Contemporary, Gallery Updates, Lithograph, Prints

Washington Post Review of “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.

Persistent Optimism series By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed. of 3. Paper size 11 x 10″.
LINK.

Mark Jenkins, arts writer for The Washington Post, featured our Winter Contemporary Show  in his most recent column. Follow the link below to read his article, and make sure to stop by the gallery before February 14 to see the show in person.

Washington Post 1/09/15 review of Winter Contemporary Show

( Quick note: Our exhibit  is the last show reviewed, so it does take some scrolling to get to the write up on the Winter Contemporary Show).

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Color Woodcut, Contemporary, Gallery Updates, Prints, Woodcut

Thanksgiving Holiday Hours

Turkey. By Su-Li Hung. Woodcut, 1978. Edition 50. Image size 10 5/8 x 10 7/8" (273 x 278 mm). LINK.

Turkey. By Su-Li Hung. Color woodcut, 1978. Edition 50. Image size 10 5/8 x 10 7/8″ (273 x 278 mm). LINK.

Thanksgiving Hours:

  • Tuesday 11/25: Open 10:00 AM to 5:20 PM
  • Wednesday 11/26: Open 10:00 AM to 12:00 PM
  • Thursday 11/27: Closed for Thanksgiving
  • Friday 11/28- Saturday 11/29: Open 10:00 AM to 5:20 PM

We wish you all a happy Thanksgiving and safe travels. Above are our Thanksgiving holiday hours- feel free to stop by today, tomorrow, or Friday and Saturday to browse our extensive collection and to see our 2014 Winter Contemporary Show. The gallery is free and all ages are welcome. With prints and maps ranging from the 15th century to the 21st century, we have something for everyone to enjoy (and great gifts for the holidays).

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American Views, Citiscapes, Color Lithograph, Contemporary, Drawing, Early 20th Century, Foreign Views, Gallery Opening Receptions, Gallery Openings, Lithograph, Prints, Serigraph

Form, Light, Line: Architecture in Print

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The Shadow of Brooklyn Bridge. By Emilio Sanchez. Color lithograph, 1988. Ed. 100. LINK.

The Old Print Gallery is pleased to announce its summer 2014 show, Form, Light, Line: Architecture in Print. This group show of 19 printmakers spans over 90 years of creative expression, with prints by 20th century American masters John Taylor Arms, Martin Lewis, and Armin Landeck coupled with works by cutting-edge, contemporary printmakers. Form, Light, Line opens on Friday, June 20, with a nighttime reception at the gallery from 5-8pm. The show will remain on view until September 13, 2014.

Artists have long found beauty in the strength, durability, and utility of architecture. Form, Light, Line allows viewers to experience the familiar composition of buildings through the artist’s eye- to visually explore how surface captures light, how windows both reveal and reflect, and how dimensional spaces can be flattened and abstracted into planes of light and dark.

(From Left to Right:) Urban Views #1. Urban Views #2B. Urban Views #4. By Patrick Anderson. Serigraphs, 2003.

From Left to Right: Urban Views #1. Urban Views #2BUrban Views #4. By Patrick Anderson. Serigraphs, 2003. LINK.

Highlights include a trio of black and white graphic serigraphs by Patrick J. Anderson, John Taylor Arms’ meticulous 1927 etching Lace in Stone, Rouen Cathedral, and a 1929 study for a large watercolor, Spiral Staircase, from the Martin Lewis estate. This pen and ink representation of the Queensboro Bridge is a delicate exploration of space and shading. Also on view is an Armin Landek 1941 engraving Rooftop, with accompanying annotated pen and pencil study for the print. The pair reveals the artist’s approach to perspective, as well as sketches of specific architectural elements, like moldings and chimneys.

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A Bronx Street Corner. By Martin Lewis. Pencil drawing, c.1946. LINK.

Selected Artists: Linda Adato, Patrick J. Anderson, John Taylor Arms, William Behnken, Grace Bentley-Scheck, Joan Drew, Richard Haas, Su-Li Hung, Sidney Hurwitz, Armin Landeck, Martin Levine, Martin Lewis, Frederick Mershimer, John Ross, Emilio Sanchez, Art Werger, Steven Yamin, and Alex Zwarenstein.

To see all the prints selected for Form, Light, Line: Architecture in Print, please visit our website.

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Abstract, Aquatint, Collage, Contemporary, Figurative, Oil Painting, Prints, Woodcut

2013 Winter Contemporary Show

Moonrise Tide.  By Jake Muirhead. Softground and aquatint, 2013.

Moonrise Tide. By Jake Muirhead. Softground and aquatint, 2013.

The Old Print Gallery’s 2013 Winter Contemporary Show will open 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. The show will remain on view until February 15, 2014.

Highlights include new works by local DC artists Jake Muirhead and Phillip Bennet. Muirhead’s large seascape, Moonrise Tide, offers evidence of the artist’s capable and deliberate draftsmanship. In his smaller still life, Bulb, Muirhead uses flowing delicate lines and subtle aquatint, resulting in a print that feels both intimate and fresh. Philip Bennet’s new abstract works are almost playful with their use of brilliantly saturated colors and suggestive titles, All Seeing Eyes and The First Day.

The First Day. By Philip Bennet. Acrylic painting on paper, 2012.

The First Day. By Philip Bennet. Acrylic painting on paper, 2012.

Sumo Kimono. By Pia Oste-Alexander. Collage, undated.

Sumo Kimono. By Pia Oste-Alexander. Collage, undated.

The 2013 Winter Contemporary Show also highlights several innovative approaches to printmaking. Pia Oste-Alexander’s Sumo Kimono is an artful assemblage of artist painted and printed paper, fabric and found patterns.  The gallery is also excited to showcase two prints from Heather McMordie’s 2013 series Not Made For Each Other. In Not Made For Each Other, woodblocks carved with independently derived imagery are printed on top of one another to create one image out of two. The blocks themselves are not made for use together, but with careful color selection and deliberate compositional choices, a cohesive image emerges. According to the artist, the prints “challenge the preconceived notions of what colors, shapes, and textures should or should not ‘work together’, and demonstrate the ability of an object to adapt in relation to another object.”

Not Made For Each Other V. By Heather McMordie. Woodcut with hand-cut paper. Printed on BFK Rives paper. 2013.  *Photographed under glass.

Not Made For Each Other V. By Heather McMordie. Woodcut with hand-cut paper. Printed on BFK Rives paper. 2013. *Photographed under glass.

Selected Artists: Philip Bennet, Eric Goldberg, Susan Goldman, Su-Li Hung, Heather McMordie, Jake Muirhead, Karima Muyaes, Pia Oste-Alexander, Larry Welo, Art Werger, and Cleo Wilkinson.

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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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