Aquatint, Citiscapes, Drypoint, Early 20th Century, Engraving, Etching, Figurative, Landscapes, Prints, Wood, Woodcut

Lawrence Nelson Wilbur (1897-1988)

Ship Building - Gloucester. Lawrence N. Wilbur Drypoint, 1943. Image size 7 5/8 x 11 inches.  Edition 30. LINK.

Ship Building – Gloucester. Lawrence N. Wilbur. Drypoint, 1943. Image size 7 5/8 x 11 inches. Edition 30. LINK.

Born in Whitman, Massachusetts, Lawrence Nelson Wilbur traveled to Boston and Los Angeles before settling in New York. In 1925, he enrolled in the Grand Central Art School where he studied under Harvey Dunn, N.C. Wyeth, and Pruett Carter. As a photo-engraving finisher, he worked for the finest engraving shops in New York, as well as doing work for major magazines. The meticulous nature of this work aided Wilbur’s artistic development. Throughout his prolific art career, which spanned seven decades, he produced wood engravings, woodcuts, linoleum block prints and lithographs, as well as paintings and drawings.

His works are in the collections of the Metropolitan Museum of Art, National Gallery, Philadelphia Museum, Library of Congress, and more, and he received numerous awards for his art, including the Audubon Artist’s medal of honor for a self-portrait in oil in 1957. He was a member of the Salmagundi Club of New York, Painters and Sculptors Society of New Jersey, and Society of America Graphic Artists.

Abandoned Homestead. Lawrence Wilbur. Drypoint, 1938. Edition 45+27. Image size 6 x 8". LINK.

Abandoned Homestead. Lawrence Wilbur. Drypoint, 1938. Edition 45+27. Image size 6 x 8″. LINK.

Our Daily Bread. Lawrence Wilbur. Woodcut, c.1940. Edition unknown. Image size 8 x 9 15/16 inches. LINK.

Our Daily Bread. Lawrence Wilbur. Woodcut, c.1940. Edition unknown. Image size 8 x 9 15/16 inches. LINK.

Tranquil Harbor. Gloucester, Massachusetts. Lawrence Wilbur. Wood engraving, 1958.  Edition 55. Image size 8 5/8 x 10 inches. LINK.

Tranquil Harbor. Gloucester, Massachusetts. Lawrence Wilbur. Wood engraving, 1958. Edition 55. Image size 8 5/8 x 10 inches. LINK.

The Sprie - New York. Lawrence Wilbur. Drypoint, 1985. Edition 100. Image size 14 7/8 x 11 1/8" (380 x 282mm). LINK.

The Sprie – New York. Lawrence Wilbur. Drypoint, 1985. Edition 100. Image size 14 7/8 x 11 1/8″ (380 x 282mm). LINK.

My Family. Lawrence Wilbur. Drypoint, 1950. Edition 55. Image size 10 x 8" (256 x 203 mm). LINK.

My Family. Lawrence Wilbur. Drypoint, 1950. Edition 55. Image size 10 x 8″ (256 x 203 mm). LINK.

Model Resting. Lawrence Wilbur. Etching and aquatint, 1939. Edition 40. Image size 9 3/4 x 7 7/8" (252 x 201 mm). LINK.

Model Resting. Lawrence Wilbur. Etching and aquatint, 1939. Edition 40. Image size 9 3/4 x 7 7/8″ (252 x 201 mm). LINK.

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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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16th Century Maps, American Maps, Maps, New Additions, Woodcut

New Additions: Novae Insulae XXVI Nova Tabula

Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). Image size 10 x 13 3/8" (25.5 x 34.1 cm) plus margins. Very good condition save for some minor splitting along centerfold. Black & white. LINK.

Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). Image size 10 x 13 3/8″ (25.5 x 34.1 cm) plus margins. Very good condition save for some minor splitting along centerfold. Black & white. LINK.

Munster’s map of New World is one of the most important and influential maps of the 16th Century, as it is the earliest to show all of North and South America in a true continental form. This impression is a rare second state of the map, from Munster’s “Cosmography”.  In this second state, published c.1544, the title was changed from “Novae Insulae XVII. . .” to “Novae Insulae XXVI . . .” and appeared in only one edition, making it very scarce.

Geographically, North America is oddly shaped and depicts one of the great geographic misconceptions.  In 1523, Giovanni di Verrazano, a Florentine explorer sailing for King Francis I of France, passed by the outer banks of the Carolinas. He mistook Pamlico Sound for an Oriental Sea that would lead to the Spice Islands, believing that the Barrier Islands were all that constituted North America at the point of the Carolinas. Munster recorded and included Verrazano’s accounts in the greatly successful “Cosmography,” which propagated the myth for many years.

(Detail of North America, depicting the slim Barrier Islands of the Carolinas as the only land mass between the Atlantic and Pacific Oceans.) Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

Detail of North America, depicting the slim Barrier Islands of the Carolinas as the only land mass between the Atlantic and Pacific Oceans.
Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

This early map is filled with interesting cartographic details.

  • The flags of Spain (on Puerto Rico) and Portugal (shown in the South Atlantic) depict their respective spheres of influence in the New World.

    Detail of flag of Spain on Puerto Rico (at left) and flag of Portugal in the South Atlantic (at right). Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of flag of Spain on Puerto Rico (at left) and flag of Portugal in the South Atlantic (at right).
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • The Yucatan Peninsula is shown as an Island.
  • This is the first map to name the Pacific Ocean (Mare Pacificum).
  • South America is depicted with a large bulge in the northwest and notes that cannibals inhabit parts of it.

    Detail of northwest bulge of South America, inhabited by terrifying cannibals hiding in bushes. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of northwest bulge of South America, inhabited by terrifying cannibals hiding in bushes.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • It is also the first map to show Japan (Zipangri), based entirely upon the accounts of Marco Polo and other early travelers.

    Detail of Japan, marked as "Zipangri" on this map. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of Japan, marked as “Zipangri” on this map.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • Shown in the Pacific Ocean is Magellan’s ship, Victoria.

    Detail of Magellan's ship "Victoria",  first ship to successfully circumnavigate the world. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of Magellan’s ship “Victoria”, the first ship to successfully circumnavigate the world.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

Overall, this map is as interesting as it is cartographically significant, and would make an impressive addition to any map collection. Come see it in person at our Georgetown gallery, which is open every Tuesday- Saturday.

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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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Color Woodcut, Contemporary, Gallery Updates, Prints, Woodcut

Thanksgiving Holiday Hours

Turkey. By Su-Li Hung. Woodcut, 1978. Edition 50. Image size 10 5/8 x 10 7/8" (273 x 278 mm). LINK.

Turkey. By Su-Li Hung. Color woodcut, 1978. Edition 50. Image size 10 5/8 x 10 7/8″ (273 x 278 mm). LINK.

Thanksgiving Hours:

  • Tuesday 11/25: Open 10:00 AM to 5:20 PM
  • Wednesday 11/26: Open 10:00 AM to 12:00 PM
  • Thursday 11/27: Closed for Thanksgiving
  • Friday 11/28- Saturday 11/29: Open 10:00 AM to 5:20 PM

We wish you all a happy Thanksgiving and safe travels. Above are our Thanksgiving holiday hours- feel free to stop by today, tomorrow, or Friday and Saturday to browse our extensive collection and to see our 2014 Winter Contemporary Show. The gallery is free and all ages are welcome. With prints and maps ranging from the 15th century to the 21st century, we have something for everyone to enjoy (and great gifts for the holidays).

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