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February 2014 Showcase- Read it Now!

Our new February 2014 Showcase has been sent out to our mailing list, and should hit mailboxes this week. The catalog features a wide range of prints and maps- beautiful and rare impressions of American maps, a handful of charming 18th century bird etchings from Martinet and M. Bouchard, and a selection of prints from our ETCHED show.

Published in both traditional and digital media forms, we are now able to share our fantastic collection in a whole new way.  We are already working on our next issue, which should arrive in May. To receive our next Showcase, just send us your mailing information, via email.

Read the February Showcase:

The Old Print Gallery Showcase February 2014 Volume XXXVII, Number 1 CLICK TO READ

The Old Print Gallery Showcase
February 2014
Volume XXXVII, Number 1
CLICK TO READ

We hope you enjoy it!

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Contemporary, Early 20th Century, Etching, Prints

Yvette Lucas Explains Solar Etchings

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(Left image) Lace. By Yvette Lucas. Solar etching, 2010.
(Right Image) Ecstatic Tree. By Yvette Lucas. Solar etching, 2010.

The Old Print Gallery has a show of etchings now up on view. Because the prints span from 1909 to 2012, ETCHED highlights both the use of  traditional methods and a newer trend among contemporary printmakers- a playful exploration of the medium with novel materials, resins, and acids. Yvette Lucas is a perfect example of a printmaker incorporating technological advancements into her creative process. She works with Solarplates™ to create beautiful photo intaglios- two of which are featured in the show.

Solarplates™ were created in the early 1970s by Dan Weldon. Not only are these plates more economical and faster to work with than traditional copper or zinc plates, they remove acid baths from the etching process-resulting in an environmentally friendly printmaking process and safer working conditions for the printmaker.  The plate is “etched” by the sun, which appeals to not just printmakers but also photographers and multi-media artists.

Below, Lucas has written about her experience with Solarplates™ to create Lace and Ecstatic Tree just for our OPG blog readers. We hope you enjoy this look into her creative process and methods.

PHOTO INTAGLIOS

So many of us are drawn to the natural places that exist outside of the heavily populated towns and cities. They engage our senses and calm our mind. I chose these images for their quiet but powerful presence to be enhanced by the process of ink pressed into paper. There is a depth and dimension that is achieved with the intaglio process which is different from a pigment print. Though not as sharply detailed, its softness and warmth pulls in the viewer to experience and linger in those places.  

These intaglios are printed from Solarplates™, steel plates coated with a light sensitive polymer. The plate is exposed with a film positive using sunlight or other form of UV light to burn the image onto the plate. The plates are processed in water then inked, hand wiped, and printed on an etching press in small editions. In this series I use raw sepia for its large tonal range and warm brown color.

Thanks to Yvette Lucas for the explanation! OPG blog readers can view the ETCHED prints in person at our Georgetown gallery or online here.  The show is on view until April 5, 2014.

 

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Contemporary, Early 20th Century, Etching, Gallery Event, Gallery Opening Receptions, Gallery Updates, Prints

ETCHED Opening Reception

You’re Invited….

ETCHED Ad Flat RGB

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Contemporary, Early 20th Century, Etching, Gallery Event, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Prints

ETCHED

(Left) Lace. By Yvette Lucas. Solar plate etching, 2010. Edition 8.  (Right) Ecstatic Tree. By Yvette Lucas. Solar plate etching, 2010. Edition 8.

(Left) Lace. By Yvette Lucas. Solar plate etching, 2010. Edition 8.
(Right) Ecstatic Tree. By Yvette Lucas. Solar plate etching, 2010. Edition 8.

We are very excited to announce ETCHED, our upcoming OPG show of early 20th century and contemporary original etchings, which will open Friday, February 21, 2014. The gallery will host a nighttime reception that Friday, from 5-8pm, which is open and free to the public. The show will remain on view at the gallery until April 5, 2014, during normal gallery hours.

Etching as a form of printmaking evolved from metal workshops of the Middle Ages, where swords, armor, and tools were all etched with acid to produce intricate line and scroll work. Daniel Hopfer, a 16th century craftsman, applied these metalworking techniques to iron printmaking plates, and was the first to use etching as a form of printmaking. Many artists were soon lured by etching’s capacity to capture the essence and spontaneity of the artist’s hand in printed form.

Yellow Exit. By Robert Birmelin. Hand colored etching, 2006. A/P.

Yellow Exit. By Robert Birmelin. Hand colored etching, 2006. A/P.

ETCHED will celebrate the long legacy of printmakers who specialize in and focus on etching as a way of image making. As the show pulls from over a century of creative expression, viewers will be fascinated by the myriad of ways an artist can use an etched line to create tone, atmosphere, and detail. The show also highlights new technical advances in etching, including multi-plate color etchings and experimental solar plate etchings.

Highlights include meticulously etched architectural views by John Taylor Arms, two direct and intimate portraits by Isabel Bishop and Nicholas Vagenas, and  velvety and dense lines found in works by Peter Milton and Otto Kuhler.

Shadows of Venice. By John Taylor Arms. Etching, 1930. Ed. 100.

Shadows of Venice. By John Taylor Arms. Etching, 1930. Ed. 100.

Selected Artists: Sigmund Abeles, John Taylor Arms, Frank W. Benson, Robert Birmelin, Isabel Bishop, Richard Carleton, Arthur Cohen, Robert Cook, Joseph Essig, Takuji Kubo, Otto Kuhler, Yvette Lucas, Charles F. Mielatz, Peter Milton, Ellen Nathan Singer, Joseph Pennell, Susan Pyzow, Nicholas Vagenas, Hank Virgona, Bruce Waldman.

Construction Worker. By Nicholas Vagenas. Etching, 1968. Ed. 1/10.

Construction Worker. By Nicholas Vagenas. Etching, 1968. Ed. 1/10.

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Contemporary, Early 20th Century, Etching, Gallery Event, Gallery Opening Receptions, Gallery Updates, Maps, Monotype, Prints

Upcoming OPG Spring Shows and Events

The Old Print Gallery has a lot of new shows and events in the works. We will post more information about them as the date gets closer to each, but for now, mark them on your calendar and we hope to see you all there. You can also always see what we are up to on our website’s Event’s page.

Current Show

2013 Winter Contemporary Show.

Friday, November 15, 2013- Saturday, February 15, 2014.

82597The Old Print Gallery’s 2013 Winter Contemporary Show opened on Friday, November 15, 2013 with a celebratory nighttime reception from 5-8pm at the gallery. Eleven different artists, who use printmaking as their primary medium for artistic expression, were selected for this show. The works chosen resonate with skill and intention, and reflect the current eclecticism of contemporary printmaking. Highlights include new works by local DC artists Jake Muirhead, Phillip Bennet, Susan Goldman, and regional artists Heather McMordie, Art Werger, and more. The show will remain on view until February 15, 2014.

Upcoming Shows

21st Annual Miami International map Fair. 

Friday, February 7- Sunday, February 9, 2014.

17166_5506_virginiae_item_et_floridae_mercator_hondiusThis annual event showcases antique maps, rare books, panoramas and atlases from around the world. Peruse and purchase antique maps from some of the finest map dealers in the world. Learn about cartography through a series of lectures by experts in the field and enjoy special events held throughout the weekend.

We will be exhibiting with our partners from New York, the Old Print Shop. If you are going to the fair, stop by to say hello and browse our fantastic selection of rare and antique maps. Likewise, if you are looking for a specific map to fit into your collection, there could not be a better opportunity to find it. We can help- send us you “want list” and we will hunt for you!

The fair is held at History Miami, 101 West Flagler Street, Miami, FL 33130. For more details, visit the Miami Map Fair Website.

ETCHED. 

Friday, February 21 – Saturday, April 5, 2014. Opening Night Reception: Friday, February 21, from 5-8pm.

36695Our spring show, ETCHED, will celebrate the long legacy of printmakers who specialize in and focus on etching as a way of image making. As the show pulls from over a century of creative expression, viewers will be fascinated by the myriad of ways an artist can use an etched line to create tone, atmosphere, and detail. The show also highlights new technical advances in etching, including etchings printed in color and finished by hand and experimental solar plate etchings.

2014 Capital Art Fair. 

Saturday, April 5- Sunday, April 6, 2014 .

74024The Old Print Gallery will once again exhibit at the 2014 Capital Art Fair. The Capital Art Fair features thousands of works of art, ranging from old master to contemporary prints. Distinguished dealers from across the United States will participate in the fair. It is the only art fair in the Washington D.C. area where an extraordinary range of fine art will be available for collectors, museums, and the curious to purchase.

The fair is held every year at The Holiday Inn – Rosslyn Westpark Hotel, located at 1900 North Fort Myer Drive, Arlington VA 22209. It is just over the Key Bridge from Georgetown, and one block from the Rosslyn Metro stop. More information to come soon! We hope to see you there.

Kaleidoscope. 

Friday, April 11, 2014- Saturday, June 14, 2014. Opening Night Reception: Friday, April 11, from 5-8pm.

76410Kaleidoscope features new original prints by Philip Bennet, many of them completed in 2014 specifically for the exhibit, all brimming with an opulent mix of color. Bennet’s medium of choice is the monotype, abstract and dynamic images achieved as a result of his playful and liberal approach to printmaking. He experiments with colored inks of varied viscosities, often employing hued “ghost” images as backgrounds for new prints and integrating multiple plates into each composition. His unrestricted and unique working style allows for a spontaneity and creative freedom not normally associated with printmaking. As a result, his watercolor-based monotypes feel fresh, immediate, and ephemeral, while his oil-based polychromatic creations are more intimate, enveloping viewers in colors so saturated they still seem wet on the paper.

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