18th Century Prints, Botanical, Copperplate, Engraving, Foreign Views, Landscapes, Prints

Volckamer Citrus Fruit Prints

Today we are sharing stunning 18th century engravings from Volckamer’s “Nurnbergische Hesperides.” A wealthy Nuremberg merchant who had his own fine orangery, Johann C. Volckamer engaged a variety of artists and engravers, including the architectural artist Paul Decker, to produce plates for this distinctive work. Most of the plates are devoted to citrus fruits, bedecked with ribbon and positioned above views of the gardens, town squares, and palaces of Germany, Austria, and Italy. These unusual engravings are prized for their unique combination of botanical illustrations and 18th century garden designs.

Cedrato con fior e Sugo doppio. Page 174. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Cedrato con fior e Sugo doppio. Page 174. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

In the 18th century, most European gardeners were moving away from ornamental gardens and towards practical gardening of vegetables, herbs, and fruits. Gardens in colder planting zones were enclosed against insects, vermin, and the chilly climate, gifting the gardeners an opportunity to grow and cultivate citrus fruit trees for the first time. While the culture of fruit was the subject of many books- gardeners manuals with instructions as to care and pruning were in abundance- there were comparatively few illustrated books dealing with fruit alone in the beginning of the century. Published in 1708, Volckamer’s “Nurnbergische Hesperides” was one of the first illustrated books dedicated to citrus fruits.

Limon Cedrato. Page 68. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Limon Cedrato. Page 68. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Limon Cedrato. Page 162. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Limon Cedrato. Page 162. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

The first volume of “Nurnbergische Hesperides” contained 115 plates, mostly uncolored. Separated into 5 parts, the book’s first four sections focus solely on citrus fruits, while the fifth is devoted to flowers. The plates were engraved by L. C. Glotsh, and were the work of artists P. Decker, B. Kinkel, and I. C. Steinberger.

A continuation, or second volume, of “Nurnbergische Hesperides” was published in 1714, with 132 plates. Again, the plates depict mostly citrus fruits, with the exception of the last section, which highlights pineapple, palm, and coconut trees.The plates were engraved by  J. C. Dehne and J. Montalegre, and were the work of artists Delsenbach, T. G. Beckh, Krieger, and F. P. Lidner.

Aranzo da Portugal. Page 194b. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Aranzo da Portugal. Page 194b. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Limon cornagione. Page 144a. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Limon cornagione. Page 144a. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Cedrati musciati. Page 61. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Cedrati musciati. Page 61. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Cedro di fiore e Sugo doppia. Page 118. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Cedro di fiore e Sugo doppia. Page 118. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Lima Romana. Page 152. Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Lima Romana. Page 152. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

Cedrato Bergamotto. Page 52.  Johann C. Volckamer. Published Nuremberg. Copper plate engraving, hand-colored, 1708-14. From Volckamer's "Nurmbergische Hesperides". LINK.

Cedrato Bergamotto. Page 52. Johann C. Volckamer. Published Nuremberg. Copperplate engraving, hand-colored, 1708-14. From Volckamer’s “Nurnbergische Hesperides.” LINK.

 

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18th Century Prints, Aquatint, Color etching, Contemporary, Copperplate, Engraving, Etching, Past/Present, Prints

Past/Present: Palaces

past present logo copyToday we are sharing two architecture prints. The oldest is from one of the finest architectural works of the German baroque period, Paul Decker’s Fürstliche Baumeister, oder Architectura Civilis. The work was published in Augsburg, Germany by Peter Detleffsen in 1711, and featured plates engraved by several master engravers of the time, including Bodenehr, Englebrecht, Probst and Kraus. They illustrate Decker’s designs for royal palaces and country houses, with details of their interior decoration, gateways, and gardens. In contrast to other architectural texts from the same period which focused heavily on theory and history, none of Decker’s plates were accompanied with text or elaborate descriptions. Rather, his work in Fürstliche Baumeister was created solely with the aristocratic architectural patrons of Central Europe in mind, in hopes to influence and inspire them while they built their palaces and grand estates.

The contemporary print is by Linda Adato, a master of color intaglio. The subject matter of her prints varies from the architecture of New York City, to the chambers and ancient ruins of Europe, to her own backyard. She “enjoy[s] exploring the geometry of the structures in these images and capturing the light at a certain moment or time of day,” always drawing attention to the balance between light and dark, hidden and seen. Adato’s work is distinctive for its delicate synthesis of composition, subtle use of color, and classical elegance. She has been making color etchings for over twenty-five years and is exceptionally skilled at “a la poupee”,  a one plate method of color printing where the colors are inked and wiped on the plate prior to printing.

Image on Top: Erste Seite der Furstle Hoff Capelle, mit dem Herrfchafftle Stuhl. By Paul Decker. Copper engraving, 1711-1716. Published by Peter Detleffsen. Image size 14 3/4 x 14 7/8″. LINK.

Image on Bottom: The Palace. By Linda Adato. Color etching with aquatint and soft ground, 1993. Edition 19/75. Image size 23 3/4 x 15 3/4″. LINK. 

Erste   Seite der Furstle Hoff Capelle, mit dem Herrfchafftle Stuhl. By Paul Decker.

Erste Seite der Furstle Hoff Capelle, mit dem Herrfchafftle Stuhl. By Paul Decker. LINK.

The Palace. By Linda Adato. LINK.

The Palace. By Linda Adato. LINK.

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Early 20th Century, Engraving, Gallery Opening Receptions, Gallery Updates, Maps, Old Print Gallery Showcase, Prints, Wood, Woodcut

Upcoming Events at OPG

Tribune Tower. Martin Levine. Etching and aquatint, 2013. Ed. 10/50.  Image size 11 3/4 x 15 5/8 inches Signed and titled in pencil. LINK.

Tribune Tower. Martin Levine. Etching and aquatint, 2013. Ed. 10/50. Image size 11 3/4 x 15 5/8 inches Signed and titled in pencil. LINK.

Last Weekend for Form, Light, Line: Architecture in Print 

Stop by this weekend to see our exhibit Form Light Line: Architecture in Print before the show comes down on Sunday. This group show of 18 printmakers spans over 90 years of creative expression, with prints by 20th century American artists John Taylor Arms, Martin Lewis, and Armin Landeck coupled with works by cutting-edge, contemporary printmakers. Artists have long found beauty in the strength, durability, and utility of buildings. Form, Light, Line: Architecture in Print allows gallery viewers to experience familiar constructions through the artist’s eye- to visually explore how surfaces capture light, how windows both reveal and reflect, and how dimensional spaces can be flattened and abstracted into planes of light and dark.

“Architecture has a natural affinity with printmaking. Buildings begin as lines on paper and are increasingly likely to end up as unadorned assemblies of right angles and blank planes. There are some pictures in the Old Print Gallery’s impressive “Form, Light, Line: Architecture in Print” that are similarly stark. More of them, though, exalt the details of commercial, industrial or ecclesiastical structures.” Mark Jenkins, Washington Post 

Read the full Washington Post review here. See the prints selected for the show here.  Form Light Line: Architecture in Print will be on view until September 13, 2014.


Athletes. By John J. A. Murphy. Wood Engraving, c.1930. Image size 6 15/16 x 7 3/4 inches. LINK.

Athletes. By John J. A. Murphy. Wood Engraving, c.1930. Image size 6 15/16 x 7 3/4 inches. LINK.

Ink & Grain Opens Next Friday, September 18th

We are excited to announce our new fall print show, Ink & Grain, which will open next Friday, September 19, 2014 with a free opening night reception from 5-8pm at the gallery. Ink & Grain highlights 20th century printmakers who excelled in woodcuts and wood engravings. One of the most ancient forms of printmaking, the woodcut saw an energized revival during the 20th century. American printmakers experimented heavily with technique, by manipulating the grain of the wooden matrix and crafting new methods of ink and color application. Ink & Grain celebrates this renaissance and the skilled printmakers who worked in the form of editioned prints, hand-made books, and commercial book illustrations.

Selected Artists: Gustave Baumann, Asa Cheffetz, Werner Drewes, Leo Frank, Antonio Frasconi, Eliza Draper Gardiner, Norma Bassett Hall, Barbara Latham, Clare Leighton, John J. A. Murphy, Luigi Rist, Mabel Royds, Charles Svendsen, Paul Wenck, Lawrence N. Wilbur, and Adja Yunkers.

To see the prints selected for this show, click here. To read the full Ink & Grain Press release, click here.


A New Fall Showcase in October

The Old Print Gallery publishes informative quarterly showcases, to keep our collectors apprised of new prints added to our inventory and spotlight significant pieces they can add to their own personal collections. We are adding the finishing touches to our Fall 2014 Showcase, which will hit mailboxes and inboxes in early October.

Inspired by our Ink & Grain show, this Showcase will delve further into the world of woodcuts and wood engravings. By pulling pieces from our historical print (and map!) collection, 20th century works, and contemporary prints, we can track this printmaking medium through time. We also have gorgeous examples of 18th century maps of the Americas from likes of Thomas Kitchen, Robert de Vaugondy, and a special full-page feature on Fry & Jefferson’s A Map of the Most Inhabited part of Virginia. We round out the catalog with Audubon and Gould natural history prints, Currier & Ives landscapes, and a very unique print to grace the cover. 

Sign up below if you would like to be added to our Showcase mailing list:

 

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Contemporary, Early 20th Century, Gallery Updates, Lithograph, Prints

Washington Post Review of “Form, Light, Line”

Light/Steel/Air. William J. Behnken. Lithograph, 1979. Signed, titled, and dated in pencil. Edition 45. LINK.

Light/Steel/Air. William J. Behnken. Lithograph, 1979. Signed, titled, and dated in pencil. Edition 45. LINK.

Mark Jenkins, arts writer for The Washington Post, featured our Form Light Line: Architecture in Print exhibit in his most recent column. Follow the link below to read his article, and make sure to stop by the gallery before September 13 to see the show in person.

Washington Post August 30, 2014 Review of Form, Light, Line; Architecture in Print. 

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

Opening Reception for “Form Light Line: Architecture in Print”

You’re Invited…

Lace in Stone, Rouen Cathedral. By John Taylor Arms. Etching, 1927.

Lace in Stone, Rouen Cathedral. By John Taylor Arms. Etching, 1927.

“Form, Light, Line: Architecture in Print”

Opening Night Reception

Friday, June 20, 2014

From 5:00- 8:00 pm

at The Old Print Gallery

Free & Open to All Ages

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