Drawing, Drybrush Drawing, Gallery Updates

Happy Pi Day

OldPrintGallery Pi Day

Pie and Flowers. By Wanda H. Gag. Drybrush drawing, c.1928.

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19th Century Prints, Aquatint, Color Woodcut, Contemporary, Early 20th Century, Engraving, Etching, Pencil Drawing, Photo engraving, Prints, Sporting, Watercolor, Wood, Woodcut

Print Round-Up: Bicycles

From the earliest depictions of penny farthings and velocipedes on dirt lanes, to modern-day prints of bike commuters navigating busy city streets, our prints celebrate and illustrate the convenience, athleticism, and joy of cycling.  Some of our historic prints show the bicycle in its earliest stages of development- with over-sized front wheels, or still lacking pedals or gears. They also highlight the beginnings of a strong “bike culture” in the 19th century. Many took to this popular form of transportation and amusement, going on long afternoon group rides or joining cycling clubs. We also have several great racing prints, showing fans at the velodrome, watching racers sprint around and around. Contemporary artists like Art Werger, Susan Pyzow, and Su-Li Hung have also depicted cyclists in their prints.

We hope you enjoy our bike print round-up, and we invite you to visit our Washington DC and New York City galleries to view these prints in person!

Tourists. By A. B. Frost. Published by Harper's Weekly. Photoengraving, hand colored, 1896. Image size 8 1/2 x 12 1/2" (215 x 317 mm). AT OPG.

Tourists. By A. B. Frost. Published by Harper’s Weekly. Photoengraving, hand colored, 1896. Image size 8 1/2 x 12 1/2″ (215 x 317 mm). AT OPG.

Six-Day Bike Race. BY Joseph W. Golinkin. Watercolor, c.1940. Image size 20 x 24" (508 x 610 mm). AT OPS.

Six-Day Bike Race. By Joseph W. Golinkin. Watercolor, c.1940. Image size 20 x 24″ (508 x 610 mm). AT OPS.

Bicyclist. By Susan Pyzow.  Etching, 2002. Image size 9 x 11 7/8" (225 x 300 mm). Edition 40. AT OPG.

Bicyclist. By Susan Pyzow. Etching, 2002. Image size 9 x 11 7/8″ (225 x 300 mm). Edition 40. AT OPG.

Cyclist Duo. By Richard Sloat. Etching, 2003. Image size 6 x 9 1/2" (152 x 240 mm). Edition 7. AT OPS.

Cyclist Duo. By Richard Sloat. Etching, 2003. Image size 6 x 9 1/2″ (152 x 240 mm). Edition 7. AT OPS.

Bike Lane, Queensborough Bridge. By Steven E. Walker. Woodcut, 2005. Image size 9 9/16 x 7 1/8" (243 x 180 mm). Edition 75. AT OPG.

Bike Lane, Queensborough Bridge. By Steven E. Walker. Woodcut, 2005. Image size 9 9/16 x 7 1/8″ (243 x 180 mm). Edition 75. AT OPG.

A Velocipede of Fifty Years Ago. Published in Harper's Weekly. Wood engraving, with modern handcoloring, 1869. Image size 4 3/16 x 5 3/4" (105 x 146 mm). AT OPS.

A Velocipede of Fifty Years Ago. Published in Harper’s Weekly. Wood engraving, with modern handcoloring, 1869. Image size 4 3/16 x 5 3/4″ (105 x 146 mm). AT OPS.

Bicycle in America.  The Germantown Bicycle Club starting out for a Race. By W. P. Snyder. Published in Harper's Weekly. Wood engraving, with modern handcoloring, Feb. 7, 1880.  Image size 6 5/8 x 9 1/8" (168 x 231 mm). AT OPG.

Bicycle in America. The Germantown Bicycle Club starting out for a Race. By W. P. Snyder. Published in Harper’s Weekly. Wood engraving, with modern handcoloring, Feb. 7, 1880. Image size 6 5/8 x 9 1/8″ (168 x 231 mm). AT OPG.

A Tour Awheel. By W. A. Rogers. Published by Harper's Weekly. Photogravure, 1899. Image size 6 1/2 x 8 3/8" (164 x 211 mm). AT OPS.

A Tour Awheel. By W. A. Rogers. Published by Harper’s Weekly. Photogravure, 1899. Image size 6 1/2 x 8 3/8″ (164 x 211 mm). AT OPS.

Figure Study, Woman on Bicycle. By Martin Lewis. Pencil on paper, c.1935. Image size 7 x 3 1/8" (178 x 80 mm). AT OPS.

Figure Study, Woman on Bicycle. By Martin Lewis. Pencil on paper, c.1935. Image size 7 x 3 1/8″ (178 x 80 mm). AT OPS.

Bicycle. By Su-Li Hung. Woodcut, 2007. Image size 11 3/4 x 12 1/4" (298 x 315 mm). Edition 50. AT OPS.

Bicycle. By Su-Li Hung. Woodcut, 2007. Image size 11 3/4 x 12 1/4″ (298 x 315 mm). Edition 50. AT OPS.

Wheeling on Riverside Drive. BY T. de Thulstrup. Published by Harper's Weekly, New York. Wood engraving, July 17, 1886. Image size 13 3/4 x 19 7/8" (343 x 556 mm.) AT OPG.

Wheeling on Riverside Drive. By T. de Thulstrup. Published by Harper’s Weekly, New York. Wood engraving, July 17, 1886. Image size 13 3/4 x 19 7/8″ (343 x 556 mm.) AT OPG.

The Velodrome de la Seine: The Grand-stand. By Georges Scott. Wood engraving, c.1880. Image size 12 1/4 x 19 5/8" (310 x 499 mm.) AT OPG.

The Velodrome de la Seine: The Grand-stand. By Georges Scott. Wood engraving, c.1880. Image size 12 1/4 x 19 5/8″ (310 x 499 mm.) AT OPG.

The Century Run. By Jay Hambidge. Published by Truth Company. Color photoengraving, 1897. Image size 11 x 17 7/8" (273 x 455 mm.). AT OPG.

The Century Run. By Jay Hambidge. Published by Truth Company. Color photoengraving, 1897. Image size 11 x 17 7/8″ (273 x 455 mm.). AT OPG.

Cycling in England - Down the Ripley Road. By Joseph Pennell. Published by Harper's Weekly, New York, Oct. 22, 1887. Wood engraving, hand colored, 1887. Image size  9 1/4 x 12 5/8" (236 x 325 mm). AT OPG.

Cycling in England – Down the Ripley Road. By Joseph Pennell. Published by Harper’s Weekly, New York, Oct. 22, 1887. Wood engraving, hand colored, 1887. Image size 9 1/4 x 12 5/8″ (236 x 325 mm). AT OPG.

Bicycling on Riverside Drive, New York. By W. A. Rogers. Published by Harper's Weekly, New York. Photoengraving, hand colored, c. 1895. Image size 8 1/2 x 13 1/4" (214 x 339 mm). AT OPG.

Bicycling on Riverside Drive, New York. By W. A. Rogers. Published by Harper’s Weekly, New York. Photoengraving, hand colored, c. 1895. Image size 8 1/2 x 13 1/4″ (214 x 339 mm). AT OPG.

Delivery. By Art Werger. Etching and aquatint, 2013. Image size 13 1/8 x 9 3/16" (333 x 245 mm). Ed 25. AT OPG.

Delivery. By Art Werger. Etching and aquatint, 2013. Image size 13 1/8 x 9 3/16″ (333 x 245 mm). Ed 25. AT OPG.

AT OPG= Print is located at The Old Print Gallery, 1220 31st Street, NW, Washington, DC 20007. www.oldprintgallery.com  t: 202-965-1818

AT OPS= Print is located at The Old Print Shop, 150 Lexington Avenue, New York, NY, 10016. www.oldprintshop.com  t:212-683-3950

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Contemporary, Drawing, Lithograph, Pencil Drawing, Prints, Uncategorized, Watercolor

Emilio Sanchez

La Casa Vivienda. By Emilio Sanchez. Color lithograph, undated.

La Casa Vivienda. By Emilio Sanchez. Color lithograph, undated.

Emilio Sanchez was born in Camagüey, Cuba in 1921. In 1944, he began his artistic training at the Art Students League in New York, where he lived until he died in 1999. However, it was in Cuba that he became fascinated with the play of light and shadow on colored forms, which became a dominant characteristic of his works. His early works of the 1950s are stylized and figurative, depicting themes such as portraits of friends and models, views of New York, and tropical landscapes.

La Ventanita. By Emilio Sanchez. Color lithograph, undated.

La Ventanita. By Emilio Sanchez. Color lithograph, undated.

In the 1960s, his works became significantly more abstract, though always maintaining a strong sense of naturalism. It is during this decade that his work matured and he began to develop his well-known paintings of houses and architectural themes. These architectural works stand out for their simplified forms and colors. Stripped down to interlocking blocks of color, these structures acquire universal meaning. With ease, he seemed to capture the effect of light on color, making it vibrant and visually clear. Despite the fact that his buildings are often devoid of visible inhabitants, they hold a strong living presence of their own.

Calle del Sol. By Emilio Sanchez. Lithograph, undated.

Calle del Sol. By Emilio Sanchez. Lithograph, undated.

Throughout the 1970s and 1980s, he further explored architectural themes by traveling to countries around the Mediterranean. His travel experiences found their way into his art. For example, in Morocco he was impressed by the stark white vernacular buildings. His prints from this time use white buildings as a beautiful contrast to small pops of color or little details- he would emphasize the panes in a window or brightly colored awning.

He also printed architectural scenes of New York during the 70s and 80s. These prints exhibit a rare stillness, especially compared to scenes of this bustling metropolis by his artistic contemporaries.

New York Skies. By Emilio Sanchez. Watercolor and gouache, undated.

New York Skies. By Emilio Sanchez. Watercolor and gouache, undated.

Barcos de Vela. By Emilio Sanchez. Color lithograph, undated. Edition 100.

Barcos de Vela. By Emilio Sanchez. Color lithograph, undated. Edition 100.

In addition to his architectural works, Sanchez explored a variety of themes selected for their strong compositional value- such as still lifes of fruits and flowers, sailboats, clotheslines and sunsets over the Hudson River. Different from his linear renderings of buildings, these other works demonstrate his versatility in painting looser, amorphous forms. In the 1990s, Sanchez’s attention focused more on New York urban scenes of storefronts, garages and skyscrapers.

Auto Glass.  [Bronx Storefront.] By Emilio Sanchez. c.1988.

Auto Glass. [Bronx Storefront.] By Emilio Sanchez. Painting, c.1988.

An artist with an independent voice and international acclaim, Sanchez has had over sixty solo exhibitions and has been included in numerous group shows in museums and galleries in the United States, Latin America and Europe. His art is well represented in private and public collections, including over thirty museums like the New York Museum of Modern Art, the Metropolitan Museum and the Philadelphia Museum of Art. He has also received prestigious awards as first prize at the 1974 Biennial in San Juan, Puerto Rico.

[Untitled.] Washington Monument with Mall. By Emilio Sanchez. Pencil drawing, undated.

[Untitled.] Washington Monument with Mall. By Emilio Sanchez. Pencil drawing, undated.

*Biographical information from the Emilio Sanchez Foundation

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18th Century Maps, 19th Century Maps, 19th Century Prints, 2012 Holiday Gift Guide, Aquatint, Contemporary, Early 20th Century, Engraving, Etching, Linocut, Lithograph, Maps, Pencil Drawing, Prints, Screenprint, Stone, Wood

2012 HOLIDAY GIFT GUIDE: The DCist

GIFT GUIDE BANNER copy

DCIST copyToday, we are featuring our holiday gift picks for the DCist. These are gifts for the Washingtonian, the federal worker, the lobbyist, the cupcake coveter. They love our federal city, so what better gifts than prints and maps that show the city from its founding days up to the present? These city plans and views are sure to delight. Below are our gift selections for the DCist. Enjoy!

The White House - Trade Mark - F. S. Ciampa & Sons - Rodi (Italy). Published by F.S. Ciampa & Sons, Rodi, Italy. Multi-stone lithograph, Undated, c.1890. An interesting advertisement for the Italian shipping firm of F.S. Ciampa & Sons. They were major fruit exporters from Sorrento-Messina-Rodi regions of Italy. This advertising sheet was likely produced to be pasted onto cartons of fruit. $700.00

The White House – Trade Mark – F. S. Ciampa & Sons – Rodi (Italy). Published by F.S. Ciampa & Sons, Rodi, Italy. Multi-stone lithograph, Undated, c.1890. An interesting advertisement for the Italian shipping firm of F.S. Ciampa & Sons. They were major fruit exporters from Sorrento-Messina-Rodi regions of Italy. This advertising sheet was likely produced to be pasted onto cartons of fruit. $700.00

The United States Senate in Session. Published by Harper's Weekly. Hand colored offset engraving, Sept 22, 1894. Double page. $425.00

The United States Senate in Session. Published by Harper’s Weekly. Hand colored offset engraving, Sept 22, 1894. Double page. $425.00

Pennsylvania Ave. Connecting the Capitol and the White House. By Vernon Howe Bailey. Pencil and wash drawing, c.1930. $900.00.

Pennsylvania Ave. Connecting the Capitol and the White House. By Vernon Howe Bailey. Pencil and wash drawing, c.1930. $900.00.

Capitol Twilight. By Emily Trueblood. Three-block linocut, 2011. Signed, titled, and dated in pencil. Inscribed "15/30." Emily Trueblood was born in Arlington, VA, and grew up in the Washington DC area. $225.00.

Capitol Twilight. By Emily Trueblood. Three-block linocut, 2011. Signed, titled, and dated in pencil. Inscribed “15/30.” Emily Trueblood was born in Arlington, VA, and grew up in the Washington DC area. $225.00.

Plan of the City of Washington. By J. Good. Published by J. Good for inclusion in the "Literary Magazine," London. Copper plate engraving, Feb. 1, 1793. On January 24, 1791, President George Washington announced the Congressionally designated permanent location of the national capital, a diamond-shaped ten-mile tract at the confluence of the Potomac and Eastern Branch Rivers. The first five maps were engraved and printed in America, the sixth, seventh and eighth in London. This is the seventh printed view and appeared in the 1793 edition of the "Literary Magazine And British Review," British produced monthly periodical. The rather primitively engraved Eagle and shield cartouche adds a decorative element to this particular map and visually separates it from the American imprints of publishers Thackera & Vallance, Hill and Tiebout. A scarce and unusual map. $4,500.00

Plan of the City of Washington. By J. Good. Published by J. Good for inclusion in the “Literary Magazine,” London. Copper plate engraving, Feb. 1, 1793. On January 24, 1791, President George Washington announced the Congressionally designated permanent location of the national capital, a diamond-shaped ten-mile tract at the confluence of the Potomac and Eastern Branch Rivers. The first five maps were engraved and printed in America, the sixth, seventh and eighth in London. This is the seventh printed view and appeared in the 1793 edition of the “Literary Magazine And British Review,” British produced monthly periodical. The rather primitively engraved Eagle and shield cartouche adds a decorative element to this particular map and visually separates it from the American imprints of publishers Thackera & Vallance, Hill and Tiebout. A scarce and unusual map. $4,500.00

Washington, The Lincoln Memorial. By Max Pollak. Color etching and aquatint, c.1945. An attractive print, depicting the exterior of Lincoln Memorial. In the lower left of the print there is a vignette of the seated statue of Lincoln (sculpted by Daniel Chester French in 1920).  Signed by artist in lower right. $850.00

Washington, The Lincoln Memorial. By Max Pollak. Color etching and aquatint, c.1945. An attractive print, depicting the exterior of Lincoln Memorial. In the lower left of the print there is a vignette of the seated statue of Lincoln (sculpted by Daniel Chester French in 1920). Signed by artist in lower right. $850.00

Lock 20. (C&O Canal). By Yolanda Frederikse. Screenprint on BFK Rives paper, 2006. Signed, titled and dated in pencil. Inscribed "2/8." Yolanda Frederikse is a local printmaker, working out of Maryland. Lock 20 on the C&O Canal is located in Potomac Maryland, near Great Falls. $325.00

Lock 20. (C&O Canal). By Yolanda Frederikse. Screenprint on BFK Rives paper, 2006. Signed, titled and dated in pencil. Inscribed “2/8.” Yolanda Frederikse is a local printmaker, working out of Maryland. Lock 20 on the C&O Canal is located in Potomac Maryland, near Great Falls. $325.00

Bird's-Eye View of Washington City, D.C. By George A. Morrison. Published by W.H. & O.H. Morrison, Washington, DC. Stone engraving, hand colored, 1872. Bird's-eye view looking west from behind the Capitol, which is shown with its new dome and extensions. A 16-item key identifies such landmarks as the Smithsonian Castle, Wasihngton Monument, Botanical Gardens, State Department and Treasury Building. Currently framed. $1,150.00.

Bird’s-Eye View of Washington City, D.C. By George A. Morrison. Published by W.H. & O.H. Morrison, Washington, DC. Stone engraving, hand colored, 1872. Bird’s-eye view looking west from behind the Capitol, which is shown with its new dome and extensions. A 16-item key identifies such landmarks as the Smithsonian Castle, Washington Monument, Botanical Gardens, State Department and Treasury Building. Currently framed. $1,150.00.

City of Washington : From beyond the Navy Yard.  By  George Cooke. Eng'd by W. J. Bennett. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, 1834. One of the great views of the Nation's Capital.  Washington is shown from the south bank of the Anacostia River.  On the right is the Washington Navy Yard, est. 1799, behind is the original Capitol Building and to the left is the White House. The painter of this view is George Cooke. He and the engraver, William Bennett, teamed up to produce four folio-size views of American cities. $40,000.00.

City of Washington : From beyond the Navy Yard. By George Cooke. Eng’d by W. J. Bennett. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, 1834. One of the great views of the Nation’s Capital. Washington is shown from the south bank of the Anacostia River. On the right is the Washington Navy Yard, est. 1799, behind is the original Capitol Building and to the left is the White House. The painter of this view is George Cooke. He and the engraver, William Bennett, teamed up to produce four folio-size views of American cities. $40,000.00.

The Smithsonian Institution. Published by J. A. & R. A. Reid, Providence. Wood engraving, hand colored, 1884-90. This is the original, Smithsonian castle building.From "Picturesque Washington" by Joseph West Moore. $65.00

The Smithsonian Institution. Published by J. A. & R. A. Reid, Providence. Wood engraving, hand colored, 1884-90. This is the original, Smithsonian castle building.From “Picturesque Washington” by Joseph West Moore. $65.00

U. S. Chamber of Commerce, Washington. By Anton Schutz.  Etching, 1928. Signed in pencil. On wove paper. $275.00.

U. S. Chamber of Commerce, Washington. By Anton Schutz. Etching, 1928. Signed in pencil. On wove paper. $275.00.

Plan of the City of Washington. The Capitol [sic] of the United States of America. By S. Augustus Mitchell. Published by S. A. Mitchell, Philadelphia. Handcolored engraving, c.1880. A pleasant map of the U.S. Capital from Mitchell's "New General Atlas."  A decorative, printed "grape vine border" surrounds this map. Engraved by W.H. Gamble. In this 1880's state, Howard University and the Washington Monument are now depicted. $265.00.

Plan of the City of Washington. The Capitol [sic] of the United States of America. By S. Augustus Mitchell. Published by S. A. Mitchell, Philadelphia. Hand colored engraving, c.1880. A pleasant map of the U.S. Capital from Mitchell’s “New General Atlas.” A decorative, printed “grape-vine border” surrounds this map. Engraved by W.H. Gamble. In this 1880’s state, Howard University and the Washington Monument are now depicted. $265.00.

[Untitled.] Washington Monument with Mall. By Emilio Sanchez (1921-1999). Pencil drawing, undated. A striking night scene of the Washington Monument and Reflecting Pool. $1,200.00

[Untitled.] Washington Monument with Mall. By Emilio Sanchez (1921-1999). Pencil drawing, undated. A striking night scene of the Washington Monument and Reflecting Pool. $1,200.00

Check previous posts for more great gift ideas- for everyone on your list. To view other 2012 gift guides, see below:

All sales can be made in store or over the phone. We also ship prints and maps, flat and insured, using FedEx 3 Day Shipping. Our gallery hours are Tuesday-Saturday, from 10am to 5:20pm. The number at the gallery is (202) 965-1818.

 

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Early 20th Century, Lithograph, Prints

WWII Posters

Today we offer you a quick look at some of our war-time posters, published by the U.S. Government Printing Office. The GPO was founded in 1861 and is celebrating its 150 year anniversary this year. It has been located at the same corner of H Street and North Capital Street NW since its founding, and has played an integral part in our nation’s printing history, especially during war time. The posters featured below were printed during the years of United States’ involvement in WWII and emphasized the need for increased production, financial support through the purchase of war bonds, and above all, secrecy. Using lithography, the printers were able to produce posters with hand-drawn lettering and bold colors, despite urgent deadlines, a limited workforce, and a sharp decrease in printing supplies.

He's a fighting fool give him the best you've got. : More Production. Published by the U.S. Government Printing Office. Lithograph, 1943.

Careless Talk ... got there first. Published by the U.S. Government Printing Office. Lithograph, 1944.

Attack Attack Attack : Buy War Bonds. Published by the U.S. Government Printing Office. Lithograph, 1942.

Bits of Careless Talk are Pieced Together by the Enemy. Published by the U.S. Government Printing Office. Lithograph, 1943.

If you tell where they're going. . .They may never get there : Don't Talk About Troop Movements. Published by the U.S. Government Printing Office. Lithograph, 1943.

Men Working Together! Published by the U.S. Government Printing Office. Lithograph, 1942.

"Doing all you can brother?" Buy War Bonds. Published by The U.S. Government Printing Office. Lithograph, 1943.

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