Color Woodcut, Early 20th Century, Engraving, Gallery Opening Receptions, Gallery Openings, Landscapes, Prints, Wood, woodblock print, Woodcut

“Ink & Grain” to open in September

Autumn Road Santa Fe. By Norma Basset Hall. Color woodblock, 1928. Signed in pencil by the artist.

Autumn Road Santa Fe. By Norma Basset Hall. Color woodblock, 1928. Signed in pencil by the artist.

The Old Print Gallery is proud to announce its new fall print show, Ink & Grain, which will open on Friday, September 19, 2014 with a free opening night reception from 5-8pm at the gallery. Ink & Grain is a group show, highlighting 20th century printmakers who excelled in woodcuts and wood engravings. The exhibit will remain on view at the Old Print Gallery until November 15th, 2014.

One of the most ancient forms of printmaking, the woodcut was in huge decline in the 19th century, as printmakers turned to other forms of reproductive mediums. Luckily, the 20th century saw a revived and energized artistic expression for woodcuts and wood engravings. These new woodcut artists experimented heavily with technique, in ways both innovative and nuanced. Printmakers, like Werner Drewes and Barbara Latham, incorporated the grain of the woodblock directly into the composition of their prints- surrendering to its complexities while highlighting its unique, undulating patterns. Others, including Gustave Baumann, Leo Frank, Norma Bassset Hall, and Luigi Rist, experimented with new methods of ink and color application, resulting in stylized prints in a bold, modern palate, as well as softer, luminous color prints inked onto thin Japanese paper.

Sea Shell and Carlic. Luigi Rist. Color woodcut, 1947. Signed in ink on the block. Titled and inscribed "150 Edition" in pencil.

Sea Shell and Garlic. Luigi Rist. Color woodcut, 1947. Signed in ink on the block. Titled and inscribed “150 Edition” in pencil.

Wood engravings also saw a resurgence during the 20th century, especially in the form of artist’s hand-made books and commercial book illustrations. The show includes works by skilled wood engravers Clare Leighton, Lawrence N. Wilbur, and John Murphy, all who made a name for themselves as dynamic illustrators and artists.

Digging Potatoes. By Clare Leighton. Wood engraving, 1935. Signed and titled in pencil. Edition 30.

Digging Potatoes. By Clare Leighton. Wood engraving, 1935. Signed and titled in pencil. Edition 30.

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

 

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American Views, Early 20th Century, Engraving, Genre, Landscapes, Linocut, Lithograph, Prints, Wood, Woodcut

Barbara Latham: Prints of the Southwest

Saturday Morning - Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16" (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Saturday Morning – Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16″ (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Born in Walpole, Massachusetts in 1896, artist and illustrator Barbara Latham grew up immersed in the world of science and art. She attended the Norwich Connecticut Art School, where her painting and illustration talent was nurtured and honed. In 1915, she continued her studies at the Pratt Institute in Brooklyn, graduating in 1919. As a young adult, Latham lived and worked in New York City, creating illustrations primarily for Norcross Publishing Company on Madison Avenue, but also had her work featured in Forum Magazine and the New York Times Sunday magazine. She spent one summer at the Art Students League summer program in Woodstock, New York, working with noted modernist painter Andrew Dasburg.

In 1925, Latham traveled to Taos, New Mexico, to gather material for illustrations and greeting cards. Immediately taken with the landscape, Latham created striking paintings and prints of New Mexico’s rose-colored deserts, open sky, jagged mesas, and rugged lands. She also explored and depicted the everyday life of the Taos Pueblo Indians, creating impressive genre scenes of the homes, markets, and bustling hubs of Taos.

It was also in Taos where she was introduced by friend Victor Higgins to a fellow New England painter and printmaker, Howard Cook. Latham and Cook married in 1927. The couple had a beautiful and nurturing relationship, and benefited from each other’s artistic exploration and success. Shortly after marrying, the newlywed couple began extensive traveling- visiting Mexico, Europe, the American South, and parts of the Northeast.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16"(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16″(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4" (111 x 171 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4″ (111 x 171 mm). Very good condition. Signed in pencil. LINK.

The Old Sink. By Barabara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16" (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed "S Bush imp." LINK.

The Old Sink. By Barbara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16″ (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed “S Bush imp.” LINK.

In 1933, on Cook’s first Guggenheim fellowship, the couple relocated to the silver mining town on Taxco, Mexico. It was here that Latham collected imagery which later turned into scenes for her first children book, Pedro, Nina & Perrito (published by Harper & Brother, in 1939). Latham explored the beautiful landscape and spent time with the people of Taxco, documenting all of her impressions in journals and illustrations.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8" (248 x 307 mm). Very good condition. This image was illustrated in a children's book published in 1939 by Harper & Brother. LINK.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8″ (248 x 307 mm). Very good condition. This image was illustrated in a children’s book published in 1939 by Harper & Brother. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8" (143 x 194mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8″ (143 x 194 mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Latham drew recognition for her printmaking and illustrations, working in the mediums of lithographs, etchings, and starkly contrasted black-and-white woodcuts and wood engravings. In 1934, Latham had a one-person show at the Weyhe Gallery in New York, a gallery known for its active support of printmakers.

In the Park.  By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16" (203 x 253 mm). Very good condition. Signed in pencil. Inscribed "To Ann" and "Imp." LINK.

In the Park. By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16″ (203 x 253 mm). Very good condition. Signed in pencil. Inscribed “To Ann” and “Imp.” LINK.

After more traveling, Latham and Cook moved again in 1938 to Talpa Ridge, New Mexico, which became their permanent home for the next 35 years. Here Latham experimented with semi-abstract egg tempera paintings, and oil and watercolor paintings of natural history subjects. She also ventured into textile and clothing design, creating intricate patterns and focusing on hand-dying all her own fabrics.

Latham is celebrated today for her depictions of the American southwest, both in paintings and print form. Her illustrations are in over 17 children’s books and many of her early greeting cards are collected to this day.

We invite our OPG Blog readers and collectors to visit both our New York store and our Georgetown store to see these prints in person.

Prints at The Old Print Gallery, Georgetown: Geraniums, The Old Sink

Prints at The Old Print Shop, New York CityIn The Park, Nina Pedro and Perrito, Our Mexican Kitchen, Saturday Morning- Taos, Taos Pueble, Taos Village with Pueblo Indians

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16" (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16″ (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

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