18th Century Maps, 18th Century Prints, 19th Century Prints, Abstract, Aquatint, Citiscapes, Collagraph, Contemporary, Copperplate, Drawing, Early 20th Century, Engraving, Etching, Landscapes, Linocut, Lithograph, Maps, Mezzotint, Multi-stone Lithograph, Prints, Science, Wood

Print Round-Up: The Moon

In honor of this morning’s “Blood Moon” total lunar eclipse (read about it here), we are sharing a print round-up of our favorite moon related prints. These lunar prints are stunning scientific and artistic representations, from multiple centuries. We hope you enjoy!

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio…. By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

Tabula Selenographica in qua Lunarium Macularum exacta Descriptio… By Johann Gabriel Doppelmayr. Published by Homann Heirs, Nuremberg. Handcolored copper plate engraving, c.1742. LINK.

This is an interesting and decorative map of the surface of the Moon. Doppelmayr was an astronomer as well as a professor of mathematics. He often worked with the Homann heirs.  Together they produced a number of atlases, including Atlas Coelestis and Selenographica.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4" (365 x 210mm). LINK.

Astronomy. Tab. II. Published by E. Chambers & Abraham Rees, London. Copper engraving, black and white, 1789. Platemark 14 3/8 x 8 1/4″ (365 x 210mm). LINK.

This print is from Chambers’ and Rees’ Cyclopaedia or, An Universal Dictionary of Arts and Sciences. The composite shows diagrams relating to eclipses.

Phases Of The Moon.  By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8" (248 x 217mm). LINK.

Phases Of The Moon. By Asa Smith. Published by Cady & Burgess, New York. Wood engraving,1848-1850. Image size 9 3/4 x 8 1/8″ (248 x 217mm). LINK.

This chart appeared in Smith’s Illustrated Astronomy, Designed for the Use of the Public or Common Schools in the United States.  This wonderful work was produced by Asa Smith, the Principal of Public School No. 12, in New York City. He notes that the purpose was “to present all distinguishing principles in physical Astronomy with as few words as possible; but with such ocular demonstrations, by way of diagrams and maps, as shall make the subject easily understood.”

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4" plus title and margins. LINK.

Hunting the Deer by Moonlight. By Henry Lewis. Lithographed by Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image size Image 5 3/8 x 7 3/4″ plus title and margins. LINK.

This print is from Das Illustrierte Mississippithal (The Valley of the Mississippi Illustrated).  In the late 1840’s, Henry Lewis traveled the length of the Mississippi and, with the assistance of other artists, assembled a collection of sketches detailing scenery of the entire river.  Based on these drawings, Lewis proceeded to paint a panorama on a continuous length of canvas which would be moved and viewed through a frame.  In the fall of 1848, the completed piece (hundreds and hundreds of feet in length),  began its tour of American cities.  A European tour followed and while in Dusseldorf, in 1853, Lewis teamed up with the publisher Heinrich Arnz to redo the sketches as lithographs, illustrating a book on Mississippi scenery.  While production was sporadic and relatively unprofitable, the resulting seventy-eight lithographs provide a early and remarkably complete record of the Mississippi River.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16" (204 x 151 mm). Link.

The Full Moon. By John Taylor Arms. Etching, 1920. Image size 8 x 5 15/16″ (204 x 151 mm). LINK.

This etching by 20th century printmaker John Taylor Arms (1887-1953) is one of many in his oeuvre to include moons or moonlight. The print is an edition of 100 in color and 75 in black and white. This particular impression is an artist proof, and was printed by  Frederick Reynolds. Reynolds was born in London, immigrating to New York in 1911 to establish himself as an artist in the United States. He was an etcher and mezzotint engraver, and operated his own printing studio in New York. In addition to his own works, Reynolds printed for other artists, including Arms.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16". Signed in pencil lower left, dated and inscribed with the artists cipher lower right "38". LINK.

Moonlit Balcony. (Comp 292). By Werner Drewes. Graphite Drawing, 1938. Image Size 6 5/8 x 5 7/16″. Signed in pencil lower left, dated and inscribed with the artists cipher lower right “38”. LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8". LINK.

Moon over Hilltown. By Edward Glannon. Lithograph, undated. Image size 4 1/4 x 5 3/8″. LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16". LINK.

Manhattan Rooftops in Moonlight. By Armin Landeck. Copper engraving, 1980. Edition 75. Image size 5 13/16 x 12 3/16″. LINK.

Moonrise Tide. (green ink). By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4". LINK.

Moonrise Tide. By Jake Muirhead. Softground & aquatint, 2013. A/P. Image size 13 3/4 x 23 3/4″. LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16". LINK.

Cape Moon. By Frederick Mershimer. Mezzotint, 1992. Edition 100 + 10 A/P. Image size 5 5/8 x 8 13/16″. LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5". LINK.

Full Moon. By Karen Whitman. Linoleum cut, 2000. Edition 85. Image size 7 x 5″. LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997.  Edition 40. Image size 6 13/16 x 11" (176 x 279 mm). LINK.

Moon Garden I. By Grace Bentley-Scheck. Collagraph, 1997. Edition 40. Image size 6 13/16 x 11″ (176 x 279 mm). LINK.

Above are a selection of moon-related prints and drawings from our 20th century and contemporary printmakers. While varying in style and technique, all depict the moon and it’s luminescence casting light and shadows throughout the foreground, making for some very interesting compositions.

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18th Century Prints, 19th Century Prints, 2012 Holiday Gift Guide, Aquatint, Chromolithograph, Contemporary, Drypoint, Early 20th Century, Engraving, Etching, Linocut, Lithograph, Prints, Stipple, White-line Woodcut, Woodcut

2012 HOLIDAY GIFT GUIDE: The Foodie

GIFT GUIDE BANNER copy

FOODIE copyThey love to cook and are always the first ones to get reservations to the newest restaurant spot in town. They seek out the most unique and hidden gems of the food world- rare ingredients, specialized cooking tools, and the best cookbooks. They are the foodie.  So what do you get someone who already knows way more about cooking than you do? Why, prints of food and cooking, of course- to decorate their walls and hang in their kitchens. Below are our picks for the foodie on your holiday list. Enjoy!

Tableau des Principaux Champignons Comestibles & Veneneux. By A. D'Apreval. Published in Paris by the Librairie des Sciences Naturalles, Paul Klincksieck, Editeur. Chromolithograph, undated. This is a fascinating poster describing edible and poisonous mushrooms. Thirty mushrooms are shown at various stages, with descriptive French text along sides and bottom. $385.00

Tableau des Principaux Champignons Comestibles & Veneneux. By A. D’Apreval. Published in Paris by the Librairie des Sciences Naturalles, Paul Klincksieck, Editeur. Chromolithograph, undated. This is a fascinating poster describing edible and poisonous mushrooms. Thirty mushrooms are shown at various stages, with descriptive French text along sides and bottom. $385.00

Turnips and Scallions. By Pia Oste-Alexander. White-line woodcut, 2001. Signed in pencil. $350.00.

Turnips and Scallions. By Pia Oste-Alexander. White-line woodcut, 2001. Signed in pencil. $350.00.

Schattentanz (Shadow Dance). By William J. Behnken. Aquatint, 1995. Inscribed in pencil, "Trial Proof." $300.00

Schattentanz (Shadow Dance). By William J. Behnken. Aquatint, 1995. Inscribed in pencil, “Trial Proof.” $300.00

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Cavolfiore – Brussien oleracea cauliflora. (Cauliflower). By Raimondo Petraroja. Published by Raimondo Petraroja, Naples. Lithograph, hand colored, 1872-1886. From “Atlante di Botanica Populaire,” compliled by Prof. V. Tenore and G.A. Pasquale. With original color. $185.00.

Lincoln Brand. Color lithograph, c. 1930's. Label for Washingotn Naval Oranges. Handsome image of President Lincoln, with a decorative orange cluster at top right and a wrapped Sunkist orange at bottom. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. $40.00

Lincoln Brand. Color lithograph, c. 1930’s. Label for Washington Naval Oranges. Handsome image of President Lincoln, with a decorative orange cluster at top right and a wrapped Sunkist orange at bottom. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping. Distributors would use catchy titles, images, and slogans to set themselves apart from other fruit brands. $40.00

Restaurant. By Armin Landeck. Engraving, 1951. Signed and titled in pencil. Inscribed "Ed. 100."  $2,500.00

Restaurant. By Armin Landeck. Engraving, 1951. Signed and titled in pencil. Inscribed “Ed. 100.” $2,500.00

The Three Graces. By Karen Whitman. Linoleum cut, 2006. Inscribed "18/95." $250.00

The Three Graces. By Karen Whitman. Linoleum cut, 2006. Inscribed “18/95.” $250.00

a. Raphanus minor oblongus. b. Raphanus minor oblongus niger. c. Raphanus minor rotundus niger. N. 860. (radish). By Johann W. Weinmann. Published Amsterdam and Ratisbon. Copper engraving printed in color and finished by hand, 1736-45. From Johann Wilhelm Weinmann's Phytanthoza Iconographia. This beautiful work provides a nearly complete record of the flowers, fruits and vegetables cultivated in the early 18th century. The plates are among the earliest examples of color printing from a single plate. With original color. $525.00

a. Raphanus minor oblongus. b. Raphanus minor oblongus niger. c. Raphanus minor rotundus niger. N. 860. (radish). By Johann W. Weinmann. Published Amsterdam and Ratisbon. Copper engraving printed in color and finished by hand, 1736-45. From Johann Wilhelm Weinmann’s Phytanthoza Iconographia. This beautiful work provides a nearly complete record of the flowers, fruits and vegetables cultivated in the early 18th century. The plates are among the earliest examples of color printing from a single plate. With original color. $525.00

Bottles & Jars I. By Peri Schwartz. Aquatint, 2009. Inscribed "12/20." $1,200.00

Bottles & Jars I. By Peri Schwartz. Aquatint, 2009. Inscribed “12/20.” $1,200.00

King's Cadets Brand. California Green Asparagus. Color lithograph. c. 1930's. A very detailed label with marching cadets. Has beautiful gold trim and is very ornate. ORIGIN: Clarksburg, Sacramento Delta, CA. SHIPPER/GROWER:  F.S. and F.E. King. Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping.$35.00

King’s Cadets Brand. California Green Asparagus. Color lithograph. c. 1930’s. A very detailed label with marching cadets. Has beautiful gold trim and is very ornate. ORIGIN: Clarksburg, Sacramento Delta, CA. SHIPPER/GROWER: F.S. and F.E. King. Original fruit crate label. Before the use of mass produced cardboard boxes, fruit growers, packers and shippers printed labels and attached them to the wooden fruit crates or boxes used in shipping.$35.00

Polinac, plate LXVIII. By George Brookshaw. Printed & pub. by the Author, G. Brookshaw. Aquatint and stipple engraving printed in color and finished by hand, 1804-12. From "Pomona Britannica; or a Collection of the most esteemed fruits...."  $5,500.00

Polinac, plate LXVIII. By George Brookshaw. Printed & pub. by the Author, G. Brookshaw. Aquatint and stipple engraving printed in color and finished by hand, 1804-12. From “Pomona Britannica; or a Collection of the most esteemed fruits….” $5,500.00

 

Artichoke. By Jake Muirhead. Etching and drypoint on German Etch paper, 2011. Green ink.  Inscribed "A/P.' $250.00

Artichoke. By Jake Muirhead. Etching and drypoint on German Etch paper, 2011. Green ink. Inscribed “A/P.’ $250.00

Check back soon for more great gift ideas- for everyone on your list. To view past 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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Contemporary, Gallery Opening Receptions, Gallery Openings, Prints

July Show Water at The Old Print Gallery

Gale, Old Wheeler’s Island. By Richard Carleton. Etching, 2001.

The Old Print Gallery is pleased to present Water, a group show featuring prints by local, national, and international contemporary artists. Water will open on Friday, July 20, 2012, with a nighttime reception from 5-8pm at the gallery. The show will be on view until September 14, 2012. With a subject matter as open and expansive as water, the show yields both personal and universal interpretations for artist and viewer.

Splash. By Philip Bennet, oil-based monotype,2004.

Abstraction and illusion are prominent in the works of Water. Judy Mensch’s woodblock Water 1 is a product of seven woodblocks, ten passes, and eight colors. The result is a dynamic distillation of water in stripes of deep blues and greens. Philip Bennet’s Splash, too, is an abstract blend of colors, forgoing form to capture a more visceral depiction of a plunge into watery depths. NY artist Peter Milton incorporates overlays of watery motifs in his large, dreamlike images. Here, water alludes to the shadowy depths of the subconscious, and hints at memories and influences from the artist’s past.

Waterfall. By Peter Milton. Digital print, 2010.

Some Fragments VIII-C. By Takamune Ishiguro. Etching and aquatint, 2005.

Marked is the artists’ ability to evoke watery imagery from the hard matrices of copper plates and woodblocks. Simple cuts and gouges transform into brilliantly dappled light on water’s surface in Karen Whitman’s Adrift. Likewise, rough, turmoil waves emerge from the constant rocking and reworking of the plate in Art Werger’s Requiem. Other artists highlight the liquid properties of inked media itself to communicate a watery essence. Takume Ishiguro’s use of aquatint and water-based inks in Some Fragments VII-C adds fluidity and glassiness to his macro depiction of water bubbles. Whether water is depicted in large scale or small scale, figuratively or metaphorically, its capacity to mesmerize and captivate artists’ attention is undeniable.

Selected Artists: William J. Behnken, Philip Bennet, Richard Carleton, Antonio Frasconi, Takamune Ishiguro, Stanley Kaplan, Alessandro Mastro-Valerio, Judy Mensch, Frederick Mershimer, Peter Milton, Clare Romano, Ilse Schreiber Noll, Herbert Simon, Mary Teichman, Art Werger, and Karen Whitman.

For more information, please visit our Events page on our website, or check out the images selected for the show on our Current Show page. We hope to see you all there at the opening!

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Contemporary, Early 20th Century, Lithograph, Past/Present, Prints, Woodcut

Past/Present: Rooftop Gardens

Today we have a new P/P post, featuring two prints of rooftop gardens.  Our early 20th century print is by Stow Wengenroth. Wengenroth, although best remembered for his scenes of New England and the water, was actually a native of Brooklyn, NY and depicted the city in many of his prints.  His lithographs eschewed color, instead relying on shadow, form, and lines to produce dynamic scenes. In the print featured below, Wengenroth used long shadows to draw attention to the brick bones of the building. The afternoon light highlights some  fern leaves and eclipses others, giving the plant depth and an unruly volumetric presence. In the top corner, the cluster of rounded pots offers a nice visual respite from the straight, architectural lines found elsewhere in the print.

Our contemporary print is by NY artist Karen Whitman, who, like Wengenroth, printed a rooftop garden scene without the use of color. Instead, she relies on exaggerated and spirited lines, coupled with slightly distorted, full shapes.  Whitman’s prints express an exuberance and playfulness of urban life. The chief source of her inspiration is New York City–its architecture, people and all the other creatures that inhabit this teeming metropolis. She is a master printmaker working in relief printing, and over the last several years, has produced a several fine images using the intaglio process.

On making prints, Whitman states, “My studio is in Woodstock, New York, and my images are of, or inspired by, New York City, to which I have been closely connected all my life. I sketch on location, creating drawings which will become black and white  images. I print them myself with a hand-cranked horizontal proof press from 1914. The press was designed to proof metal type before it was printed on higher speed presses. This method is now obsolete commercially, but it is perfect for printing mounted linoleum blocks. I like the concept of keeping this machine, a masterpiece of mechanical engineering but outdated for what it was created to do, productive in a modern capacity. The result is good old-fashioned contemporary prints with infinite possibilities.”

Image on Left: Roof Garden[New York, New York]. By Stow Wengenroth. Lithograph, 1933. Edition25. 

Image on Right: Rooftop Garden. By Karen Whitman, Woodcut, 2003. Edition 85.

Roof Garden [New York, New York]. Stow Wengenroth, Lithograph, 1933. Edition 25.Rooftop Garden. Karen Whitman. Woodcut, 2003. Edition 85.

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Contemporary, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Prints

Water Opens July 2012

Join us on Friday, July 20, 2012 for the opening of Water at The Old Print Gallery. The reception will be held from 5-8pm, is free, and open to the public. Please visit our website for more information.

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