“This varied edition evolved out of mixing my earlier ideas about pattern inspired by travel to Morocco and my new ideas about simplifying my approach to imagery of flowers, targets and amphorae. The layering of multiple print mediums relates to an archaeology of process, what is below is mysterious and fragmented, but as one uncovers the clues, a new picture emerges that references the past and the present.”- Susan Goldman
- Tuesday 11/25: Open 10:00 AM to 5:20 PM
- Wednesday 11/26: Open 10:00 AM to 12:00 PM
- Thursday 11/27: Closed for Thanksgiving
- Friday 11/28- Saturday 11/29: Open 10:00 AM to 5:20 PM
We wish you all a happy Thanksgiving and safe travels. Above are our Thanksgiving holiday hours- feel free to stop by today, tomorrow, or Friday and Saturday to browse our extensive collection and to see our 2014 Winter Contemporary Show. The gallery is free and all ages are welcome. With prints and maps ranging from the 15th century to the 21st century, we have something for everyone to enjoy (and great gifts for the holidays).
Mark Jenkins, arts writer for The Washington Post, featured our woodcut and wood engraving show, Ink & Grain, in his most recent column. Follow the link below to read his article, and make sure to stop by the gallery before November 15th to see the show in person.
(Quick note: Our exhibit is the last show reviewed, so it does take some scrolling to get to the write up on Ink & Grain).
Today we are happy to share a new Past/Present post, featuring two stunning honeysuckle prints. The older print is a scarce lithograph, with original hand color, from “Flora’s Dictionary,” by Mrs. E.W. Wirt of Virginia. With a publication date of 1837, Mrs. Wirt’s book is one of the earliest colored botanical works published in America. Rather than depicting a single flower, each plate shows a carefully selected grouping. As Bennett notes, “The arrangements of flowers are beautifully balanced and the coloring is brilliant.” (Bennett, “American Color Plate Books, 115).
The woodcut is by English woodcut artist Mayel Allington Royds (1874-1941). Royds grew up in Liverpool and turned down a scholarship at age of fifteen to the Royal Academy of London, in order to attend the Slade School of Art and study under the formidable Henry Tonks. After an apprenticeship in Paris working in the studio of Walter Sickert, Royds accepted a teaching post at the Havergal College in Toronto. She later returned to the UK to teach at the Edinburgh College of Art where she met three people integral to her artistic development and life: Samuel Peploe, a Scottish post-impressionist painter highly regarded for his mastery of color, Frank Morley Fletcher, under whose influence she took up Japanese color woodcuts, and her future husband, Scottish etcher E. S. Lumsden.
Together Lumsen and Royds traveled to Tibet and India, their experiences serving as inspiration for her later woodcuts, both in design and in the use of saturated, rich color. The scenes she created of India from 1920 to 1930s are some of her more renowned work. From 1930 to 1933, Royds created a series of flower prints, which utilized her bold color work and Japanese woodblock technique. These stunning compositions, including Honeysuckle, are now part of the permanent collection at the National Gallery of Scotland. Royds was a regular contributor to the Society of Scottish Artists, the Society of Artist Printers, and the Graver Printers in Colour, exhibited her work in Scotland, Manchester, and further abroad.
Hope you enjoy these two prints!
Image on the left: Honeysuckle, Coral Honeysuckle, Wild Honeysuckle, Hop. Plate XXIV. From “Flora’s Dictionary,” by Mrs. E.W. Wirt of Virginia. Embellished by Mrs. Anna Smith. Published by Fielding Lucas, Jr., Baltimore. Lithograph, original hand color, 1837. Image size (vignette) 7 x 5″ (175 x 130 mm).
Image on the right: Honeysuckle. By Mabel A. Royds. Woodcut printed in color, 1935-38. Edition unknown. Image size 8 x 6 /12″ (203 x 165 mm).
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.
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.
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.