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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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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19th Century Prints, American Views, Americana, Botanical, Color Lithograph, Genre, Landscapes, Lithograph, Natural History, Naval, New Additions, Prints, Sporting, Two-color Lithograph

New Additions: Currier & Ives

NEW ADDITIONS bannerNEW ADDITIONSWe added several new Currier & Ives lithographs to our gallery, including many beautiful genre and landscape scenes which capture 19th century American life.

Currier & Ives was the largest publisher of hand printed lithographs. The firm published well over 7,500 different images over the seventy-three years it was in business. They specialized in lithographs hand-drawn on a lithographic stone and printed one at a time by hand, which is the original and traditional method of lithography.  Although steam presses existed, Currier & Ives felt that the impressions were inferior to the hand-pulled lithographic impressions. Over the years the firm worked with many artists and craftsmen. The founder, Nathaniel Currier, a trained lithographer, and his partner, James Merritt Ives, a bookkeeper and self-taught artist, proved to be the correct combination of an entrepreneur, craftsman, and artist to make the company the best during their time.

Many artists worked for the firm. Of the new additions, many were done by Frances Flora Palmer.  Known to many as Fanny F. Palmer, she was one of the best known artists to work for Currier & Ives. She was responsible for the majority of landscape images produced by the firm, even though only a few bear her name.

We hope you enjoy these new colorful and beautiful lithographs! To see more prints by Currier and Ives, we invite you to visit our website.

The Old Homestead. By Fanny F. Palmer. Published by Currier & Ives. Lithograph handcolored, undated. Medium folio. LINK.

The Old Homestead. By Fanny F. Palmer. Published by Currier & Ives. Lithograph handcolored, undated. Medium folio. LINK.

The Village Blacksmith. By Fanny F. Palmer. Pub. by N. Currier. Lithograph handcolored, undated. Medium folio. LINK.

The Village Blacksmith. By Fanny F. Palmer. Pub. by N. Currier. Lithograph handcolored, undated. Medium folio. LINK.

Landscape, Fruit and Flowers. By Fanny F. Palmer. Published by Currier & Ives. Two-color lithograph handcolored, 1862. Large folio. LINK.

Landscape, Fruit and Flowers. By Fanny F. Palmer. Published by Currier & Ives. Two-color lithograph handcolored, 1862. Large folio. LINK.

Winter Pastime. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

Winter Pastime. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

On a Point. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

On a Point. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

"Thistle" : Cutter Yacht, Designed by G. L. Watson : Built by D. W. Henderson & Co. Glasgow.  Owned by Mr. Bell, Glasgow Scotland. Published by Currier & Ives, N.Y. Lithograph printed in oil color, 1887. Large folio. LINK.

“Thistle” : Cutter Yacht, Designed by G. L. Watson : Built by D. W. Henderson & Co. Glasgow. Owned by Mr. Bell, Glasgow Scotland. Published by Currier & Ives, N.Y. Lithograph printed in oil color, 1887. Large folio. LINK.

Niagara Falls. Published by Currier & Ives, 152 Nassau St. Lithograph with handcoloring, undated.  Medium folio size. LINK.

Niagara Falls. Published by Currier & Ives, 152 Nassau St. Lithograph with hand-coloring, undated. Medium folio size. LINK.

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17th Century Prints, Contemporary, Engraving, Etching, Mezzotint, Past/Present, Prints, woodblock print

Past/Present: Bouquets

Today we have a new P/P post, featuring two prints of floral arrangements. Our older print is from Monnoyer’s gathered work “Livres de Plusieurs Vases de Fleurs,” published 1660. Second state of three, with de Poilly imprint, this rare print is dated c. 1670-80. Jean Baptiste perfected the art of painting complex floral arrangements. He decorated the principal royal homes in Paris before traveling to England where he was engaged by Queens Mary II and Anne. His designs served as models for wallpapers, toiles and chintzes into the next century. Even the great Gerard van Spaendonck followed Jean Baptiste’s lead in design. Our featured contemporary print is by Idaherma Williams. Williams is known for her watercolors, paintings on silk, and archival pigment prints. She reflects the beauty and balance of the natural world and the world of interiors through original, hand-carved wood block prints.

Image on Left: [Monnoyer Floral Arrangement in Classical Vase] by Jean Baptiste Monnoyer. Published by N. de Poilly, Paris. Etching with engraving, hand colored, c. 1670-80.

Image on Right: Winter Bouquet by Idaherma Williams. Woodblock print, 2004. Inscribed “4/30.”

 

 

 

 

 

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