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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Botanical, Color Lithograph, Early 20th Century, Lithograph, Watercolor

Edith Johnston Watercolors

Our partners in New York City, The Old Print Shop, have a stunning set of floral watercolors by 20th century artist Edith F. Johnston. Not much is know about Johnston, who created during the early to mid 20th century. She was illustrator and co-author (along with Margaret McKinney) of “A Book of Garden Flowers” published in 1941, “A Book of Wayside Fruits” in 1945, as well as “A Book of Wild Flowers” published in 1946. These publications offered rich insight and advice to their readers, with notes on planting windows and care for a multitude of flower varieties. Johnston and McKinney also included light history of each flower, including its use in ancient cultures and any symbolic meanings. Every book featured full-color multi-stone lithographs, after drawings by Johnston.

The original watercolors shown below vary in design and arrangement but all show a propensity towards illustrating with strong and dramatic color palettes. It is possible that several of the watercolors were studies for plants featured in her books. These unique works on paper would make beautiful additions to any natural history collection.

To see more by Edith Johnston, click here.  

Assam, N. E. India, on Brahmaputra R. Edith Johnston. Watercolor on paper, July, 1965. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled in pencil at lower paper edge. Plant identification has been erased - it appears that this was done for a presentation (framing for a show). Signed and dated in image. LINK.

Assam, N. E. India, on Brahmaputra R. Edith Johnston. Watercolor on paper, July, 1965. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled in pencil at lower paper edge. Plant identification has been erased – it appears that this was done for a presentation (framing for a show). Signed and dated in image. LINK.

Pansy & Bleeding Heart. Edith Johnston. Watercolor, undated. Image size 20 7/8 x 15" (531 x 382 mm). Signed by the artist (under leaves) on left side. LINK.

Pansy & Bleeding Heart. Edith Johnston. Watercolor, undated. Image size 20 7/8 x 15″ (531 x 382 mm). Signed by the artist (under leaves) on left side. LINK.

Eggs of Red Snail on Cuperys Alternifolius [umbrella papyrus]. Edith Johnston. Watercolor, 1956. Paper size 22 x 14 7/8"558 x 378 mm). Titled and date in pencil along lower paper edge. "May 2, 1956 - O'Brien." Edith Johnston often noted the locations where she drew - possible why O'Brien in noted. LINK.

Eggs of Red Snail on Cuperys Alternifolius [umbrella papyrus]. Edith Johnston. Watercolor, 1956. Paper size 22 x 14 7/8″558 x 378 mm). Titled and date in pencil along lower paper edge. “May 2, 1956 – O’Brien.” Edith Johnston often noted the locations where she drew – possible why O’Brien in noted. LINK.

Bog Violet, Butlerwort, Pinquicula lutea, P. elatior, Mill Crk. Rd. Mar. 7, 1957. A&T Gleason. Edith Johnston. Watercolor on paper, 1957. Paper size 13 7/8 x 9 3/4" (353 x 248 mm). Titled in pencil. Signed Edith E. Johnston. LINK.

Bog Violet, Butlerwort, Pinquicula lutea, P. elatior, Mill Crk. Rd. Mar. 7, 1957. A&T Gleason. Edith Johnston. Watercolor on paper, 1957. Paper size 13 7/8 x 9 3/4″ (353 x 248 mm). Titled in pencil. Signed Edith E. Johnston. LINK.

Carambola - Averrhoa carambola. Oxalis Family - china. Burma, India. collection of Billings McArthur. Killarney Point, Lake Pillarney, Fla. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled and dated at upper paper edge in pencil. Pencil notes in image. LINK.

Carambola – Averrhoa carambola. Oxalis Family – china. Burma, India. collection of Billings McArthur. Killarney Point, Lake Pillarney, Fla. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled and dated at upper paper edge in pencil. Pencil notes in image. LINK.

Aletris aurea - Golden Colie Root. Mill Crk. Rd. Aut. 24, 55'. KWD Lily family. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled and dated in penci at lower paper edge. Signed in image. LINK.

Aletris aurea – Golden Colie Root. Mill Crk. Rd. Aut. 24, 55′. KWD Lily family. Edith Johnston. Watercolor on paper, 1955. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled and dated in pencil at lower paper edge. Signed in image. LINK.

Rosa Laevigato. Cherokee Rose. Edith Johnston. Watercolor on paper, undated circa 1965. Paper size 13 3/4 x 10 3/4" (349 x 275 mm). Titled in penci at lower paper edge. Signed in image. LINK

Rosa Laevigato. Cherokee Rose. Edith Johnston. Watercolor on paper, undated circa 1965. Paper size 13 3/4 x 10 3/4″ (349 x 275 mm). Titled in pencil at lower paper edge. Signed in image. LINK

Floral Vine [Untitled]. Edith Johnston. Watercolor, c.1955. Paper size 18 3/4 x 13 1/8" (47.5 x 33.3 cm). Signed in watercolor. LINK.

Floral Vine [Untitled]. Edith Johnston. Watercolor, c.1955. Paper size 18 3/4 x 13 1/8″ (47.5 x 33.3 cm). Signed in watercolor. LINK.

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Abstract, Citiscapes, Color Lithograph, Early 20th Century, Landscapes, Lithograph, Multi-stone Lithograph, New Additions, Prints

New Additions: Richard Florsheim Lithographs

NEW ADDITIONS bannerNEW ADDITIONSIn preparation for our upcoming landscape show, Resonant Terrain, we have added several lithographs by Richard Florsheim, one of the artists selected for the exhibit, to our 20th century print inventory. With titles like “City Lights”, “Illuminations”, and “Light and Water”, it is apparent the Florsheim was engrossed with and inspired by his surroundings, allowing both the sea and the city to have equal reign over his creative focus. Using large, gestural sweeps of the lithographic pencil over stone and dynamic swathes of color, Florsheim was able to capture the vibrancy of his hometowns of Chicago and Provincetown.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Richard Florsheim was active as a painter, sculptor and graphics artist in Chicago, Milwaukee, Provincetown, and Woodstock, New York. Florsheim was born in Chicago in 1916. He spent his youth and early adulthood studying at the University of Chicago and in New York with artist Aaron Bohrod. His father paid for a lengthy European independent study, where Florsheim exhibited at Salon des Refusés, and the Musée du Jeu de Paume honored him by purchasing one of his paintings, Don Quixote.

Florsheim returned to Chicago in 1939, and began lithography in 1940, exhibiting at the Quest Gallery and working out of a studio on North Avenue. He then enlisted in the US Navy, active in the Pacific Theater as a cartographer. It was at this time that he also obtained patents for his radar plane-spotting technique.

After the war, he resumed his artistic career, exhibiting widely. He helped found the Artists’ League of the Midwest with Artists’ Equity Association of New York. He was assistant director of the Arts Center Association, 1951-52, and taught at the Layton School of Art in Milwaukee from 1949 to 1950, and the Contemporary Art Workshop in Chicago from 1952 to 1963. From 1965 to 1973, he was a board member of the Illinois Arts Council.  Florsheim was a member of the National Academy of Design, the Society of American Graphic Artists, the Provincetown Art Association, which he served as Trustee and Vice President from 1962 to 1971, and the Chicago Society of Artists.

Light and Water.  Richard Florsheim. Lithograph , 1959.  Image size 17 3/4 x 13 7/8" (450 x 353 mm).  Edition 30. LINK.

Light and Water. Richard Florsheim. Lithograph , 1959. Image size 17 3/4 x 13 7/8″ (450 x 353 mm). Edition 30. LINK.

Illuminations.  Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago.  Image size 17 13/16 x 13 7/8" (452 x 352 mm). Edition 180. LINK.

Illuminations. Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago. Image size 17 13/16 x 13 7/8″ (452 x 352 mm). Edition 180. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph,  1967. Image size 20 11/16 x 22 1/2" (409 x 571 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph, 1967. Image size 20 11/16 x 22 1/2″ (409 x 571 mm). Edition 50. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists.  Color lithograph, 1965. Image size 10 1/16 x 29 13/16" (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists. Color lithograph, 1965. Image size 10 1/16 x 29 13/16″ (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2" (259 x 749 mm). Edition 250.  LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2″ (259 x 749 mm). Edition 250. LINK.

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19th Century Prints, Botanical, Color Lithograph, Early 20th Century, Lithograph, Past/Present, Prints

Past/Present: Bouquets

past present logo copyWe have a new Past/Present post for our readers today, featuring two vividly colored prints of flower bouquets. Both sharing strong compositional value, the selected prints place the bouquets against a striking black background, allowing the pink, yellow, and blue petals to almost pop off the paper.

The older print is a lithograph from the 19th century publishing firm, Currier and Ives. All Currier & Ives lithographs were printed in black and white, and then hand colored after printing. In contrast, the print by 20th century Cuban-American artist Emilio Sanchez is a color lithograph, meaning the color was adding during the printing process, not later by hand. Despite their different applications of color, they both make stunning prints.

The Currier and Ives print continues the tradition of the floral still life, which first flourished in the Netherlands in the 1600s. With an overflowing arrangement of flowers, additional natural elements like eggs and a nest pictured to the side, and the meticulous detail given to both the petals and the woven basket holding the flowers, the Currier print is an ebullient display of abundance in harmonious balance. In contrast, Sanchez has a looser, amorphous approach to the flowers, emphasizing color and form over detail, and opting for a smaller bouquet and sparse vase. Hope you enjoy!

Image on the left: A Choice Bouquet. Published by Currier & Ives, 125 Nassau St. New York. Lithograph, hand-colored, 1872. Image size 8 1/2 x 12 1/2″ (215 x 318 mm).

Image on the rightFlorecitas. By Emilio Sanchez. Color lithograph, 1997. Image size 15 3/4 x 8 7/8″ (394 x 227 mm). Edition 50. Signed, titled and numbered in pencil.

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American Views, Citiscapes, Color Lithograph, Contemporary, Drawing, Early 20th Century, Foreign Views, Gallery Opening Receptions, Gallery Openings, Lithograph, Prints, Serigraph

Form, Light, Line: Architecture in Print

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The Shadow of Brooklyn Bridge. By Emilio Sanchez. Color lithograph, 1988. Ed. 100. LINK.

The Old Print Gallery is pleased to announce its summer 2014 show, Form, Light, Line: Architecture in Print. This group show of 19 printmakers spans over 90 years of creative expression, with prints by 20th century American masters John Taylor Arms, Martin Lewis, and Armin Landeck coupled with works by cutting-edge, contemporary printmakers. Form, Light, Line opens on Friday, June 20, with a nighttime reception at the gallery from 5-8pm. The show will remain on view until September 13, 2014.

Artists have long found beauty in the strength, durability, and utility of architecture. Form, Light, Line allows viewers to experience the familiar composition of buildings through the artist’s eye- to visually explore how surface captures light, how windows both reveal and reflect, and how dimensional spaces can be flattened and abstracted into planes of light and dark.

(From Left to Right:) Urban Views #1. Urban Views #2B. Urban Views #4. By Patrick Anderson. Serigraphs, 2003.

From Left to Right: Urban Views #1. Urban Views #2BUrban Views #4. By Patrick Anderson. Serigraphs, 2003. LINK.

Highlights include a trio of black and white graphic serigraphs by Patrick J. Anderson, John Taylor Arms’ meticulous 1927 etching Lace in Stone, Rouen Cathedral, and a 1929 study for a large watercolor, Spiral Staircase, from the Martin Lewis estate. This pen and ink representation of the Queensboro Bridge is a delicate exploration of space and shading. Also on view is an Armin Landek 1941 engraving Rooftop, with accompanying annotated pen and pencil study for the print. The pair reveals the artist’s approach to perspective, as well as sketches of specific architectural elements, like moldings and chimneys.

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A Bronx Street Corner. By Martin Lewis. Pencil drawing, c.1946. LINK.

Selected Artists: Linda Adato, Patrick J. Anderson, John Taylor Arms, William Behnken, Grace Bentley-Scheck, Joan Drew, Richard Haas, Su-Li Hung, Sidney Hurwitz, Armin Landeck, Martin Levine, Martin Lewis, Frederick Mershimer, John Ross, Emilio Sanchez, Art Werger, Steven Yamin, and Alex Zwarenstein.

To see all the prints selected for Form, Light, Line: Architecture in Print, please visit our website.

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