Aquatint, Citiscapes, Drypoint, Early 20th Century, Engraving, Etching, Figurative, Landscapes, Prints, Wood, Woodcut

Lawrence Nelson Wilbur (1897-1988)

Ship Building - Gloucester. Lawrence N. Wilbur Drypoint, 1943. Image size 7 5/8 x 11 inches.  Edition 30. LINK.

Ship Building – Gloucester. Lawrence N. Wilbur. Drypoint, 1943. Image size 7 5/8 x 11 inches. Edition 30. LINK.

Born in Whitman, Massachusetts, Lawrence Nelson Wilbur traveled to Boston and Los Angeles before settling in New York. In 1925, he enrolled in the Grand Central Art School where he studied under Harvey Dunn, N.C. Wyeth, and Pruett Carter. As a photo-engraving finisher, he worked for the finest engraving shops in New York, as well as doing work for major magazines. The meticulous nature of this work aided Wilbur’s artistic development. Throughout his prolific art career, which spanned seven decades, he produced wood engravings, woodcuts, linoleum block prints and lithographs, as well as paintings and drawings.

His works are in the collections of the Metropolitan Museum of Art, National Gallery, Philadelphia Museum, Library of Congress, and more, and he received numerous awards for his art, including the Audubon Artist’s medal of honor for a self-portrait in oil in 1957. He was a member of the Salmagundi Club of New York, Painters and Sculptors Society of New Jersey, and Society of America Graphic Artists.

Abandoned Homestead. Lawrence Wilbur. Drypoint, 1938. Edition 45+27. Image size 6 x 8". LINK.

Abandoned Homestead. Lawrence Wilbur. Drypoint, 1938. Edition 45+27. Image size 6 x 8″. LINK.

Our Daily Bread. Lawrence Wilbur. Woodcut, c.1940. Edition unknown. Image size 8 x 9 15/16 inches. LINK.

Our Daily Bread. Lawrence Wilbur. Woodcut, c.1940. Edition unknown. Image size 8 x 9 15/16 inches. LINK.

Tranquil Harbor. Gloucester, Massachusetts. Lawrence Wilbur. Wood engraving, 1958.  Edition 55. Image size 8 5/8 x 10 inches. LINK.

Tranquil Harbor. Gloucester, Massachusetts. Lawrence Wilbur. Wood engraving, 1958. Edition 55. Image size 8 5/8 x 10 inches. LINK.

The Sprie - New York. Lawrence Wilbur. Drypoint, 1985. Edition 100. Image size 14 7/8 x 11 1/8" (380 x 282mm). LINK.

The Sprie – New York. Lawrence Wilbur. Drypoint, 1985. Edition 100. Image size 14 7/8 x 11 1/8″ (380 x 282mm). LINK.

My Family. Lawrence Wilbur. Drypoint, 1950. Edition 55. Image size 10 x 8" (256 x 203 mm). LINK.

My Family. Lawrence Wilbur. Drypoint, 1950. Edition 55. Image size 10 x 8″ (256 x 203 mm). LINK.

Model Resting. Lawrence Wilbur. Etching and aquatint, 1939. Edition 40. Image size 9 3/4 x 7 7/8" (252 x 201 mm). LINK.

Model Resting. Lawrence Wilbur. Etching and aquatint, 1939. Edition 40. Image size 9 3/4 x 7 7/8″ (252 x 201 mm). LINK.

Standard
16th Century Maps, American Maps, Maps, New Additions, Woodcut

New Additions: Novae Insulae XXVI Nova Tabula

Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). Image size 10 x 13 3/8" (25.5 x 34.1 cm) plus margins. Very good condition save for some minor splitting along centerfold. Black & white. LINK.

Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). Image size 10 x 13 3/8″ (25.5 x 34.1 cm) plus margins. Very good condition save for some minor splitting along centerfold. Black & white. LINK.

Munster’s map of New World is one of the most important and influential maps of the 16th Century, as it is the earliest to show all of North and South America in a true continental form. This impression is a rare second state of the map, from Munster’s “Cosmography”.  In this second state, published c.1544, the title was changed from “Novae Insulae XVII. . .” to “Novae Insulae XXVI . . .” and appeared in only one edition, making it very scarce.

Geographically, North America is oddly shaped and depicts one of the great geographic misconceptions.  In 1523, Giovanni di Verrazano, a Florentine explorer sailing for King Francis I of France, passed by the outer banks of the Carolinas. He mistook Pamlico Sound for an Oriental Sea that would lead to the Spice Islands, believing that the Barrier Islands were all that constituted North America at the point of the Carolinas. Munster recorded and included Verrazano’s accounts in the greatly successful “Cosmography,” which propagated the myth for many years.

(Detail of North America, depicting the slim Barrier Islands of the Carolinas as the only land mass between the Atlantic and Pacific Oceans.) Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

Detail of North America, depicting the slim Barrier Islands of the Carolinas as the only land mass between the Atlantic and Pacific Oceans.
Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

This early map is filled with interesting cartographic details.

  • The flags of Spain (on Puerto Rico) and Portugal (shown in the South Atlantic) depict their respective spheres of influence in the New World.

    Detail of flag of Spain on Puerto Rico (at left) and flag of Portugal in the South Atlantic (at right). Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of flag of Spain on Puerto Rico (at left) and flag of Portugal in the South Atlantic (at right).
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • The Yucatan Peninsula is shown as an Island.
  • This is the first map to name the Pacific Ocean (Mare Pacificum).
  • South America is depicted with a large bulge in the northwest and notes that cannibals inhabit parts of it.

    Detail of northwest bulge of South America, inhabited by terrifying cannibals hiding in bushes. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of northwest bulge of South America, inhabited by terrifying cannibals hiding in bushes.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • It is also the first map to show Japan (Zipangri), based entirely upon the accounts of Marco Polo and other early travelers.

    Detail of Japan, marked as "Zipangri" on this map. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of Japan, marked as “Zipangri” on this map.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

  • Shown in the Pacific Ocean is Magellan’s ship, Victoria.

    Detail of Magellan's ship "Victoria",  first ship to successfully circumnavigate the world. Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45).  LINK.

    Detail of Magellan’s ship “Victoria”, the first ship to successfully circumnavigate the world.
    Novae Insulae XXVI Nova Tabula. Sebastian Munster. Published by Sebastian Munster, Basel. Woodcut, 1540, (c.1544-45). LINK.

Overall, this map is as interesting as it is cartographically significant, and would make an impressive addition to any map collection. Come see it in person at our Georgetown gallery, which is open every Tuesday- Saturday.

Standard
Contemporary, Gallery Opening Receptions, Gallery Openings, Gallery Updates, Monotype, Prints, Woodcut

Upcoming Print Events

At The Old Print Gallery:

Woman Under a Tree. BY Eliza Draper Gardiner. Woodblock, c. 1932. Image size 6 x 7 inches. LINK.

Woman Under a Tree. BY Eliza Draper Gardiner. Woodblock, c. 1932. Image size 6 x 7 inches. LINK.

Ink & Grain’s Last Week: Make sure to stop by the Gallery to see Ink & Grain before the show ends. Ink & Grain highlights 20th century printmakers who excelled in woodcuts and wood engravings. One of the most ancient forms of printmaking, the woodcut saw an energized revival during the 20th century. American printmakers experimented heavily with technique, by manipulating the grain of the wooden matrix and crafting new methods of ink and color application. Ink & Grain celebrates this renaissance and the skilled printmakers who worked in the medium, creating in the form of editioned prints, hand-made books, and commercial book illustrations. The show’s last day is this Saturday, November 15th.

Persistent Optimism 4a. Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed 1/3. Paper size 11 x 10". LINK.

Persistent Optimism 4a. Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed 1/3. Paper size 11 x 10″. LINK.

2014 Winter Contemporary Show Opening Reception: Join us on Friday, November 21, from 5-8pm at the Gallery, as we celebrate the opening of our new 2014 Winter Contemporary Show. Works by thirteen different printmakers, all created within the last two years, were chosen for the show. The prints offer a dizzying array of techniques and styles from local DC, regional, and international printmakers. Purposeful and inventive, the prints are successful experiments in medium, color, and scale. The show will remain on view until February 14, 2014.


 OPG Printmakers Around Town:

Target Bloom II. Susan Goldman. Monotype with woodcut, 2014.

Target Bloom II. Susan Goldman. Monotype with woodcut, 2014.

A Path Through Darkness- Whole, Sound, Color Light Opening Reception: This Thursday, November 13, from 4:30 to 6:30pm, celebrate with Susan Goldman at an opening reception for her new prints, in a show titled A Path Through Darkness: Whole, Sound, Color, Light. The reception will be held at the Lombardi Atrium of the Lombardi Comprehensive Cancer Center of Georgetown University Hospital. The show is presented by the Arts and Humanities Program.

Lombardi Comprehensive Cancer Center, Medstar Georgetown University Hospital, 3800 Reservoir Road, Washington, DC 20007. Parking in Leavy Conference Center Garage.

More info: Contact Julia Langley at julia.langley@georgetown.edu.

38371_1601406x550

Power. Werner Drewes. Woodcut on paper, 1982.

Werner Drewes: Artist and Humanitarian Opening Reception: A show of works by celebrated printmaker Werner Drewes will be on view at the United States District Court in Greenbelt, Maryland. The Opening Reception is on Thursday, November 20, 2014, from 5:00pm- 6:30pm. Opening remarks will be made by Karen E. D. Seibert, granddaughter of the artist, and a Doctors Without Borders representative. 10% of all proceeds from the sales at the Opening Reception with be donated to Doctors Without Borders. The show will remain on view until January 30, 2015, with show hours of Monday- Friday, 9am to 4pm. The show is presented by the U. S. District Court and The Hyattstown Mill Arts Project.

United States District Court, 6500 Cherrywood Lane, Greenbelt, Maryland 20770.

More info: http://drewesfineart.com/

Swirls. By Philip Bennet. Monotype with pastel, 2014.

Swirls. By Philip Bennet. Monotype with pastel, 2014.

Pastel Unleashed: A Mixed-Media Approach Artists’ Reception and Awards Ceremony: OPG printmaker Philip Bennet has a print in this juried show, presented by the Maryland Pastel Society. The show was an invitation to artists by the Society to rethink soft pastel. Work entered in the show was required to have, in addition to soft pastel, one or more other painting or drawing mediums. Philip Bennet’s monotype with pastel Swirls was selected for the exhibit. The Artists’ Reception and Awards Ceremony is on November 23, 2014 from 2:00pm- 4:00pm. The Exhibition opens on November 22, 2014 and closes on January 4, 2015.

Invitational Gallery, Strathmore Mansion, 10701 Rockville Pike, Bethesda, MD, 20852.

More info: https://marylandpastelsociety.com/

Standard
Abstract, Citiscapes, Color Woodcut, Early 20th Century, Engraving, Figurative, Gallery Updates, Landscapes, Prints, White-line Woodcut, Wood, woodblock print, Woodcut

Washington Post Review of “Ink & Grain”

Head of a Traveler. By Adja Yunkers. Color woodcut,  1952.  Image size 13 1/2 x 9 1/2". LINK.

Head of a Traveler. By Adja Yunkers. Color woodcut, 1952. Image size 13 1/2 x 9 1/2″. LINK.

Mark Jenkins, arts writer for The Washington Post, featured our woodcut and wood engraving show, Ink & Grain,  in his most recent column. Follow the link below to read his article, and make sure to stop by the gallery before November 15th to see the show in person.

Mark Jenkin’s Ink & Grain review in The Washington Post, 10/31/14.

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

Standard
Early 20th Century, Landscapes, Prints, Woodcut

Werner Drewes

Farm with Figures. By Werner Drewes. Woodcut on Japanese paper, 1931.  Image size 8 3/8 x 11 3/4". LINK.

Farm with Figures. By Werner Drewes. Woodcut on Japanese paper, 1931. Image size 8 3/8 x 11 3/4″. LINK.

Werner Drewes (1899-1985) was born in Canig, Germany. In 1921, he was admitted into the Bauhaus where he studied under artists such as Klee and Muche. Drewes traveled throughout Italy and Spain studying the old masters, particularly Velasquez and El Greco, supporting himself by selling prints as postcards. His vagabond lifestyle took him to the Americas and Asia, where he was inspired the people and landscapes he met along the way. In 1930 he immigrated to the U.S. with his wife, Margaret Schrobsdorf, and his sons. From 1934 to 1936, Drewes taught at the Brooklyn Museum under the auspices of the WPA Federal Art Project. In 1936, he became an American citizen. Drewes joined other Bauhaus artists in New York to form the core of the American Abstract Artists group. He taught at Columbia University from 1937 to 1940, and served as director of graphic art for the WPA Federal Art Project in New York in 1940. In 1944 he studied printmaking at Stanley William Hayter’s famed Atelier 17.

Drewes was a tenured professor at Washington University in St. Louis, from 1946-to 1965. With his sons grown, Drewes’ time at Washington University in St. Louis was a very creative period, with his focus no longer split between his art and raising and financially supporting his family. After his wife’s passing in 1965, Drewes remarried a jeweler and fellow professor from Washington University, Mary Louise Lischer. Retirement led the couple to Bucks County, Pennsylvania where Drewes’ art focused on abstract landscapes and still lifes. Moving once more to escape the long winters, Virginia became Drewes’ final home, where he continued to create and teach until the age of 85. His paintings and prints have been shown at major museums throughout Europe and the United States.

Werner Drewes’ Farm with Figures (shown above) can be seen at our Georgetown gallery in Washington, D.C.  It would make a fantastic addition to any early 20th century collection.

 

Standard