Drypoint, Early 20th Century, Etching, Gallery Openings, Gallery Updates, Landscapes, Lithograph, Natural History, Prints

FEATHERED

Old Squaws #2. By Frank W. Benson. Etching, 1921. Ed 150. LINK.

Old Squaws #2. By Frank W. Benson. Etching, 1921. Ed 150. LINK.

The Old Print Gallery is pleased to announce its new winter show, FEATHERED, which will open on February 19th and run through April 9th, 2016. FEATHERED will celebrate the beauty, power, and reverence of winged animals, captured in prints. Artists have been forever fascinated by birds and their ability to gracefully navigate the open skies on stretched wings, suspended between earth, sky, and water, hopping from perch to perch. FEATHERED showcases the work of three celebrated natural history and ornithological printmakers from the 20th century- Frank W. Benson, H. Emerson Tuttle, and Stow Wengenroth. Each artist offers a unique, distinctive approach to depicting birds is in their prints, which makes for a varied and compelling grouping on the wall.

The prints of Frank W. Benson (1862-1951), nicknamed the father of sporting art, suggest the perspective of a naturalist and bird hunter. His close and watchful examination of a bird’s flight path and tendencies in the water offer a firsthand record of nature, gleaned not from dead models in a studio, but from a close familiarity of birds in the wild. Captured in Benson’s spare compositions and delicate line work, their vital essence is expressed in the way the birds move through their environment- sunlight and shadows hitting their winged bodies in flight, ripples in water as ducks float through still marshes, traces of a whole flock of birds dotting the horizon.

Aquiline Eagle (Eagle Head). H. Emerson Tuttle. Drypoint, 1937. Ed. 45. LINK.

Aquiline Eagle (Eagle Head). H. Emerson Tuttle. Drypoint, 1937. Ed. 45. LINK.

H. Emerson Tuttle (1890-1946), devoted much of his career to drawing and etching prints of birds, both from life, and using stuffed specimens in his studio. Arresting and commanding, his prints take on the appearance of formal seated portraits. Intricate detail is given to the patterns of feathers, the cock of the head, and oftentimes, the direct gaze of the bird. Tuttle’s prints are unswerving and full of personality- his birds take center stage and are only sometimes supported by a background. Tuttle captures their beauty and dynamism with his drypoint needle, imbuing his birds with almost human-like dispositions.

In contrast, Stow Wengenroth (1906-1978) is known for his landscapes, so his birds appear in their expected and rightful place, perched in mottled tree branches, exploring sand dunes, and in flight, weaving among shadows of trees. Birds play a principal part of his New England landscapes, adding movement and breathing life into his lithographic sceneries.

Breakwater. Stow Wengenroth. Lithograph, 1986. Ed. 50. LINK.

Breakwater. Stow Wengenroth. Lithograph, 1986. Ed. 50. LINK.

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Contemporary, Gallery Opening Receptions, Landscapes, Photo intaglio, Photography, Prints

Nancy Previs

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Today we are sharing the work of Nancy Previs, a newly signed printmaker from Dublin. Previs’s print, Harmonious Rhythm I, is in our 2014 Winter Contemporary Show, which opens tonight (!!!!) with an Opening Reception at the gallery from 5-8pm.

A fine art printmaker, Nancy Previs is also a photographer and sound recordist. She is drawn to capturing the essence and beauty of the natural world, specializing in photo intaglio. Her work has been exhibited in group shows in Dublin and the United States. In Northern Ireland, her work has been selected for inclusion in the Royal Ulster Academy’s Annual Exhibition. She is a member of Black Church Print Studio, Dublin and the Design and Crafts Council of Ireland. Among her qualifications, she holds undergraduate degrees from UMass, Amherst, The National College of Art and Design (NCAD), Dublin, and a masters degree in LIS from University College Dublin (UCD). Born and raised in Connecticut, Nancy Previs lives in Dublin, Ireland from where she makes regular trips to the US, most frequently to Washington DC and New York City.

Waiting. Nancy Previs. Photo intaglio, 2014. Ed. 25. Image size 6 1/4 x 9”. LINK.

Waiting. Nancy Previs. Photo intaglio, 2014. Ed. 25. Image size 6 1/4 x 9”. LINK.

 

Artist Statement: Inspired by the essence of energy around us – the life force of the landscape – she crafts photopolymer plates using her own un-retouched photographic images, creating traditional handmade multi-plate nature prints. Her images capture nature’s simple beauty – especially that found in open spaces, such as parks and fields, near water or high in the hills, around the island of Ireland and on the east coast of America.

Rockpool. Nancy Previs. Photo intaglio, 2014. Ed 2/20. Image 10 5/16 x 15 1/4'. LINK.

Rockpool. Nancy Previs. Photo intaglio, 2014. Ed 2/20. Image 10 5/16 x 15 1/4″. LINK.

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Abstract, Contemporary, Gallery Opening Receptions, Gallery Openings, Prints

2014 Winter Contemporary Show

(L) Persistent Optimism 4b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed. 2/3. Paper size 11 x 10".  (C) Persistent Optimism 2b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed 2/3. Paper size 11 x 10".  (R) Persistent Optimism 4a.  By Heather Mcmordie. Stone lithograph with woodcut and mixed media, 2014. Ed 1/3. Paper size 11 x 10".  LINK.

(Left) Persistent Optimism 4b. (Center) Persistent Optimism 2b. (Right) Persistent Optimism 4a.
By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Edition of 3. Paper size 11 x 10″ each. LINK.

The Old Print Gallery’s 2014 Winter Contemporary Show will open on Friday, November 21, 2014 with a free nighttime celebratory reception from 5-8pm at the gallery. Works by thirteen contemporary printmakers, all created within the last two years, were chosen for the show. The prints selected are an impressive and alluring display of the current eclecticism found in contemporary printmaking.  Purposeful and inventive, the prints are successful experiments in medium, color, and scale, and for many of the artists selected, the prints are a deviation from their previous creative propensities. The show will remain on view in the gallery until February 14, 2014.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Highlights include a haunting and mysterious photo intaglio landscape by Dublin-based Nancy Previs and three small mezzotints of the human form by Australian printmaker Cleo Wilkinson, whose printed visages emerge from a velvety black with a tonal richness and striking subtlety.  The exhibit also features three prints from emerging artist Heather McMordie’s new series, Persistent Optimism, an exciting experiment in prints-turned-drawings, each with elements of lithography, woodcut, graphite, colored pencil, and charcoal.

The 2014 Winter Contemporary Show will also showcase several works by local DC printmakers, including an abstract and playful watercolor-based monotype by Philip Bennet, bold screenprint monotypes with woodcut elements by Susan Goldman, and artfully rendered still lifes in etching and aquatint by Jake Muirhead.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8". LINK.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8″. LINK.

Selected Artists: Philip Bennet, Richard Carleton, Michael Di Cerbo, Eric Goldberg, Susan Goldman,  Su-Li Hung, Robert Kipniss, Mary Manusos, Heather McMordie, Jake Muirhead, Nancy Previs, Richard Sloat, and Cleo Wilkinson.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17".  LINK.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17″. LINK.

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Abstract, Contemporary, Gallery Event, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Landscapes, Lithograph, Mezzotint, Oil Painting, Pencil Drawing, Prints

Robert Kipniss. “Poetry of Art: Paintings, Drawings and Prints”

Forest murmurs. Robert Kipniss. Mezzotint, 2010. Image size 14 5/16 x 19 3/8" (363 x 493 mm). Edition 50.

Forest murmurs. Robert Kipniss. Mezzotint, 2010. Image size 14 5/16 x 19 3/8″ (363 x 493 mm). Edition 50.

Robert Kipniss.

Poetry of Art: Paintings, Drawings and Prints

Exhibition: October 18 through November 22, 2014.
Artist’s Reception: Thursday Night, October 23, 2014 4:30- 7pm

The Old Print Shop (our NYC partner gallery) is proud to present a new contemporary exhibit of over 30 recent works by Robert Kipniss. The exhibit opens today, and runs through late November. On view are paintings, prints, drawings, and poetry by this exceptional artist. Please make a point to stop by the NY gallery to see the show in person, or attend the Artist’s Reception next Thursday, October 23, from 4:30 to 7:00pm at the 152 Lexington Avenue gallery.

And on the Hill, Two Trees. Robert Kipniss. Oil on canvas, 2013. Canvas size 30 x 40" (76.2 x 101.6 cm).

And on the Hill, Two Trees. Robert Kipniss. Oil on canvas, 2013. Canvas size 30 x 40″ (76.2 x 101.6 cm).

Robert Kipniss – Painter, Printmaker, and Poet – was born in Brooklyn, NY, in 1931. In 1936, his family moved to Laurelton, New York, where he discovered the pleasure of being in the woods. His early love of the forest continues to this day in his images. He is often inviting the viewer into his private woods. In 1947, he took Saturday classes at the Art Students League and the next year he left for Wittenberg College (now University) in Springfield, Ohio. While at Wittenberg, he began to write poetry. By 1950, his passion was poetry, and he decided to major in literature and transferred to the University of Iowa. At the University of Iowa he took his first formal painting classes. In 1951 he entered a painting competition in New York City and was awarded his first one-artist show at the Joe Gans Gallery on 57th Street.  Kipniss has had over 180 one-artist shows since his first in 1951.

Window w/Curtain & Hill. Robert Kipniss. Oil on canvas, 2013. Canvas size 36 x 25" (91.5 x 63.5 cm).

Window w/Curtain & Hill. Robert Kipniss. Oil on canvas, 2013. Canvas size 36 x 25″ (91.5 x 63.5 cm).

In 1950, Kipniss made the decision that he was going to be a poet and a painter; however, life’s many turns often modify decisions made early in life. In 1961 he was working for the post office, painting, writing poetry, and supporting a family. Something had to give, so he made the decision to continue as a painter and support his family, which meant that he would stop writing poetry. The change was profound for his work to this day. His paintings and later his prints became poetic, mysterious, and inviting.

Trees, a composition. Robert Kipniss. Mezzotint, 2014. Image size 9 1/2 x 11 1/2" (235 x 295 mm). Edition 30.

Trees, a composition. Robert Kipniss. Mezzotint, 2014. Image size 9 1/2 x 11 1/2″ (235 x 295 mm). Edition 30.

He made his first prints, drypoints, in 1967. In 1968 he discovered lithography and connected to that form of printmaking for the next twenty-two years. Working with the master printers at George C. Miller in New York, he produced over 400 lithographic images. After Miller closed, he went back to intaglio, producing primarily mezzotints with an occasional drypoint.

Kipniss paintings and prints are in over seventy-five museums worldwide and many private collections. He is a member of the National Academy in New York, The Royal Society of Painter-Printmakers in London, The Society of American Graphic Artists, and the Century Association.

Eaves with Dark Window. Robert Kipniss. Pencil drawing on mylar, 1990. Image size 13 1/2 x 13 1/2" (343 x 343 mm).

Eaves with Dark Window. Robert Kipniss. Pencil drawing on mylar, 1990. Image size 13 1/2 x 13 1/2″ (343 x 343 mm).

Afternoon Breezes. Robert Kipniss. Pencil drawing, 2010. Image size 14 15/16 x 16 1/4" (380 x 420 mm).

Afternoon Breezes. Robert Kipniss. Pencil drawing, 2010. Image size 14 15/16 x 16 1/4″ (380 x 420 mm).

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

Opening Reception for “Form Light Line: Architecture in Print”

You’re Invited…

Lace in Stone, Rouen Cathedral. By John Taylor Arms. Etching, 1927.

Lace in Stone, Rouen Cathedral. By John Taylor Arms. Etching, 1927.

“Form, Light, Line: Architecture in Print”

Opening Night Reception

Friday, June 20, 2014

From 5:00- 8:00 pm

at The Old Print Gallery

Free & Open to All Ages

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