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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Aquatint, Contemporary, Prints

Peri Schwartz and Greg Burnet Collaboration

One of the gallery’s contemporary printmakers, Peri Schwartz, has just finished a collaboration with printmaker Greg Burnet– developing a gorgeous spit-bite aquatint titled Bottles & Jars III. The production company Kings in the Back Row filmed their artistic process and collaboration. The resulting video offers unique, behind-the-scenes access into a printmaker’s studio. Watch as the two printmakers discuss and mix color palates, decide on tonal values, and pull proof after proof, until they get it just right. This beautiful, short video shows the benefits you can reap when you have a harmonious union of two creative minds working towards one pursuit. Truly inspiring!

Thank you Peri for sharing a glimpse into your “day-to-day” as a printmaker. To see and purchase available prints by Peri Schwartz, click here.

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19th Century Prints, Color Lithograph, Contemporary, Drypoint, Early 20th Century, Engraving, Etching, Lithograph, Prints

Print Round-Up: Halloween

HAPPY HALLOWEEN FROM THE OLD PRINT GALLERY

Second Monster Portrait. Evan Lindquist. Engraving, 1981. Edition 25. Image size 9 x 11 7/8

Second Monster Portrait. Evan Lindquist. Engraving, 1981. Edition 25. Image size 9 x 11 7/8″ (227 x 301 mm).

Ghost Walk. Sarah Sears. Etching, 2001. Artist proof. Image size 7 1/2 x 12 1/4

Ghost Walk. Sarah Sears. Etching, 2001. Artist proof. Image size 7 1/2 x 12 1/4″ (190 x 311 mm).

Weissenburg Witch. Published by C. Burckardt's. Deponirt

Weissenburg Witch. Published by C. Burckardt’s. Deponirt “Druck u.Verlag v. C. Burckardt’s Nachf. in Weissenburg (Elsass.) Color lithograph, undated, circa 1880. Paper size 65 x 27”. Printer/Publisher stamp in lower right. Weissenburg/Alsace, France.

The Witch House. Salem, Massachusetts. Charles Mielatz. Drypoint, 1903. Edition unknown. Image size 9 5/8 x 6 5/8

The Witch House. Salem, Massachusetts. Charles Mielatz. Drypoint, 1903. Edition unknown. Image size 9 5/8 x 6 5/8″ (244 x 168 mm).

You've got what it takes - To haunt a house!!! Copyright T.C.G. Printed in U.S.A. Undated. c.1970. This lighthearted Valentine features a young man fawning over a young girl. Flip it over and reveal the girl frightening even the ghost with her face. Card size 3 1/2 x 2 1/2

You’ve got what it takes – To haunt a house!!! Copyright T.C.G. Printed in U.S.A. Undated. c.1970. This lighthearted Valentine features a young man fawning over a young girl. Flip it over and reveal the girl frightening even the ghost with her face. Card size 3 1/2 x 2 1/2″.

The Flying Machine from Edinburght in one Day, preform'd by Moggy Mackensie at the Thistle and Crown. Publish'd according to act of Parliam't. Engraving, c.1800. On broomstick by old Maggy's aid / Full royally they rode; / And on the wings of Northern winds / Came flying all abroad. / The Garden of Eden is before them / and behind them a desolate wilderness. - Joel Chap, 2, Ver. 3. Paper size 10 5/8 x 9 1/8

The Flying Machine from Edinburght in one Day, preform’d by Moggy Mackensie at the Thistle and Crown. Publish’d according to act of Parliam’t. Engraving, c.1800. “On broomstick by old Maggy’s aid / Full royally they rode; / And on the wings of Northern winds / Came flying all abroad. / The Garden of Eden is before them / and behind them a desolate wilderness.” – Joel Chap, 2, Ver. 3. Paper size 10 5/8 x 9 1/8″ (270 x 232 mm).

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Contemporary, Landscapes, New Additions, Prints, woodblock print

New Additions: Matt Brown Color Woodcuts

NEW ADDITIONS banner

NEW ADDITIONSContemporary printmaker Matt Brown dropped off more prints at The Old Print Gallery last week, and we are very excited by his new work. Brown works in the traditional Japanese hanga method to create his stunning color landscapes- cutting and inking a different block for each color used in his prints.

“I love the process of making these prints: the way pictorial simplicity is encouraged, the way an image is separated into parts and put back together, the way the translucent colors blend and juxtapose, the way the wood interacts with the paper.”- Matt Brown

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Below Mt. Pemigewasset. Matt Brown. Color woodblock print, 2012. Edition 300. Second state. Image size 16 3/4 x 7 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Pemaquid from Little Thumcap. Color woodblock print, 2013. Edition 300. Image size 6 3/4 x 16 1/2 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Kearsarge from Eagle Pond. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 16 1/2 x 7 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

Waves on Little Thrumcap. Matt Brown. Color woodblock print, 2015. Edition 300. Image size 7 x 16 5/8 inches.

December Afternoon - Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

December Afternoon – Stowe, Vt. Matt Brown. Color woodblock print, 2012. Edition 300. Image size 7 x 16 1/8 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Evening at Lake Winnipesaukee. Color woodblock print, 2014. Edition 300. Image size 16 1/2 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Mt. Washington from Little Haystack. Matt Brown. Color woodcut print, 2014. Edition 300. 15 7/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

Sunlight and Squam Lake. Matt Brown. Color woodcut print, 2015. Edition 300. Image size 16 1/8 x 7 inches.

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19th Century Prints, American Views, Aquatint, Citiscapes, Landscapes, Prints

William J. Bennett

William James Bennett (1787-1844) was a British born painter and engraver, known for his series of birds-eye views of American cities and a series of large aquatints of Niagara Falls. Born in London, Bennett studied at the Royal Academy schools, working under Westall to develop his landscape skills. He spent his late teens and early twenties traveling with the British military, first to Egypt and Malta, followed by a later appointment in Italy. His travels expanded his landscape and portraiture skills, gifting an invaluable opportunity for the young artist to sketch both ancient ruins and modern cities and capture landscapes of all visual varieties.

In 1808, Bennett became a founding member of the Associated Artists in Water Colours, and worked out of London for a time. Bennett later moved to the United States in 1826 and was elected a full member of the National Academy of Design just two years later, in 1828. At the Academy he exhibited watercolor landscapes and seascapes as well as his engravings.

From 1830-1840, Bennett produced a series of aquatint topographical city views. Based off paintings of his own and the work of others, this series was immensely successful. In his views Bennett “not only celebrated the beauty of the American landscape, he also recorded the young nation’s growing urban centers, from Boston, Buffalo, and Detroit to New Orleans and Mobile, with a special focus on New York. Bennett recorded the bustling waterfront activity of thriving ports bathed in a luminous light that unified water, ships, and architecture. Capturing the optimism of the new nation, these magnificent aquatints have been regarded as the finest folio views of 19th-century American cities, which set the stage for an independent American school of city views.” (NYPL link). Bennett later painted four views of Niagara Falls, two which became subjects for his own aquatints, two which were translated into aquatints by fellow engraver John Hill.

Below are three prints we have by Bennett, a stunning view of Richmond, a harbor scene of Boston, and (of course) a beautiful view of the Navy Yard in Washington, DC. We hope you enjoy these prints- all three are still available to view and purchase in our Georgetown location!

City of Washington: From beyond the Navy Yard. George Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, 1834. Engraved by W. J. Bennett. Image size 17 5/8 x 24 5/8". LINK.  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. REF: Deak 485, Stokes 1837 E-64.

City of Washington: From beyond the Navy Yard. By George Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, handcolored, 1834. Engraved by W. J. Bennett. Image size 17 5/8 x 24 5/8″. LINK.
One of the great views of the Nation’s Capital. Washington is shown from the bucolic south bank of the Anacostia River. On the right is the Washington Navy Yard, established in 1799. Behind is the original Capitol Building with the old dome. To the left sits the White House. REF: Deak 485, Stokes 1837 E-64.

Boston, from the Ship House, West End of the Navy Yard. By William J. Bennett. Published by Henry I. Megarey, New York. Handcolored aquatint, 1833.  Image size 15 5/8 x 24 1/8".  LINK.  William Bennett was both the artist and engraver of this delightful view of Boston. One of the great views of the city, Bennett was able to capture the bustling and dynamic nature of this port city at the beginning of the 19th century.

Boston, from the Ship House, West End of the Navy Yard. By William J. Bennett. Published by Henry I. Megarey, New York. Aquatint engraving, handcolored, 1833. Image size 15 5/8 x 24 1/8″. LINK.
William Bennett was both the artist and engraver of this delightful view of Boston. An attractive and colorful view of the city, Bennett was able to capture the bustling, dynamic nature of this port city at the beginning of the 19th century.

Richmond, from the Hill above the Waterworks. By Goegre Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, c. 1833. Engraved by W. J. Bennett. Image size 17 3/4 x 25 3/8". LINK. One of the rarest and most beautiful of Bennett's aquatints. Gloria Deak describes the print as "George Cooke's romantic celebration of Richmond's charms. . . His composition describes the winding path of the Kanawha Canal, embracing in its arc the waters of the James River, where closely clustered buildings rising from its banks define the human community. Grazing cows lend a pastoral touch, and elegant residents, sketched at their leisure on the wooded heights, are placed by the artist in the amphitheater like setting. . . ." Shown prominently is the Virginia State Capitol building which was designed by Thomas Jefferson. To the right is the Governor's mansion. To the left is City Hall (torn down in 1870) and the State Penitentiary which was designed by Benjamin Latrobe.

Richmond, from the Hill above the Waterworks. By George Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, handcolored, c. 1833. Engraved by W. J. Bennett. Image size 17 3/4 x 25 3/8″. LINK.One of the rarest and most beautiful of Bennett’s aquatints. Gloria Deak describes the print as “George Cooke’s romantic celebration of Richmond’s charms. . . His composition describes the winding path of the Kanawha Canal, embracing in its arc the waters of the James River, where closely clustered buildings rising from its banks define the human community. Grazing cows lend a pastoral touch, and elegant residents, sketched at their leisure on the wooded heights, are placed by the artist in the amphitheater like setting. . . .” Shown prominently is the Virginia State Capitol building which was designed by Thomas Jefferson. To the right is the Governor’s mansion. To the left is City Hall (torn down in 1870) and the State Penitentiary which was designed by Benjamin Latrobe. REF: Deak 420; Stokes 1833 E-58.

 

 

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