Aquatint, Charcoal Drawing, Color Linocut, Color Woodcut, Drawing, Etching, Figurative, Lithograph, Pencil Drawing, Prints, Watercolor

“20th Century People” to Open in September

Untitled. [Young Girls.] Marion Greenwood, Lithograph, c. 1940. Edition unknown.  Image size 110 1/8 x 11 7/8" (257 x 302 mm). LINK.

Untitled. [Young Girls.] Marion Greenwood, Lithograph, c. 1940. Edition unknown. Image size 110 1/8 x 11 7/8″. LINK.

The Old Print Gallery’s new fall show, 20th Century People, will open on Friday, September 18th, with an opening reception from 5-7pm. The exhibit is a compendium of “people in prints” by some of the most celebrated 20th century American printmakers. Working and creating in a time when the art world was pushing towards abstract expressionism and modernism, these print artists stayed rooted in a sort of inherent figural humanism. With an exquisite ability to convey emotion through the anatomy of the human figure, the artists used their pencils, woodblocks, and burins to capture an arresting gaze, a fleeting moment between individuals, people at work, at play, and deep in thought. Seen together, these prints offer a glimpse of 20th century America, while also reminding viewers of our shared human condition. The show will remain on view until November 14, 2015.

Any Lobsters Today? Gordon Grant. Lithograph, 1946. Edition 250. Image size 9 1/8 x 12 inches. LINK.

Any Lobsters Today? Gordon Grant. Lithograph, 1946. Edition 250. Image size 9 1/8 x 12 inches. LINK.

Selected Artists: Peggy Bacon, Albert W. Barker, Will Barnet, Leonard Baskin, Thomas Hart Benton, Isabel Bishop, Abe Blasko, Ernest Fiene, Emil Ganso, Gordon Grant, Marion Greenwood, Irwin D. Hoffman, Martin Lewis, Charles W. Locke, James Penney, Robert Riggs, John Sloan, Bruce Waldman, Max Weber, and Anders Zorn.

Click HERE to see the prints included in the show. 

Single Strap Hanger. ISabel Bishop. Etching, 1950, printed 1981. Edition 25. Image size 8 1/4 x 3 1/4". LINK.

Single Strap Hanger. Isabel Bishop. Etching, 1950, printed 1981. Edition 25. Image size 8 1/4 x 3 1/4″. LINK.

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Botanical, Color Lithograph, Early 20th Century, Lithograph, Watercolor

Edith Johnston Watercolors

Our partners in New York City, The Old Print Shop, have a stunning set of floral watercolors by 20th century artist Edith F. Johnston. Not much is know about Johnston, who created during the early to mid 20th century. She was illustrator and co-author (along with Margaret McKinney) of “A Book of Garden Flowers” published in 1941, “A Book of Wayside Fruits” in 1945, as well as “A Book of Wild Flowers” published in 1946. These publications offered rich insight and advice to their readers, with notes on planting windows and care for a multitude of flower varieties. Johnston and McKinney also included light history of each flower, including its use in ancient cultures and any symbolic meanings. Every book featured full-color multi-stone lithographs, after drawings by Johnston.

The original watercolors shown below vary in design and arrangement but all show a propensity towards illustrating with strong and dramatic color palettes. It is possible that several of the watercolors were studies for plants featured in her books. These unique works on paper would make beautiful additions to any natural history collection.

To see more by Edith Johnston, click here.  

Assam, N. E. India, on Brahmaputra R. Edith Johnston. Watercolor on paper, July, 1965. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled in pencil at lower paper edge. Plant identification has been erased - it appears that this was done for a presentation (framing for a show). Signed and dated in image. LINK.

Assam, N. E. India, on Brahmaputra R. Edith Johnston. Watercolor on paper, July, 1965. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled in pencil at lower paper edge. Plant identification has been erased – it appears that this was done for a presentation (framing for a show). Signed and dated in image. LINK.

Pansy & Bleeding Heart. Edith Johnston. Watercolor, undated. Image size 20 7/8 x 15" (531 x 382 mm). Signed by the artist (under leaves) on left side. LINK.

Pansy & Bleeding Heart. Edith Johnston. Watercolor, undated. Image size 20 7/8 x 15″ (531 x 382 mm). Signed by the artist (under leaves) on left side. LINK.

Eggs of Red Snail on Cuperys Alternifolius [umbrella papyrus]. Edith Johnston. Watercolor, 1956. Paper size 22 x 14 7/8"558 x 378 mm). Titled and date in pencil along lower paper edge. "May 2, 1956 - O'Brien." Edith Johnston often noted the locations where she drew - possible why O'Brien in noted. LINK.

Eggs of Red Snail on Cuperys Alternifolius [umbrella papyrus]. Edith Johnston. Watercolor, 1956. Paper size 22 x 14 7/8″558 x 378 mm). Titled and date in pencil along lower paper edge. “May 2, 1956 – O’Brien.” Edith Johnston often noted the locations where she drew – possible why O’Brien in noted. LINK.

Bog Violet, Butlerwort, Pinquicula lutea, P. elatior, Mill Crk. Rd. Mar. 7, 1957. A&T Gleason. Edith Johnston. Watercolor on paper, 1957. Paper size 13 7/8 x 9 3/4" (353 x 248 mm). Titled in pencil. Signed Edith E. Johnston. LINK.

Bog Violet, Butlerwort, Pinquicula lutea, P. elatior, Mill Crk. Rd. Mar. 7, 1957. A&T Gleason. Edith Johnston. Watercolor on paper, 1957. Paper size 13 7/8 x 9 3/4″ (353 x 248 mm). Titled in pencil. Signed Edith E. Johnston. LINK.

Carambola - Averrhoa carambola. Oxalis Family - china. Burma, India. collection of Billings McArthur. Killarney Point, Lake Pillarney, Fla. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled and dated at upper paper edge in pencil. Pencil notes in image. LINK.

Carambola – Averrhoa carambola. Oxalis Family – china. Burma, India. collection of Billings McArthur. Killarney Point, Lake Pillarney, Fla. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled and dated at upper paper edge in pencil. Pencil notes in image. LINK.

Aletris aurea - Golden Colie Root. Mill Crk. Rd. Aut. 24, 55'. KWD Lily family. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled and dated in penci at lower paper edge. Signed in image. LINK.

Aletris aurea – Golden Colie Root. Mill Crk. Rd. Aut. 24, 55′. KWD Lily family. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled and dated in pencil at lower paper edge. Signed in image. LINK.

Rosa Laevigato. Cherokee Rose. Edith Johnston. Watercolor on paper, undated circa 1965. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled in penci at lower paper edge. Signed in image. LINK

Rosa Laevigato. Cherokee Rose. Edith Johnston. Watercolor on paper, undated circa 1965. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled in pencil at lower paper edge. Signed in image. LINK

Floral Vine [Untitled]. Edith Johnston. Watercolor, c.1955. Paper size 18 3/4 x 13 1/8" (47.5 x 33.3 cm). Signed in watercolor. LINK.

Floral Vine [Untitled]. Edith Johnston. Watercolor, c.1955. Paper size 18 3/4 x 13 1/8″ (47.5 x 33.3 cm). Signed in watercolor. LINK.

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19th Century Prints, Aquatint, Color Woodcut, Contemporary, Early 20th Century, Engraving, Etching, Pencil Drawing, Photo engraving, Prints, Sporting, Watercolor, Wood, Woodcut

Print Round-Up: Bicycles

From the earliest depictions of penny farthings and velocipedes on dirt lanes, to modern-day prints of bike commuters navigating busy city streets, our prints celebrate and illustrate the convenience, athleticism, and joy of cycling.  Some of our historic prints show the bicycle in its earliest stages of development- with over-sized front wheels, or still lacking pedals or gears. They also highlight the beginnings of a strong “bike culture” in the 19th century. Many took to this popular form of transportation and amusement, going on long afternoon group rides or joining cycling clubs. We also have several great racing prints, showing fans at the velodrome, watching racers sprint around and around. Contemporary artists like Art Werger, Susan Pyzow, and Su-Li Hung have also depicted cyclists in their prints.

We hope you enjoy our bike print round-up, and we invite you to visit our Washington DC and New York City galleries to view these prints in person!

Tourists. By A. B. Frost. Published by Harper's Weekly. Photoengraving, hand colored, 1896. Image size 8 1/2 x 12 1/2" (215 x 317 mm). AT OPG.

Tourists. By A. B. Frost. Published by Harper’s Weekly. Photoengraving, hand colored, 1896. Image size 8 1/2 x 12 1/2″ (215 x 317 mm). AT OPG.

Six-Day Bike Race. BY Joseph W. Golinkin. Watercolor, c.1940. Image size 20 x 24" (508 x 610 mm). AT OPS.

Six-Day Bike Race. By Joseph W. Golinkin. Watercolor, c.1940. Image size 20 x 24″ (508 x 610 mm). AT OPS.

Bicyclist. By Susan Pyzow.  Etching, 2002. Image size 9 x 11 7/8" (225 x 300 mm). Edition 40. AT OPG.

Bicyclist. By Susan Pyzow. Etching, 2002. Image size 9 x 11 7/8″ (225 x 300 mm). Edition 40. AT OPG.

Cyclist Duo. By Richard Sloat. Etching, 2003. Image size 6 x 9 1/2" (152 x 240 mm). Edition 7. AT OPS.

Cyclist Duo. By Richard Sloat. Etching, 2003. Image size 6 x 9 1/2″ (152 x 240 mm). Edition 7. AT OPS.

Bike Lane, Queensborough Bridge. By Steven E. Walker. Woodcut, 2005. Image size 9 9/16 x 7 1/8" (243 x 180 mm). Edition 75. AT OPG.

Bike Lane, Queensborough Bridge. By Steven E. Walker. Woodcut, 2005. Image size 9 9/16 x 7 1/8″ (243 x 180 mm). Edition 75. AT OPG.

A Velocipede of Fifty Years Ago. Published in Harper's Weekly. Wood engraving, with modern handcoloring, 1869. Image size 4 3/16 x 5 3/4" (105 x 146 mm). AT OPS.

A Velocipede of Fifty Years Ago. Published in Harper’s Weekly. Wood engraving, with modern handcoloring, 1869. Image size 4 3/16 x 5 3/4″ (105 x 146 mm). AT OPS.

Bicycle in America.  The Germantown Bicycle Club starting out for a Race. By W. P. Snyder. Published in Harper's Weekly. Wood engraving, with modern handcoloring, Feb. 7, 1880.  Image size 6 5/8 x 9 1/8" (168 x 231 mm). AT OPG.

Bicycle in America. The Germantown Bicycle Club starting out for a Race. By W. P. Snyder. Published in Harper’s Weekly. Wood engraving, with modern handcoloring, Feb. 7, 1880. Image size 6 5/8 x 9 1/8″ (168 x 231 mm). AT OPG.

A Tour Awheel. By W. A. Rogers. Published by Harper's Weekly. Photogravure, 1899. Image size 6 1/2 x 8 3/8" (164 x 211 mm). AT OPS.

A Tour Awheel. By W. A. Rogers. Published by Harper’s Weekly. Photogravure, 1899. Image size 6 1/2 x 8 3/8″ (164 x 211 mm). AT OPS.

Figure Study, Woman on Bicycle. By Martin Lewis. Pencil on paper, c.1935. Image size 7 x 3 1/8" (178 x 80 mm). AT OPS.

Figure Study, Woman on Bicycle. By Martin Lewis. Pencil on paper, c.1935. Image size 7 x 3 1/8″ (178 x 80 mm). AT OPS.

Bicycle. By Su-Li Hung. Woodcut, 2007. Image size 11 3/4 x 12 1/4" (298 x 315 mm). Edition 50. AT OPS.

Bicycle. By Su-Li Hung. Woodcut, 2007. Image size 11 3/4 x 12 1/4″ (298 x 315 mm). Edition 50. AT OPS.

Wheeling on Riverside Drive. BY T. de Thulstrup. Published by Harper's Weekly, New York. Wood engraving, July 17, 1886. Image size 13 3/4 x 19 7/8" (343 x 556 mm.) AT OPG.

Wheeling on Riverside Drive. By T. de Thulstrup. Published by Harper’s Weekly, New York. Wood engraving, July 17, 1886. Image size 13 3/4 x 19 7/8″ (343 x 556 mm.) AT OPG.

The Velodrome de la Seine: The Grand-stand. By Georges Scott. Wood engraving, c.1880. Image size 12 1/4 x 19 5/8" (310 x 499 mm.) AT OPG.

The Velodrome de la Seine: The Grand-stand. By Georges Scott. Wood engraving, c.1880. Image size 12 1/4 x 19 5/8″ (310 x 499 mm.) AT OPG.

The Century Run. By Jay Hambidge. Published by Truth Company. Color photoengraving, 1897. Image size 11 x 17 7/8" (273 x 455 mm.). AT OPG.

The Century Run. By Jay Hambidge. Published by Truth Company. Color photoengraving, 1897. Image size 11 x 17 7/8″ (273 x 455 mm.). AT OPG.

Cycling in England - Down the Ripley Road. By Joseph Pennell. Published by Harper's Weekly, New York, Oct. 22, 1887. Wood engraving, hand colored, 1887. Image size  9 1/4 x 12 5/8" (236 x 325 mm). AT OPG.

Cycling in England – Down the Ripley Road. By Joseph Pennell. Published by Harper’s Weekly, New York, Oct. 22, 1887. Wood engraving, hand colored, 1887. Image size 9 1/4 x 12 5/8″ (236 x 325 mm). AT OPG.

Bicycling on Riverside Drive, New York. By W. A. Rogers. Published by Harper's Weekly, New York. Photoengraving, hand colored, c. 1895. Image size 8 1/2 x 13 1/4" (214 x 339 mm). AT OPG.

Bicycling on Riverside Drive, New York. By W. A. Rogers. Published by Harper’s Weekly, New York. Photoengraving, hand colored, c. 1895. Image size 8 1/2 x 13 1/4″ (214 x 339 mm). AT OPG.

Delivery. By Art Werger. Etching and aquatint, 2013. Image size 13 1/8 x 9 3/16" (333 x 245 mm). Ed 25. AT OPG.

Delivery. By Art Werger. Etching and aquatint, 2013. Image size 13 1/8 x 9 3/16″ (333 x 245 mm). Ed 25. AT OPG.

AT OPG= Print is located at The Old Print Gallery, 1220 31st Street, NW, Washington, DC 20007. www.oldprintgallery.com  t: 202-965-1818

AT OPS= Print is located at The Old Print Shop, 150 Lexington Avenue, New York, NY, 10016. www.oldprintshop.com  t:212-683-3950

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Collagraph, Contemporary, Monotype, New Additions, Prints, Watercolor

New Additions: Philip Bennet

NEW ADDITIONS banner

NEW ADDITIONSPhilip Bennet is a local DC printmaker, specializing in abstract and dynamic monotypes. Using a mixture of watercolors and acrylic paints, Bennet’s images are always an intense, rich mix of color. The works below are newer additions to our contemporary collection- and we are very happy to share them with our gallery visitors and blog readers. To learn more about Philip Bennet, read his printmaker Q&A, where he speaks to his printing methods and the source of his inspiration.

Whorl. Philip Bennet. Monotype, oil based ink, 2008.

Whorl. Philip Bennet. Monotype, oil based ink, 2008.

Green Rain. Philip Bennet. Acrylic on paper, 2001.

Green Rain. Philip Bennet. Acrylic on paper, 2001.

Vermillion. Philip Bennet. Monotype, oil based ink, 2012.

Vermillion. Philip Bennet. Monotype, oil based ink, 2012.

Compass Point. Philip Bennet. Monotype, watercolor and oil based ink, 2013.

Compass Point. Philip Bennet. Monotype, watercolor and oil based ink, 2013.

Doves. Philip Bennet. Watercolor over gesso, on paper, 1999.

Doves. Philip Bennet. Watercolor over gesso, on paper, 1999.

Crazy Rhythm. Philip Bennet. Oil-based monotype, 2010.

Crazy Rhythm. Philip Bennet. Oil-based monotype, 2010.

Ribbons. Philip Bennet. Watercolor & oil-based ink monotype, 2005.

Ribbons. Philip Bennet. Watercolor & oil-based ink monotype, 2005.

Nuclei. Philip Bennet. Oil-based monotype/collagraph, 2010.

Nuclei. Philip Bennet. Oil-based monotype/collagraph, 2010.

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Contemporary, Early 20th Century, Gallery Opening Receptions, Gallery Openings, Prints, Watercolor

RED show

Fast Forward by Rosemary Cooley. Monotype, 2006.

Fast Forward by Rosemary Cooley. Monotype, 2006.

We are very excited to announce our early spring show, RED, which will open with a nighttime reception on February 15, 2013.  RED is a group show of contemporary and early 20th century printmakers who feature the emboldened and passionate hue of red in their prints. Red is the color of blood, fire, earthen clay and blushing petals, and as such, has strong symbolic connections to life and vitality. The selected artists use this energizing pigment to excite the eye and engage viewers- drawing them into their dynamic compositions.

Highlights include a monotype, Fast Forward, by Washington, DC artist Rosemary Cooley, whose concentrated red tones pulsate beneath more delicate looping white and blue strokes. Similarly, red weaves its way along limbs, eyes, and biomorphic shapes in Cantos y Voces and outlines two faces in Black & White, both by Karima Muyaes. Here, red symbolizes blood-ties and familial relationships, linking disparate visages together into a cohesive whole.

Cantos y Voces. By Karima Muyaes. Two-color etching and aquatint, 2005.

Cantos y Voces. By Karima Muyaes. Two-color etching and aquatint, 2005.

Red also is used by artists in representations of our natural world. It shows up in the rust-colored canyons of John Ross’s collagraphs, in the flushed petals of Clare Romano’s Mallorcan Flower and Nina Muys’ Hibiscus, and in the ominous and bruised red and purple sky of Frederick Mershimer’s Eye of the Storm.

Eye of the Storm. By Frederick Mershimer. Mezzotint and aquatint printed in color and finished by hand, 2006.

Eye of the Storm. By Frederick Mershimer. Mezzotint and aquatint printed in color and finished by hand, 2006.

The show will be on view until April 13, 2013. We encourage all our blog readers and gallery followers to attend the RED opening reception and show, to see these beautiful and striking prints in person.

Selected Artists: Will Barnet, Grace Bentley-Scheck, Robert Birmelin, Rosemary Cooley, Antonio Frasconi, Susan Goldman, Mary Manusos, Tokoha Matsuda, Heather McMordie, Judy Mensch, Frederick Mershimer, Karima Muyaes, Nina Muys, Michael Pellettieri, Matt Phillips, Ilse Schreiber-Noll, Clare Romano, John Ross, and Hank Virgona.

Four Dark Red Vases. By Susan Goldman. Monotype, 2003.

Four Dark Red Vases. By Susan Goldman. Monotype, 2003.

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