Color Woodcut, Contemporary, Monotype, Prints, Screenprint, Woodcut

Outside the Margin Series

Our 2014 Winter Contemporary Show is still on view at The Old Print Gallery. One of the best things about doing the Winter Contemporary Show every year is catching up with all our talented contemporary artists, seeing and learning about their new projects and experiments in printmaking. It is exciting to witness the evolution of their art over time, as they play with scale, new color palettes, subject matter, and technique.
Outside the Margin (3). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm).  LINK.

Outside the Margin (3). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

Susan Goldman (no stranger to the OPG blog- read her interview here) is one of our contemporary printmakers from DC. We have represented her work for several years now, and her new series, entitled “Outside the Margin” is an intriguing transition from her previous work. While smaller in size than most of her other prints, you can certainly link the thematic elements to her earlier monotypes. In the past, Susan has worked with the image of an amphora, exploring and celebrating ancient civilizations’ reverence for the object. Homer describes the vessel as the “Prima Materia”, a metaphor for the womb of the earth. Swirling and blossoming, Goldman’s amphorae mirror the female silhouette as it generates and nurtures new life. In her new series, Goldman uses the motif of an amphora, but layers in new pattern work and symbolism-like concentric circles and blossoms.
“This varied edition evolved out of mixing my earlier ideas about pattern inspired by travel to Morocco and my new ideas about simplifying my approach to imagery of flowers, targets and amphorae. The layering of multiple print mediums relates to an archaeology of process, what is below is mysterious and fragmented, but as one uncovers the clues, a new picture emerges that references the past and the present.”- Susan Goldman
Outside the Margin (1). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm).  LINK.

Outside the Margin (1). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

Outside the Margin (2). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8" (254 x 203 mm). LINK.

Outside the Margin (2). Susan Goldman. Screenprint monotype with woodcut, 2014. Signed, titled, dated, and editioned on back by artist in pencil. Lily Press stamp in red ink on back. Paper size 10 x 8″ (254 x 203 mm). LINK.

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Abstract, Citiscapes, Contemporary, Early 20th Century, Figurative, Landscapes, Prints, Screenprint, Serigraph, Silkscreen

Serigraphy

Serigraphy ( also known as screen-printing or silk screen) is a versatile printing process, based on the stencil principle. The method first appeared in China during the Song Dynasty (960–1279 AD), and gained popularity in 18th century Europe, thanks to imports of silk from the East. A group of WPA artists, who later formed the National Serigraphic Society, coined the word “serigraphy” in the 1930s in effort to differentiate the artistic application from the commercial printing application. Serigraphy was later made famous in the 1960s by Andy Warhol, who used the medium to achieve a bold, commercial look in his pop-icon prints.

To make a serigraph, a fine woven fabric is tightly stretched and attached to a metal or sturdy wood frame. This forms the printing screen. A stencil is then created on the screen, by the application of a blockout. Artists have experimented with numerous blockout methods over time- including paper, hand-cut film, glue, photosensitive emulsion, and gelatin film. The blockout areas become the non-image areas. After the blockout is laid and dried, paper is placed below the screen and thick ink is squeezed into a line across the top of the screen. The ink is then dragged along the surface of the screen with a squeegee. This forces the ink to pass through the open area of the stencil onto the paper below. For multi-colored prints, a separate screen is required for each color.

Below are several serigraph prints we have in our OPG inventory, by early 20th century and contemporary artists. Hope you enjoy!

Trio. Dorie Marder. Serigraph, 1945. Image size 14 7/8 x 10 7/8" (377 x 276 mm). Edition 45. LINK.

Trio. By Dorie Marder. Serigraph, 1945. Image size 14 7/8 x 10 7/8″ (377 x 276 mm). Edition 45. LINK.

Urban Views.  (Large) #6B. Patrick J. Anderson. Serigraph, 2003. Image size 6 x 6" (151 x 151 mm). Edition 12. LINK.

Urban Views. (Large) #6B.  By Patrick J. Anderson. Serigraph, 2003. Image size 6 x 6″ (151 x 151 mm). Edition 12. LINK.

Coastal Whimsey. Joan Drew. Serigraph, 1965. Image size 8 1/8 x 12 1/2" (210 x 320 mm). Edition 55. LINK.

Coastal Whimsey. By Joan Drew. Serigraph, 1965. Image size 8 1/8 x 12 1/2″ (210 x 320 mm). Edition 55. LINK.

Prairie Sunset. Allan Simpson. Serigraph, 1987. Image size 16 5/16 x 20 1/4" (416 x 514 mm). Edition 30. LINK.

Prairie Sunset. By Allan Simpson. Serigraph, 1987. Image size 16 5/16 x 20 1/4″ (416 x 514 mm). Edition 30. LINK.

Dancing. Thomas Seawell. Serigraph and archival digital, 2010. Tondo - diameter 9 1/2 x 9 1/2" (240 mm). Edition 10. LINK.

Dancing.  By Thomas Seawell. Serigraph and archival digital, 2010. Tondo – diameter 9 1/2 x 9 1/2″ (240 mm). Edition 10. LINK.

Space Planes. Morris A. Blackburn. Serigraph, c. 1950.  8 5/8 x 12" (227 x 305 mm). LINK.

Space Planes.  By Morris A. Blackburn. Serigraph, c. 1950. 8 5/8 x 12″ (227 x 305 mm). LINK.

Pet. Joan Drew. Serigraph, 1967. Image size 2 3/4 x 2" (72 x 40 mm).  Edition 51. LINK.

Pet. By Joan Drew. Serigraph, 1967. Image size 2 3/4 x 2″ (72 x 40 mm). Edition 51. LINK.

Point Blank Distance. By Masaaki Noda. Serigraph, 1996. Image size 12 1/8 x 19 1/4" (308 x 488 mm). Edition 40. LINK.

Point Blank Distance. By Masaaki Noda. Serigraph, 1996. Image size 12 1/8 x 19 1/4″ (308 x 488 mm). Edition 40. LINK.

Hartling Bay. Richard T. Davis. Color serigraph, 1993. Image size 17 3/4 x 20 1/4" (445 x 509 mm). Edition 145. LINK.

Hartling Bay. By Richard T. Davis. Color serigraph, 1993. Image size 17 3/4 x 20 1/4″ (445 x 509 mm). Edition 145. LINK.

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18th Century Maps, 19th Century Maps, 19th Century Prints, 2012 Holiday Gift Guide, Aquatint, Contemporary, Early 20th Century, Engraving, Etching, Linocut, Lithograph, Maps, Pencil Drawing, Prints, Screenprint, Stone, Wood

2012 HOLIDAY GIFT GUIDE: The DCist

GIFT GUIDE BANNER copy

DCIST copyToday, we are featuring our holiday gift picks for the DCist. These are gifts for the Washingtonian, the federal worker, the lobbyist, the cupcake coveter. They love our federal city, so what better gifts than prints and maps that show the city from its founding days up to the present? These city plans and views are sure to delight. Below are our gift selections for the DCist. Enjoy!

The White House - Trade Mark - F. S. Ciampa & Sons - Rodi (Italy). Published by F.S. Ciampa & Sons, Rodi, Italy. Multi-stone lithograph, Undated, c.1890. An interesting advertisement for the Italian shipping firm of F.S. Ciampa & Sons. They were major fruit exporters from Sorrento-Messina-Rodi regions of Italy. This advertising sheet was likely produced to be pasted onto cartons of fruit. $700.00

The White House – Trade Mark – F. S. Ciampa & Sons – Rodi (Italy). Published by F.S. Ciampa & Sons, Rodi, Italy. Multi-stone lithograph, Undated, c.1890. An interesting advertisement for the Italian shipping firm of F.S. Ciampa & Sons. They were major fruit exporters from Sorrento-Messina-Rodi regions of Italy. This advertising sheet was likely produced to be pasted onto cartons of fruit. $700.00

The United States Senate in Session. Published by Harper's Weekly. Hand colored offset engraving, Sept 22, 1894. Double page. $425.00

The United States Senate in Session. Published by Harper’s Weekly. Hand colored offset engraving, Sept 22, 1894. Double page. $425.00

Pennsylvania Ave. Connecting the Capitol and the White House. By Vernon Howe Bailey. Pencil and wash drawing, c.1930. $900.00.

Pennsylvania Ave. Connecting the Capitol and the White House. By Vernon Howe Bailey. Pencil and wash drawing, c.1930. $900.00.

Capitol Twilight. By Emily Trueblood. Three-block linocut, 2011. Signed, titled, and dated in pencil. Inscribed "15/30." Emily Trueblood was born in Arlington, VA, and grew up in the Washington DC area. $225.00.

Capitol Twilight. By Emily Trueblood. Three-block linocut, 2011. Signed, titled, and dated in pencil. Inscribed “15/30.” Emily Trueblood was born in Arlington, VA, and grew up in the Washington DC area. $225.00.

Plan of the City of Washington. By J. Good. Published by J. Good for inclusion in the "Literary Magazine," London. Copper plate engraving, Feb. 1, 1793. On January 24, 1791, President George Washington announced the Congressionally designated permanent location of the national capital, a diamond-shaped ten-mile tract at the confluence of the Potomac and Eastern Branch Rivers. The first five maps were engraved and printed in America, the sixth, seventh and eighth in London. This is the seventh printed view and appeared in the 1793 edition of the "Literary Magazine And British Review," British produced monthly periodical. The rather primitively engraved Eagle and shield cartouche adds a decorative element to this particular map and visually separates it from the American imprints of publishers Thackera & Vallance, Hill and Tiebout. A scarce and unusual map. $4,500.00

Plan of the City of Washington. By J. Good. Published by J. Good for inclusion in the “Literary Magazine,” London. Copper plate engraving, Feb. 1, 1793. On January 24, 1791, President George Washington announced the Congressionally designated permanent location of the national capital, a diamond-shaped ten-mile tract at the confluence of the Potomac and Eastern Branch Rivers. The first five maps were engraved and printed in America, the sixth, seventh and eighth in London. This is the seventh printed view and appeared in the 1793 edition of the “Literary Magazine And British Review,” British produced monthly periodical. The rather primitively engraved Eagle and shield cartouche adds a decorative element to this particular map and visually separates it from the American imprints of publishers Thackera & Vallance, Hill and Tiebout. A scarce and unusual map. $4,500.00

Washington, The Lincoln Memorial. By Max Pollak. Color etching and aquatint, c.1945. An attractive print, depicting the exterior of Lincoln Memorial. In the lower left of the print there is a vignette of the seated statue of Lincoln (sculpted by Daniel Chester French in 1920).  Signed by artist in lower right. $850.00

Washington, The Lincoln Memorial. By Max Pollak. Color etching and aquatint, c.1945. An attractive print, depicting the exterior of Lincoln Memorial. In the lower left of the print there is a vignette of the seated statue of Lincoln (sculpted by Daniel Chester French in 1920). Signed by artist in lower right. $850.00

Lock 20. (C&O Canal). By Yolanda Frederikse. Screenprint on BFK Rives paper, 2006. Signed, titled and dated in pencil. Inscribed "2/8." Yolanda Frederikse is a local printmaker, working out of Maryland. Lock 20 on the C&O Canal is located in Potomac Maryland, near Great Falls. $325.00

Lock 20. (C&O Canal). By Yolanda Frederikse. Screenprint on BFK Rives paper, 2006. Signed, titled and dated in pencil. Inscribed “2/8.” Yolanda Frederikse is a local printmaker, working out of Maryland. Lock 20 on the C&O Canal is located in Potomac Maryland, near Great Falls. $325.00

Bird's-Eye View of Washington City, D.C. By George A. Morrison. Published by W.H. & O.H. Morrison, Washington, DC. Stone engraving, hand colored, 1872. Bird's-eye view looking west from behind the Capitol, which is shown with its new dome and extensions. A 16-item key identifies such landmarks as the Smithsonian Castle, Wasihngton Monument, Botanical Gardens, State Department and Treasury Building. Currently framed. $1,150.00.

Bird’s-Eye View of Washington City, D.C. By George A. Morrison. Published by W.H. & O.H. Morrison, Washington, DC. Stone engraving, hand colored, 1872. Bird’s-eye view looking west from behind the Capitol, which is shown with its new dome and extensions. A 16-item key identifies such landmarks as the Smithsonian Castle, Washington Monument, Botanical Gardens, State Department and Treasury Building. Currently framed. $1,150.00.

City of Washington : From beyond the Navy Yard.  By  George Cooke. Eng'd by W. J. Bennett. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, 1834. One of the great views of the Nation's Capital.  Washington is shown from the south bank of the Anacostia River.  On the right is the Washington Navy Yard, est. 1799, behind is the original Capitol Building and to the left is the White House. The painter of this view is George Cooke. He and the engraver, William Bennett, teamed up to produce four folio-size views of American cities. $40,000.00.

City of Washington : From beyond the Navy Yard. By George Cooke. Eng’d by W. J. Bennett. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, 1834. One of the great views of the Nation’s Capital. Washington is shown from the south bank of the Anacostia River. On the right is the Washington Navy Yard, est. 1799, behind is the original Capitol Building and to the left is the White House. The painter of this view is George Cooke. He and the engraver, William Bennett, teamed up to produce four folio-size views of American cities. $40,000.00.

The Smithsonian Institution. Published by J. A. & R. A. Reid, Providence. Wood engraving, hand colored, 1884-90. This is the original, Smithsonian castle building.From "Picturesque Washington" by Joseph West Moore. $65.00

The Smithsonian Institution. Published by J. A. & R. A. Reid, Providence. Wood engraving, hand colored, 1884-90. This is the original, Smithsonian castle building.From “Picturesque Washington” by Joseph West Moore. $65.00

U. S. Chamber of Commerce, Washington. By Anton Schutz.  Etching, 1928. Signed in pencil. On wove paper. $275.00.

U. S. Chamber of Commerce, Washington. By Anton Schutz. Etching, 1928. Signed in pencil. On wove paper. $275.00.

Plan of the City of Washington. The Capitol [sic] of the United States of America. By S. Augustus Mitchell. Published by S. A. Mitchell, Philadelphia. Handcolored engraving, c.1880. A pleasant map of the U.S. Capital from Mitchell's "New General Atlas."  A decorative, printed "grape vine border" surrounds this map. Engraved by W.H. Gamble. In this 1880's state, Howard University and the Washington Monument are now depicted. $265.00.

Plan of the City of Washington. The Capitol [sic] of the United States of America. By S. Augustus Mitchell. Published by S. A. Mitchell, Philadelphia. Hand colored engraving, c.1880. A pleasant map of the U.S. Capital from Mitchell’s “New General Atlas.” A decorative, printed “grape-vine border” surrounds this map. Engraved by W.H. Gamble. In this 1880’s state, Howard University and the Washington Monument are now depicted. $265.00.

[Untitled.] Washington Monument with Mall. By Emilio Sanchez (1921-1999). Pencil drawing, undated. A striking night scene of the Washington Monument and Reflecting Pool. $1,200.00

[Untitled.] Washington Monument with Mall. By Emilio Sanchez (1921-1999). Pencil drawing, undated. A striking night scene of the Washington Monument and Reflecting Pool. $1,200.00

Check previous posts for more great gift ideas- for everyone on your list. To view other 2012 gift guides, see below:

All sales can be made in store or over the phone. We also ship prints and maps, flat and insured, using FedEx 3 Day Shipping. Our gallery hours are Tuesday-Saturday, from 10am to 5:20pm. The number at the gallery is (202) 965-1818.

 

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