. These lunar prints are stunning scientific and artistic representations, from multiple centuries. We hope you enjoy!

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio…. By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio… By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

This is an interesting and decorative map of the surface of the Moon. Doppelmayr was an astronomer as well as a professor of mathematics. He often worked with the Homann heirs.  Together they produced a number of atlases, including Atlas Coelestis and Selenographica.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4" (365 x 210mm). LINK.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4″ (365 x 210mm). LINK.

This print is from Chambers’ and Rees’ Cyclopaedia or, An Universal Dictionary of Arts and Sciences. The composite shows diagrams relating to eclipses.

Phases Of The Moon.  By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8" (248 x 217mm). LINK.

Phases Of The Moon. By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8″ (248 x 217mm). LINK.

This chart appeared in Smith’s Illustrated Astronomy, Designed for the Use of the Public or Common Schools in the United States.  This wonderful work was produced by Asa Smith, the Principal of Public School No. 12, in New York City. He notes that the purpose was “to present all distinguishing principles in physical Astronomy with as few words as possible; but with such ocular demonstrations, by way of diagrams and maps, as shall make the subject easily understood.”

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4" plus title and margins. LINK.

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4″ plus title and margins. LINK.

This print is from Das Illustrierte Mississippithal (The Valley of the Mississippi Illustrated).  In the late 1840’s, Henry Lewis traveled the length of the Mississippi and, with the assistance of other artists, assembled a collection of sketches detailing scenery of the entire river.  Based on these drawings, Lewis proceeded to paint a panorama on a continuous length of canvas which would be moved and viewed through a frame.  In the fall of 1848, the completed piece (hundreds and hundreds of feet in length),  began its tour of American cities.  A European tour followed and while in Dusseldorf, in 1853, Lewis teamed up with the publisher Heinrich Arnz to redo the sketches as lithographs, illustrating a book on Mississippi scenery.  While production was sporadic and relatively unprofitable, the resulting seventy-eight lithographs provide a early and remarkably complete record of the Mississippi River.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16" (204 x 151 mm). Link.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16″ (204 x 151 mm). LINK.

This etching by 20th century printmaker John Taylor Arms (1887-1953) is one of many in his oeuvre to include moons or moonlight. The print is an edition of 100 in color and 75 in black and white. This particular impression is an artist proof, and was printed by  Frederick Reynolds. Reynolds was born in London, immigrating to New York in 1911 to establish himself as an artist in the United States. He was an etcher and mezzotint engraver, and operated his own printing studio in New York. In addition to his own works, Reynolds printed for other artists, including Arms.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16". Signed in pencil lower left, dated and inscribed with the artists cipher lower right "38". LINK.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16″. Signed in pencil lower left, dated and inscribed with the artists cipher lower right “38”. LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8". LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8″. LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16". LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16″. LINK.

Moonrise Tide. (green ink). By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4". LINK.

Moonrise Tide. By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4″. LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16". LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16″. LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5". LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5″. LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997.  Edition 40. Image size 6 13/16 x 11" (176 x 279 mm). LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997. Edition 40. Image size 6 13/16 x 11″ (176 x 279 mm). LINK.

Above are a selection of moon-related prints and drawings from our 20th century and contemporary printmakers. While varying in style and technique, all depict the moon and it’s luminescence casting light and shadows throughout the foreground, making for some very interesting compositions.

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Early 20th Century, Engraving, Gallery Opening Receptions, Prints, Wood, Woodcut

“Ink & Grain” Opens Today!

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Early 20th Century, Engraving, Gallery Opening Receptions, Gallery Updates, Maps, Old Print Gallery Showcase, Prints, Wood, Woodcut

Upcoming Events at OPG

Tribune Tower. Martin Levine. Etching and aquatint, 2013. Ed. 10/50.  Image size 11 3/4 x 15 5/8 inches Signed and titled in pencil. LINK.

Tribune Tower. Martin Levine. Etching and aquatint, 2013. Ed. 10/50. Image size 11 3/4 x 15 5/8 inches Signed and titled in pencil. LINK.

Last Weekend for Form, Light, Line: Architecture in Print 

Stop by this weekend to see our exhibit Form Light Line: Architecture in Print before the show comes down on Sunday. This group show of 18 printmakers spans over 90 years of creative expression, with prints by 20th century American artists John Taylor Arms, Martin Lewis, and Armin Landeck coupled with works by cutting-edge, contemporary printmakers. Artists have long found beauty in the strength, durability, and utility of buildings. Form, Light, Line: Architecture in Print allows gallery viewers to experience familiar constructions through the artist’s eye- to visually explore how surfaces capture light, how windows both reveal and reflect, and how dimensional spaces can be flattened and abstracted into planes of light and dark.

“Architecture has a natural affinity with printmaking. Buildings begin as lines on paper and are increasingly likely to end up as unadorned assemblies of right angles and blank planes. There are some pictures in the Old Print Gallery’s impressive “Form, Light, Line: Architecture in Print” that are similarly stark. More of them, though, exalt the details of commercial, industrial or ecclesiastical structures.” Mark Jenkins, Washington Post 

Read the full Washington Post review here. See the prints selected for the show here.  Form Light Line: Architecture in Print will be on view until September 13, 2014.


Athletes. By John J. A. Murphy. Wood Engraving, c.1930. Image size 6 15/16 x 7 3/4 inches. LINK.

Athletes. By John J. A. Murphy. Wood Engraving, c.1930. Image size 6 15/16 x 7 3/4 inches. LINK.

Ink & Grain Opens Next Friday, September 18th

We are excited to announce our new fall print show, Ink & Grain, which will open next Friday, September 19, 2014 with a free opening night reception from 5-8pm at the gallery. Ink & Grain highlights 20th century printmakers who excelled in woodcuts and wood engravings. One of the most ancient forms of printmaking, the woodcut saw an energized revival during the 20th century. American printmakers experimented heavily with technique, by manipulating the grain of the wooden matrix and crafting new methods of ink and color application. Ink & Grain celebrates this renaissance and the skilled printmakers who worked in the form of editioned prints, hand-made books, and commercial book illustrations.

Selected Artists: Gustave Baumann, Asa Cheffetz, Werner Drewes, Leo Frank, Antonio Frasconi, Eliza Draper Gardiner, Norma Bassett Hall, Barbara Latham, Clare Leighton, John J. A. Murphy, Luigi Rist, Mabel Royds, Charles Svendsen, Paul Wenck, Lawrence N. Wilbur, and Adja Yunkers.

To see the prints selected for this show, click here. To read the full Ink & Grain Press release, click here.


A New Fall Showcase in October

The Old Print Gallery publishes informative quarterly showcases, to keep our collectors apprised of new prints added to our inventory and spotlight significant pieces they can add to their own personal collections. We are adding the finishing touches to our Fall 2014 Showcase, which will hit mailboxes and inboxes in early October.

Inspired by our Ink & Grain show, this Showcase will delve further into the world of woodcuts and wood engravings. By pulling pieces from our historical print (and map!) collection, 20th century works, and contemporary prints, we can track this printmaking medium through time. We also have gorgeous examples of 18th century maps of the Americas from likes of Thomas Kitchen, Robert de Vaugondy, and a special full-page feature on Fry & Jefferson’s A Map of the Most Inhabited part of Virginia. We round out the catalog with Audubon and Gould natural history prints, Currier & Ives landscapes, and a very unique print to grace the cover. 

Sign up below if you would like to be added to our Showcase mailing list:

 

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Map of the United States. Published by Case, Tiffany & Company. Handcolored stone engraving, 1851-1852. Image size 23 3/4 x 24" (602 x 657 mm) plus margins. LINK.
19th Century Maps, American Maps, Engraving, Maps, Stone

1852 Map of the United States

Map of the United States. Published by Case, Tiffany & Company. Handcolored stone engraving, 1851-1852. Image size 23 3/4 x 24" (602 x 657 mm) plus margins. LINK.

Map of the United States. Published by Case, Tiffany & Company. Handcolored stone engraving, 1851-1852. Image size 23 3/4 x 24″ (602 x 657 mm) plus margins. LINK.

New to the OPG inventory is this colorful map of the United States, Mexico, and Central America.  Published by Case, Tiffany & Co. in 1852, the map is an incredible snapshot of the United States right after the Compromise of 1850. It was a very tumultuous time for our nation; and the delineation and distribution (as well as political leanings) of new territory acquired at the the end of the Mexican-American War were bitterly contested.1063detail2

This map shows the newly created state of California, added to the Union as a free state. It also depicts the boundaries for the Territory of New Mexico and Utah Territory.  The shape of Texas is distorted on the map, as a result of the Rio Grande engraved too vertically.

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A portrait of George Washington, along with an early rendition of the Capitol building in Washington, adorn the right side of the map. The map also indicates important towns and cities, forts, missionary settlements, and railroad lines. Steamboat routes from New York to Chagres and to California by way of Panama are also shown.

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