Our Mixed Winter Show is now on view at The Old Print Gallery. Stop by our Georgetown shop to see these stunning original 20th century and contemporary prints.Mixed Winter Show

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Contemporary, Early 20th Century, Gallery Openings, Prints

On View Now…

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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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19th Century Prints, Color Linocut, Color Lithograph, Drawing, Early 20th Century, Engraving, Etching, Lithograph, Photo engraving, Prints, Sporting, Wood

Print Round-Up: Superbowl Edition

On Sunday, the Seattle Seahawks will face off against the New England Patriots in Super Bowl XLIX. Whether you are a fan of Tom Brady and the Patriots or your allegiances lie with the defensive-minded Seahawks, the game (and accompanying commercials, half-time show, and viewing parties) should result in an entertaining and fun event. To celebrate, we are sharing several of our football prints- both antique and modern- on the blog. Enjoy!

Big Game Bartlett Pears. Color lithograph, c. 1930's. Image size 10 7/8 x 7 3/8" (276 x 187mm). Great image of football player with ball, in a stadium. The Big Game is the Cal Berkeley vs Stanford match, the grower graduated from Berkeley. Shipper: Dennis W. Leary. Origin:  Walnut Grove, Sacramento Delta CA.  Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. LINK.

Big Game Bartlett Pears. Color lithograph, c. 1930’s. Image size 10 7/8 x 7 3/8″ (276 x 187mm). Great image of football player with ball, in a stadium. The Big Game is the Cal Berkeley vs Stanford match, the grower graduated from Berkeley. Shipper: Dennis W. Leary. Origin: Walnut Grove, Sacramento Delta CA. Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. LINK.

Football. Sybil Andrews.  Four-color linocut, 1937. Edition 60. Image size 9 3/8 x 12 1/2" (237 x 317 mm). LINK.

Football. Sybil Andrews. Four-color linocut, 1937. Edition 60. Image size 9 3/8 x 12 1/2″ (237 x 317 mm). LINK.

Football (untitled). Edith Derry Willson. Etching, softground, c. 1940. Image size 7 x 9 15/16" (178 x 252 mm).

Football (untitled). Edith Derry Willson. Etching, softground, c. 1940. Image size 7 x 9 15/16″ (178 x 252 mm).

Hole in the Line. Joseph W. Golinkin. Lithograph, c.1935. Edition 50. Image size 13 3/4 x 19 13/16" (349 x 504 mm).

Hole in the Line. Joseph W. Golinkin. Lithograph, c.1935. Edition 50. Image size 13 3/4 x 19 13/16″ (349 x 504 mm). LINK.

Holiday in Camp - Soldiers Playing "Foot-Ball". Winslow Homer. Published by Harper's Weekly, New York. Wood engraving, Jul. 15, 1865. A football scrimmage turned melee. Image size 9 1/4 x 13 3/4" (234 x 349 mm). LINK

Holiday in Camp – Soldiers Playing “Foot-Ball”. Winslow Homer. Published by Harper’s Weekly, New York. Wood engraving, Jul. 15, 1865. A football scrimmage turned melee. Image size 9 1/4 x 13 3/4″ (234 x 349 mm). LINK

Missing the Tackle. Rosamond Tudor. Sepia etching, c. 1930. Image size 6 3/4 x 10 3/4" (173 x 273 mm).

Missing the Tackle. Rosamond Tudor. Sepia etching, c. 1930. Image size 6 3/4 x 10 3/4″ (173 x 273 mm).

A Day With the Yale Team. Frederic Sackrider Remington. Harper's Weekly, New York. Photoengraving, hand colored, 1893. Seven vignettes of football players. Image size 13 7/8 x 8 1/2" (353 x 218 mm). LINK.

A Day With the Yale Team. Frederick Sackrider Remington. Harper’s Weekly, New York. Photoengraving, hand colored, 1893. Seven vignettes of football players. Image size 13 7/8 x 8 1/2″ (353 x 218 mm).

The Princeton Yale Foot-Ball Match at the Berkeley Oval. T. de Thulstrup. Published by Harper's Weekly, New York. Wood engraving, Dec. 7, 1889. Image size 13 1/2 x 19 1/2" (345 x 496 mm.). LINK.

The Princeton Yale Foot-Ball Match at the Berkeley Oval. T. de Thulstrup. Published by Harper’s Weekly, New York. Wood engraving, Dec. 7, 1889. Image size 13 1/2 x 19 1/2″ (345 x 496 mm.). LINK.

Short Gain. Benton Murdoch Spruance. Drybrush drawing, c.1935. Signed in pencil, center right "Spruance." Image size 13 x 18 1/4" (331 x 464 mm). LINK.

Short Gain. Benton Murdoch Spruance. Drybrush drawing, c.1935. Signed in pencil, center right “Spruance.” Image size 13 x 18 1/4″ (331 x 464 mm). LINK.

Foot-Ball - "Collared". [football]. Published in Harper's Weekly, New York. Wood engraving with modern handcoloring, Dec. 1, 1883. Good condition and color. LINK.

Foot-Ball – “Collared”. Published in Harper’s Weekly, New York. Wood engraving with modern handcoloring, Dec. 1, 1883. Good condition and color. LINK.

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Early 20th Century, Lithograph, Prints, Two-color Lithograph, Woodcut

Benton Murdoch Spruance

Subway Shift; The Second Front. By Benton Murdoch Spruance. Lithograph, 1943. Edition 30/35.

Benton Murdoch Spruance was one of the most influential and prolific color lithographers in the history of twentieth-century modernism. Innovative in the field of color lithography, Spruance, through his diligence and experimentation,  was able to push the medium to new levels. He developed techniques that are still in use today, including subtractive lithography, a practice which allows the artist to use a single stone for several colors.

Born in 1904, Spruance grew up in an affluent suburb of Philadelphia. He began working as an architectural draftsman after he graduated from high school. While studying in the University of Pennsylvania’s School of Architecture, he attended courses in drawing and etching at the Graphic Sketch Club, a free art school. A life-long interest in the subject of labor began when he worked in a West Virginia logging camp for several months in 1924-25. Following that, he enrolled at the Pennsylvania Academy of the Fine Arts to fulfill his ambition of becoming an artist.

In 1928,  a Cresson scholarship from the Academy enabled Spruance to spend several months in Paris. Spruance studied at the Académie Montparnasse under French painter André Lhote (1885-1962), a practitioner of cubism.  He was introduced to lithography at the distinguished Paris print workshop of Edmond Desjobert, which whom he would later work producing many of his lithographs.  Returning to the states, he taught and served as chair of the Fine Arts department at Beaver College in Pennsylvania, and was later named Director of Graphic Arts at the Philadelphia College of Art. Spruance was the recipient of many prestigious awards, including two grants from the Guggenheim Foundation and two Cresson Scholarships, the second of which helped him continue his studies with Lhote in France.

Reclining Nude or Reclining Figure. By Benton Murdoch Spruance. Two-color woodcut. (Black & Green),1951. Edition 30.

Spruance is primarily recognized as a lithographer of social, mythological and religious subject matter. In the twenties and thirties, Spruance was known for prints that one critic described as his “velvety urban scenes and ‘social conscious’ series,” which chronicled the life of ordinary men and women at work and play. However, Spruance was also a painter and draftsman who during this period took advantage of two Guggenheim fellowships to travel throughout the United States and Europe and sketch landscapes. His later work shifts to include more abstract and evocative imagery. In the forties, Spruance began producing moody, psychologically charged lithographic portraits of women, followed by mystically tinted work, based on biblical passages, that became increasingly subtle and sculptural in effect.

In 1967, the year that Spruance died, a major retrospective of his work was held at the Philadelphia College of Arts. There have also been other exhibitions of his art at the Art Institute of Chicago; The Guggenheim Museum; and the Whitney Museum of American Art. Many institutions, including the National Gallery of Art; the New York Public Library; and the Carnegie Institute, hold permanent collections of his work.

Arrangement for Drums. Benton Murdoch Spruance. Two-color lithograph, 1941. Inscribed “Ed. 30.”

To view more prints by Benton Murdoch Spruance, we invite you to visit the Old Print Shop (our NYC partners) or view the prints on their website.

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