19th Century Prints, Die-cut Color Lithograph, Early 20th Century, Genre, Lithograph, Prints

Antique Valentine’s Day Cards

If you are still looking for a Valentine’s Day card for that special someone, makes sure to stop by our gallery to view our extensive collection of beautiful, antique cards. The first printed paper cards made in the United States appeared around 1840, although handmade Valentine’s Day cards were in existence long before then. We have a myriad of cards with sweet messages, lovely scenes, and beautiful hand-cut paper lace. We also sell many stand-up cards with a base and three-dimensional fold-out layers, which were popular designs from about 1895 until 1915. Below are a few of the cards we offer, many more can be seen in the gallery.

To My Own Valentine. Published by B.B., London and New York. Printed in England.  This Valentine features a brass ring tied up in the string of a tassel. At the bottom of the card is a poem and at the top embossed hearts. Written on verso "Feb 14 1914" with the name of who sent and received the card. Image size 6 x 4 3/4 inches. LINK.

To My Own Valentine. Published by B.B., London and New York. Printed in England. This Valentine features a brass ring tied up in the string of a tassel. At the bottom of the card is a poem and at the top embossed hearts. Written on verso “Feb 14 1914” with the name of who sent and received the card. Image size 6 x 4 3/4 inches. LINK.

To a friend of mine from a friend of thine. Die-cut card, Undated. c.1890. This embossed Valentine features three cherubs holding strings of flowers. Image size 3-D, 6 3/8 x 3 5/8 x 2 1/8 inches. LINK.

To a friend of mine from a friend of thine. Die-cut card, Undated. c.1890. This embossed Valentine features three cherubs holding strings of flowers. Image size 3-D, 6 3/8 x 3 5/8 x 2 1/8 inches. LINK.

To My Valentine. : In these blue forget-me-nots, : In these fragrant roses too, : Read the message fond and true : From my faithful heart to you. Die-cut color lithograph, Undated. c.1880. This beautiful 3D gilded Valentine opens up into an astral globe of honeycomb. The sun and moon rest at the top of the globe, handsome die-cut and embossed designs beneath them, including stars to play along with the astronomical theme. Inside the honeycomb globe is cupid, his quill made from a shortened arrow, backed by a red heart and a sphere of blue. Image size 3D, 10 3/8 x 6 1/2 x 3 1/8 inches (H-W-D), LINK.

To My Valentine. : In these blue forget-me-nots, : In these fragrant roses too, : Read the message fond and true : From my faithful heart to you. Die-cut color lithograph, Undated. c.1880. This beautiful 3D gilded Valentine opens up into an astral globe of honeycomb. The sun and moon rest at the top of the globe, handsome die-cut and embossed designs beneath them, including stars to play along with the astronomical theme. Inside the honeycomb globe is cupid, his quill made from a shortened arrow, backed by a red heart and a sphere of blue. Image size 3D, 10 3/8 x 6 1/2 x 3 1/8 inches (H-W-D), LINK.

Loving Thoughts. Published by A-Meri-Card. Made in U.S.A. L-198. Die-cut color lithograph, Undated. c.1925.  This Valentine features a mechanic holding a a flattened tire with hearts on it. Move his and his eyes and pointing hand move too. Written on verso, "To James H. From Mary N." Image size 6 1/8 x 4 3/8 inches. LINK.

Loving Thoughts. Published by A-Meri-Card. Made in U.S.A. L-198. Die-cut color lithograph, Undated. c.1925. This Valentine features a mechanic holding a a flattened tire with hearts on it. Move his and his eyes and pointing hand move too. Written on verso, “To James H. From Mary N.” Image size 6 1/8 x 4 3/8 inches. LINK.

My signal says.... GO.... My heart says -STOP- My Valentine I love you so! No publisher listed. Made in U.S.A. Die-cut color lithograph, 1932. This Valentine features a policeman and a signal light. The heart between them holds the valentine message and both the hearts border and its text are printed with metallic paint. Written on verso "Wallace Ford. Eunice Smith." Image size 5 1/2 x 4 3/4 inches. LINK.

My signal says…. GO…. My heart says -STOP- My Valentine I love you so! No publisher listed. Made in U.S.A. Die-cut color lithograph, 1932. This Valentine features a policeman and a signal light. The heart between them holds the valentine message and both the hearts border and its text are printed with metallic paint. Written on verso “Wallace Ford. Eunice Smith.” Image size 5 1/2 x 4 3/4 inches. LINK.

I Love You. Hang on to me, My Valentine. Die-cut color lithograph, Undated, c.1920. This valentine features a boy peddling his tricycle with a girl standing on the back, arms wrapped around him. Image size 3 1/4 x 4". LINK.

I Love You. Hang on to me, My Valentine. Die-cut color lithograph, Undated, c.1920. This valentine features a boy peddling his tricycle with a girl standing on the back, arms wrapped around him. Image size 3 1/4 x 4″. LINK.

Don't be surprised, don't be afraid : To find I love you little maid : I've loved you all along.... Published by Raphael Tuck & Sons Co Ltd, New York. Die cut card, c.1910. By R.F. Outcault. This heart shaped Valentine features a jack-in-the-box surprising a girl on Valentine's Day. There are two hanger holes at the top, but the ribbon is missing. Image size 8 1/8 x 8 1/2". LINK.

Don’t be surprised, don’t be afraid : To find I love you little maid : I’ve loved you all along…. Published by Raphael Tuck & Sons Co Ltd, New York. Die cut card, c.1910. By R.F. Outcault. This heart-shaped Valentine features a jack-in-the-box surprising a girl on Valentine’s Day. There are two hanger holes at the top, but the ribbon is missing. Image size 8 1/8 x 8 1/2″. LINK.

Have I not told my love to thee? A love that e'er will constant prove... Paper lace, c.1890. This beautiful Valentine features two layers of paper lace on top of an embossed golden card. The top most layer contains a charming piece of gold and white paper lace with chromolithograph appliques attached above and below it. A large chromolithograph applique of a cherub rests delicately in the center. Inside is a delightful illustration, resembling an old European castle, wrapped around the poem. Image size 10 x 7 3/8 inches. LINK.

Have I not told my love to thee? A love that e’er will constant prove… Paper lace, c.1890. This beautiful Valentine features two layers of paper lace on top of an embossed golden card. The top most layer contains a charming piece of gold and white paper lace with chromolithograph appliques attached above and below it. A large chromolithograph applique of a cherub rests delicately in the center. Inside is a delightful illustration, resembling an old European castle, wrapped around the poem. Image size 10 x 7 3/8 inches. LINK.

My Love to Thee : Unworthy are my hands to hold those dainty hands in mine, : Unworthy are my lips to touch those rosy lips of thine... Paper lace, c.1900. This cute heart shaped Valentine features a piece of silver and white floral paper lace with butterfly appliques on top. An applique of a boy offering an umbrella to a girl lays beneath. The next layer down contains an embossed floral card with golden highlights, which in turn sits on top of a blue and golden card. Image size 8 1/2 x 8 inches. LINK.

My Love to Thee : Unworthy are my hands to hold those dainty hands in mine, : Unworthy are my lips to touch those rosy lips of thine… Paper lace, c.1900. This cute heart-shaped Valentine features a piece of silver and white floral paper lace with butterfly appliques on top. An applique of a boy offering an umbrella to a girl lays beneath. The next layer down contains an embossed floral card with golden highlights, which in turn sits on top of a blue and golden card. Image size 8 1/2 x 8 inches. LINK.

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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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19th Century Prints, Aquatint, Engraving, Genre, Lithograph, Oil Painting, Prints, Stipple

Election Day

Happy Midterm Election Day! In honor of this very important day in our political process, we are sharing three prints by George Caleb Bingham.

The County Election. George Caleb Bingham. Published by Goupil & Co., New York, Paris, London. Stipple and line engraving,1854. Engraved by John Sartain. Image size 22 1/4 x 30" (564 x 760 mm) plus wide margins. LINK.

The County Election. George Caleb Bingham. Published by Goupil & Co., New York, Paris, London. Stipple and line engraving,1854. Engraved by John Sartain. Image size 22 1/4 x 30″ (564 x 760 mm) plus wide margins. At The Old Print Shop: LINK.

George Caleb Bingham is considered by many to be America’s finest genre painter. A number of his printed images, such as the one above, have a political theme. In 1840, Bingham was sent to the Whig convention at Rocheport, Missouri. It is believed that at the convention Bingham realized the artistic possibilities of the political scene and filled his drawing book up with sketches, which were later utilized for his large compositions. The other two large companion scenes to The County Election are Stump Speaking and the extremely rare Verdict of the People.

Stump Speaking. By George Caleb Bingham. Published by Fishel, Adler and Schwartz, 94 Fulton St., New York. Hand-colored stipple, line, and aquatint engraving, 1856. Engraved by Gautier. Image size 22 5/16 x 30" plus title and margins. LINK.

Stump Speaking. By George Caleb Bingham. Published by Fishel, Adler, and Schwartz, 94 Fulton St., New York. Hand-colored stipple, line, and aquatint engraving, 1856. Engraved by Gautier. Image size 22 5/16 x 30″ plus title and margins. At The Old Print Gallery: LINK.

The Verdict of the People. By George Caleb Bingham. Lithograph, 1858-59. Paper size 21 5/8 x 29 3/4" (549 x 755 mm). E. Maurice Bloch in George Caleb Bingham: A Catalogue Raisonne states that only two impressions of this print are known and both are proofs before title.  The two known impressions in the 1967 catalogue were in the collection of Mrs. A. S. Colgate of Tuxedo Park, N.Y. (that impression is currently in the Amon Carter Museum in Fort Worth, Texas) and in the Estate of Curtis B. Rollins, Columbia, Missouri (location of that impression is unknown).

The Verdict of the People. By George Caleb Bingham. Lithograph, 1858-59. Paper size 21 5/8 x 29 3/4″ (549 x 755 mm). E. Maurice Bloch in George Caleb Bingham: A Catalogue Raisonne states that only two impressions of this print are known and both are proofs before title. The two known impressions in the 1967 catalogue were in the collection of Mrs. A. S. Colgate of Tuxedo Park, N.Y. (that impression is currently in the Amon Carter Museum in Fort Worth, Texas) and in the Estate of Curtis B. Rollins, Columbia, Missouri (location of that impression is unknown).

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American Views, Early 20th Century, Engraving, Genre, Landscapes, Linocut, Lithograph, Prints, Wood, Woodcut

Barbara Latham: Prints of the Southwest

Saturday Morning - Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16" (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Saturday Morning – Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16″ (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Born in Walpole, Massachusetts in 1896, artist and illustrator Barbara Latham grew up immersed in the world of science and art. She attended the Norwich Connecticut Art School, where her painting and illustration talent was nurtured and honed. In 1915, she continued her studies at the Pratt Institute in Brooklyn, graduating in 1919. As a young adult, Latham lived and worked in New York City, creating illustrations primarily for Norcross Publishing Company on Madison Avenue, but also had her work featured in Forum Magazine and the New York Times Sunday magazine. She spent one summer at the Art Students League summer program in Woodstock, New York, working with noted modernist painter Andrew Dasburg.

In 1925, Latham traveled to Taos, New Mexico, to gather material for illustrations and greeting cards. Immediately taken with the landscape, Latham created striking paintings and prints of New Mexico’s rose-colored deserts, open sky, jagged mesas, and rugged lands. She also explored and depicted the everyday life of the Taos Pueblo Indians, creating impressive genre scenes of the homes, markets, and bustling hubs of Taos.

It was also in Taos where she was introduced by friend Victor Higgins to a fellow New England painter and printmaker, Howard Cook. Latham and Cook married in 1927. The couple had a beautiful and nurturing relationship, and benefited from each other’s artistic exploration and success. Shortly after marrying, the newlywed couple began extensive traveling- visiting Mexico, Europe, the American South, and parts of the Northeast.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16"(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16″(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4" (111 x 171 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4″ (111 x 171 mm). Very good condition. Signed in pencil. LINK.

The Old Sink. By Barabara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16" (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed "S Bush imp." LINK.

The Old Sink. By Barbara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16″ (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed “S Bush imp.” LINK.

In 1933, on Cook’s first Guggenheim fellowship, the couple relocated to the silver mining town on Taxco, Mexico. It was here that Latham collected imagery which later turned into scenes for her first children book, Pedro, Nina & Perrito (published by Harper & Brother, in 1939). Latham explored the beautiful landscape and spent time with the people of Taxco, documenting all of her impressions in journals and illustrations.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8" (248 x 307 mm). Very good condition. This image was illustrated in a children's book published in 1939 by Harper & Brother. LINK.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8″ (248 x 307 mm). Very good condition. This image was illustrated in a children’s book published in 1939 by Harper & Brother. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8" (143 x 194mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8″ (143 x 194 mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Latham drew recognition for her printmaking and illustrations, working in the mediums of lithographs, etchings, and starkly contrasted black-and-white woodcuts and wood engravings. In 1934, Latham had a one-person show at the Weyhe Gallery in New York, a gallery known for its active support of printmakers.

In the Park.  By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16" (203 x 253 mm). Very good condition. Signed in pencil. Inscribed "To Ann" and "Imp." LINK.

In the Park. By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16″ (203 x 253 mm). Very good condition. Signed in pencil. Inscribed “To Ann” and “Imp.” LINK.

After more traveling, Latham and Cook moved again in 1938 to Talpa Ridge, New Mexico, which became their permanent home for the next 35 years. Here Latham experimented with semi-abstract egg tempera paintings, and oil and watercolor paintings of natural history subjects. She also ventured into textile and clothing design, creating intricate patterns and focusing on hand-dying all her own fabrics.

Latham is celebrated today for her depictions of the American southwest, both in paintings and print form. Her illustrations are in over 17 children’s books and many of her early greeting cards are collected to this day.

We invite our OPG Blog readers and collectors to visit both our New York store and our Georgetown store to see these prints in person.

Prints at The Old Print Gallery, Georgetown: Geraniums, The Old Sink

Prints at The Old Print Shop, New York CityIn The Park, Nina Pedro and Perrito, Our Mexican Kitchen, Saturday Morning- Taos, Taos Pueble, Taos Village with Pueblo Indians

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16" (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16″ (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

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15th Century Prints, 17th Century Prints, 18th Century Prints, 19th Century Prints, American Views, Botanical, Contemporary, Early 20th Century, Foreign Views, Gallery Event, Gallery Updates, Genre, Prints

2014 Capital Art Fair This Weekend

CAF LOGOThe 2014 Capital Art Fair will take place in Arlington, VA, at the Holiday Inn-Rosslyn Westpark Hotel this weekend. We invite all our OPG blog readers and gallery friends to come to the fair, see our selection of great prints, and experience one of the best print fairs in the nation!

A successor to the Washington International Print Fair and the Washington Print Fair, the Capital Art Fair is now in its thirty-fourth year of bringing collectible and desirable art to the Washington, DC, area. This year, the fair boasts over 20 distinguished art dealers from across the United States (including The Old Print Gallery and our partners, The Old Print Shop).

Diana Cooper, Untitled (Double Blue), 2013, OG13DCO0969Visitors to the fair will find thousands of works on paper from great master prints to cutting edge, contemporary pieces. The original prints, paintings, drawings, and photographs span over 500 years of creative expression, offering an impressive and expansive selection to DC art collectors.

The Capital Art Fair presents an invaluable opportunity, both in access and convenience, to the seasoned art collector, as well as those looking to break into the market. It is the only art fair in the Washington, DC, area where an extraordinary range of fine art will be available for collectors, museums, and the curious to purchase. It also gives a chance for the vibrant DC art community to interact and talk with exhibitors and dealers who are highly respected in the field, many of whom are well known to the curators of DC museums and established members of the International Fine Print Dealers Association.

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Tickets to the 2014 Capital Art Fair can be bought at the fair for $10. OPG Blog readers can sign-up online for free admission. Feel free to invite friends, art-lovers, or collectors- the more the merrier!

Free Tickets

The fair hours are as listed below:

Saturday, April 5, 2014: 10 am – 6 pm

Sunday, April 6, 2014: 11 am – 5 pm

The Holiday Inn-Rosslyn Westpark Hotel is located at 1900 North Fort Meyer Drive, Alexandria, VA 22209. It is just over the Key Bridge from Georgetown and only one block away from the Rosslyn Metro stop on the Orange and Blue lines. The Fair is located in the Second Floor Ballroom.

small map

More information, including directions and a list of participating dealers, can be found at the Capital Art Fair website: http://www.capitalartprintfair.com/

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