Abstract, Citiscapes, Contemporary, Early 20th Century, Figurative, Prints

Mixed Winter Show

Bowsprit. By Rockwell Kent. Wood engraving, 1930. Edition 120. Image size 5 5/8 x 6 15/16" (137 x 177 mm). Signed in pencil.

Bowsprit. By Rockwell Kent. Wood engraving, 1930. Edition 120. Image size 5 5/8 x 6 15/16″ (137 x 177 mm). Signed in pencil.

From November 20th through February 12th, the Old Print Gallery will display a new selection of prints from emerging and established printmakers, pulling from both our 20th century and contemporary print collection. This showcase of prints will exhibit a variety of printmaking techniques, and range from representational to abstract in theme. Just in time for the 2015 Holiday Season, this eclectic and impressive mix will have original artwork available at all price points, with prints desirable to the seasoned art collector as well as those looking to break into the market.

Selected Artists: Alexander Archipenko, Albert W. Barker, Philip Bennet, Matt Brown, Asa Cheffetz, Robert Cook, Michael Di Cerbo, Werner Drewes, Richard Florsheim, Eric Goldberg, Rockwell Kent, Richard Lubell, Heather McMordie, Frederick Mershimer, Jake Muirhead, Karima Muyaes, Ilse Schreiber-Noll, Matt Phillips, Emilio Sanchez, Gerald Scheck, Ellen Nathan Singer, Benton Murdoch Spruance, and Lawrence N. Wilbur.

To see the prints included in the show, click here.

Nude Woman. [Untitled.] Ilse Schreiber-Noll. Color woodcut, 1991. Edition 5. Image size 16 78 x 13 1/4" (428 x 337 mm).

Nude Woman. [Untitled.] Ilse Schreiber-Noll. Color woodcut, 1991. Edition 5. Image size 16 78 x 13 1/4″ (428 x 337 mm).

Impossible Dreams. Ilse Schreiber-Noll. Color woodcut, 1991. Edition 5. Image size 16 7/8 x 12 7/8" (428 x 327 mm).

Impossible Dreams. Ilse Schreiber-Noll. Color woodcut, 1991. Edition 5. Image size 16 7/8 x 12 7/8″ (428 x 327 mm).

In the Hill Country. (Vermont). Asa Cheffetz. Published by Associated American Artists. Wood engraving, c. 1943. Edition 250. Image size 5 1/2 x 8 3/4 inches.

In the Hill Country. (Vermont). Asa Cheffetz. Published by Associated American Artists. Wood engraving, c. 1943. Edition 250. Image size 5 1/2 x 8 3/4 inches.

Celebration #2. Philip Bennet. Watercolor monotype, 2014. Ed 1/1. Image size 10 x 13 3/4".

Celebration #2. Philip Bennet. Watercolor monotype, 2014. Ed 1/1. Image size 10 x 13 3/4″.

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Abstract, Contemporary, Monotype, New Additions, Prints

New Additions: Philip Bennet Monotypes

NEW ADDITIONS bannerNEW ADDITIONSIn advance of our Monotypes show, which opens on July 17th, contemporary printmaker Philip Bennet dropped off several new prints to The Old Print Gallery. It is always a pleasure to interact with our contemporary printmakers. Every meeting creates an opportunity to talk with them about their approach to printmaking, new techniques they are exploring, and challenges (both good and bad) they are working through in their studio. Bennet’s new prints deviate from some of his earlier work, both in scale and color palette, so we asked him to share some of his creative process with our OPG blog readers and collectors. We hope you enjoy!

“For some time friends and other artists have asked: “Why don’t you work bigger? Because as a colorist, your prints would have greater impact.” So this spring I took the plunge and did a group of full sheet (22 x 30″) prints. For my plate I chose Mylar, a thin plastic. By using large brushes along with plenty of water, I could more easily enhance the flow of color. Also, I decided on a different watercolor palette consisting of mostly soft warm colors of violets, mauves, reds, oranges, and yellows. I used my usual technique of working intuitively and letting the colors bleed by lifting and rotating the Mylar to create unforeseen effects. I often add a little splatter. “Opposites Attract” and “Moving Violet” are two examples of this technique.” – Philip Bennet , 2015

Opposites Attract. Philip Bennet. Watercolor monotype, 2015. Diptych. Image size 17 x 25 1/4". Edition 1/1. Signed and titled by artist in pencil. Printed on Japanese paper. LINK.

Opposites Attract. Philip Bennet. Watercolor monotype, 2015. Diptych. Image size 17 x 25 1/4″. Edition 1/1. Signed and titled by artist in pencil. Printed on Japanese paper. LINK.

Moving Violet. Philip Bennet. Watercolor monotype, 2015. Image size 16 7/8 x 11 1/4". Edition 1/1. Signed and titled by artist in pencil. LINK.

Moving Violet. Philip Bennet. Watercolor monotype, 2015. Image size 16 7/8 x 11 1/4″. Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm II. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/8". Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm II. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/8″. Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm III.  Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/4". Edition 1/1. Signed and titled by artist in pencil. LINK.

Crazy Rhythm III. Philip Bennet. Watercolor monotype, 2015. Image size 9 3/4 x 13 3/4″. Edition 1/1. Signed and titled by artist in pencil. LINK.

The prints have been added to our inventory, and can now be seen in our DC gallery and online. Thanks to Philip for offering us a glimpse into your creative decision-making.

 

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Abstract, Citiscapes, Color Lithograph, Early 20th Century, Landscapes, Lithograph, Multi-stone Lithograph, New Additions, Prints

New Additions: Richard Florsheim Lithographs

NEW ADDITIONS bannerNEW ADDITIONSIn preparation for our upcoming landscape show, Resonant Terrain, we have added several lithographs by Richard Florsheim, one of the artists selected for the exhibit, to our 20th century print inventory. With titles like “City Lights”, “Illuminations”, and “Light and Water”, it is apparent the Florsheim was engrossed with and inspired by his surroundings, allowing both the sea and the city to have equal reign over his creative focus. Using large, gestural sweeps of the lithographic pencil over stone and dynamic swathes of color, Florsheim was able to capture the vibrancy of his hometowns of Chicago and Provincetown.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Richard Florsheim was active as a painter, sculptor and graphics artist in Chicago, Milwaukee, Provincetown, and Woodstock, New York. Florsheim was born in Chicago in 1916. He spent his youth and early adulthood studying at the University of Chicago and in New York with artist Aaron Bohrod. His father paid for a lengthy European independent study, where Florsheim exhibited at Salon des Refusés, and the Musée du Jeu de Paume honored him by purchasing one of his paintings, Don Quixote.

Florsheim returned to Chicago in 1939, and began lithography in 1940, exhibiting at the Quest Gallery and working out of a studio on North Avenue. He then enlisted in the US Navy, active in the Pacific Theater as a cartographer. It was at this time that he also obtained patents for his radar plane-spotting technique.

After the war, he resumed his artistic career, exhibiting widely. He helped found the Artists’ League of the Midwest with Artists’ Equity Association of New York. He was assistant director of the Arts Center Association, 1951-52, and taught at the Layton School of Art in Milwaukee from 1949 to 1950, and the Contemporary Art Workshop in Chicago from 1952 to 1963. From 1965 to 1973, he was a board member of the Illinois Arts Council.  Florsheim was a member of the National Academy of Design, the Society of American Graphic Artists, the Provincetown Art Association, which he served as Trustee and Vice President from 1962 to 1971, and the Chicago Society of Artists.

Light and Water.  Richard Florsheim. Lithograph , 1959.  Image size 17 3/4 x 13 7/8" (450 x 353 mm).  Edition 30. LINK.

Light and Water. Richard Florsheim. Lithograph , 1959. Image size 17 3/4 x 13 7/8″ (450 x 353 mm). Edition 30. LINK.

Illuminations.  Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago.  Image size 17 13/16 x 13 7/8" (452 x 352 mm). Edition 180. LINK.

Illuminations. Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago. Image size 17 13/16 x 13 7/8″ (452 x 352 mm). Edition 180. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph,  1967. Image size 20 11/16 x 22 1/2" (409 x 571 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph, 1967. Image size 20 11/16 x 22 1/2″ (409 x 571 mm). Edition 50. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists.  Color lithograph, 1965. Image size 10 1/16 x 29 13/16" (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists. Color lithograph, 1965. Image size 10 1/16 x 29 13/16″ (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2" (259 x 749 mm). Edition 250.  LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2″ (259 x 749 mm). Edition 250. LINK.

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Abstract, Aquatint, Contemporary, Drypoint, Early 20th Century, Engraving, Etching, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Landscapes, Mezzotint, Photo engraving, Prints

“Resonant Terrain” to open on April 17th

The Old Print Gallery is excited to announce its new print exhibit, Resonant Terrain, which will open on Friday April 17th, with a nighttime reception at the gallery from 5-7pm. This exhibit of landscapes in print features work by both 20th century and contemporary printmakers, including Matt Brown, Margaret Patterson, Joseph Essig, Sylvie Covey, John Taylor Arms, and more. The selected works range from representational to abstract, depicting vistas, valleys, and views of our shared terrain. The show will remain on view until July 11th.

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4" (350 x 234 mm).

Sentinels. Robert Kipniss. Mezzotint, 1992. Editon 60 + 10 ap. Image size 13 13/16 x 9 1/4″ (350 x 234 mm).

The landscape has a long tradition in art, and Resonant Terrain explores how printmakers choose to depict the natural world through its evolution and transformation into the modern era. Although united in the theme of landscape, the works are realized through differing conceptual and methodical approaches. Some, like Robert Kipniss, use the velvety blacks and luminous whites of a mezzotint to infuse landscapes with a poetic melancholy and stillness- depicting a terrain seemingly untouched by the viewer or even the artist. Others, like Harry Wickey and Gerald Scheck, use the chaotic crosshatching of a drypoint needle or the unpredictable acidic bite of the aquatint to evoke the untamed, wild majesty of the natural world.

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4" (223 x 324 mm).

Storm in the Mountains. Harry Wickey. Drypoint, 1935. Edition 100. Image size 8 7/8 x 12 3/4″ (223 x 324 mm).

Alone Again.  Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4" (497 x 550 mm).

Alone Again. Gerald Scheck. Drypoint, etching, and aquatint, 2005. Edition 25. Image size 19 5/8 x 21 3/4″ (497 x 550 mm).

As our landscapes evolve and modernize, so too do the artists’ tools and technologies, as shown in the methods of two contemporary printmakers selected for the exhibit. Nancy Previs crafts photopolymer plates from her own un-retouched photographs, documenting the life-force of the natural world found hidden within her increasingly urbanized home city of Dublin.  Using a similar photogravure process, Sylvie Covey transforms her own photographs into impressive, mammoth-sized prints of the vast Wyoming landscape.

Seen together, the prints selected for the show unveil the emotional power and pull of the natural world, a beauty and mystery that entraps and enchants artists, and serves as a deep pool of inspiration for their work.

Wyoming III. Sylvie Covey.  Photogravure, 2011. Edition 6. Image size 18 x 23 7/8" (457 x 608 mm).

Wyoming III. Sylvie Covey. Photogravure, 2011. Edition 6. Image size 18 x 23 7/8″ (457 x 608 mm).

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18th Century Prints, 19th Century Prints, Abstract, American Maps, Contemporary, Early 20th Century, Foreign Maps, Gallery Updates, Genre, Landscapes, Maps, Natural History, Naval, Old Print Gallery Showcase, OPG Showcase, Portraits, Prints, World Maps

Holiday 2014 Showcase- Read it Now!

Our new Holiday 2014 Showcase has been sent out to our mailing list, and should hit mailboxes this week. The month’s special holiday edition features a wide range of prints and maps from our collection.

Whether you are looking for a gift for a friend, loved one, or yourself, we offer marvelous examples of important historical scenes, holiday genre, early 20th century American masters, and contemporary fine art. The maps selected for this issue offer a visual “tour around the world”, beginning with three pages of double hemisphere world maps,  an extensive history and list of available state maps by 19th century map publisher Ormando W. Gray, as well as the original 1792 L’Enfant/Ellicott Plan of the City of Washington by Philadelphia-based engravers Thakara and Vallance. Those interested in historical prints will enjoy our prints of George Washington, War of 1812 battle scenes, and George Caleb Bingham’s Stump Speaking– one of the most important depictions of 19th century American politics. Get into the holiday spirit by perusing the wintry genre scenes by Currier and Ives, Thomas Nast, A. B. Frost, and more.

Prints by American masters George Bellows, Robert Riggs, Armin Landeck, Martin Lewis, and Reginald Marsh all appear on later pages of the catalog, followed by a selection of our original, hand-pulled works by DC, NY, regional, and international printmakers. These prints are an impressive and alluring display of the current eclecticism found in contemporary printmaking.

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 in February. To receive our next Showcase, just send us your mailing information, via email.

Read the 2014 Holiday Showcase:

The Old Print Gallery Showcase. Holiday Issue. Volume XXXVII, Number 4. Click to read here.

The Old Print Gallery Showcase. Holiday Issue. Volume XXXVII, Number 4.
Click to read here.

We hope you enjoy it!

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