The Summer Reading Issue

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The Global Journal of Prints and Ideas July – August 2019 Volume 9, Number 2

The Summer Reading Issue: Recommended Reading for the Print-Curious, from History to Fiction Léon Spilliaert in the Margins • Turning the Pages with Ed Ruscha • Jan Svenungsson • Prix de Print • News THE LARGEST INTERNATIONAL ART FAIR CELEBRATING 500 YEARS OF PRINTMAKING

OCTOBER 23–27 2019 JAVITS CENTER I NEW YORK CITY

EXHIBITORS

Alan Cristea Gallery Goya Contemporary/ Paulson Fontaine Press Alice Adam Ltd. Goya-Girl Press Paupers Press August Laube Buch Graphicstudio/USF Polígrafa Obra Gráfica & Kunstantiquariat Harris Schrank Fine Prints R. S. Johnson Fine Art Bernard Jacobson Graphics Hauser & Wirth Redfern Gallery Ltd. Brooke Alexander, Inc. Hill-Stone, Inc. Ruiz-Healy Art C. G. Boerner Isselbacher Gallery Scholten Japanese Art Carolina Nitsch Jim Kempner Fine Art Shark's Ink. Catherine Burns Fine Art John Szoke Gallery Sims Reed Gallery Childs Gallery Krakow Witkin Gallery Sragow Gallery Cirrus Gallery Kunsthandlung Stanza del Borgo Crown Point Press Helmut H. Rumbler Stoney Road Press David Tunick, Inc. Lelong Editions STPI Dolan/Maxwell Marlborough Graphics Susan Sheehan Gallery Durham Press, Inc. Mary Ryan Gallery Susan Teller Gallery Emanuel von Baeyer mfc-michèle didier Tamarind Institute Flowers Gallery Mike Karstens Tandem Press Flying Horse Editions/UCF Mixografia® The Old Print Shop, Inc. G. W. Einstein Company, Inc. Niels Borch Jensen The Tolman Collection of Tokyo Gallery & Editions Galeria Toni Tàpies - Edicions T Thomas French Fine Art Osborne Samuel Ltd. Galerie Maximillian Two Palms Pace PrintsParagon Galerie Sabine Knust Universal Limited Art Editions, Inc Paramour Fine Arts Gallery Neptune & Brown Ursus Rare Books Paul Prouté s.a. Gemini G.E.L. Wildwood Press LLC Paul Stolper Gallery at Joni Moisant Weyl Worthington Gallery

WEDNESDAY, OCTOBER 23 IFPDA.ORG OPENING NIGHT RECEPTION BENEFITS THE IFPDA FOUNDATION @IFPDA July – August 2019 In This Issue Volume 9, Number 2

Editor-in-Chief Susan Tallman 2 Susan Tallman On Summer Reading

Associate Publisher The Book List 3 Design Director Recommended Reading for Julie Bernatz the Print-Curious — PART I

Production Editor Anne Adriaens-Pannier 40 Kevin Weil Léon Spilliaert in the Margins

Advertising Manager Miguel de Baca 46 Lydia Mullin On Ed Ruscha’s Books, Los Angeles, and Peripatetic Flow

Administrative & Book Review Editorial Assistant Percy Stogdon Susan Tallman 51 Art Intelligence: Jan Svenungsson Manuscript Editor on Making and Thinking Prudence Crowther Prix de Print, No. 36 54 Editor-at-Large Juried by Kit Smyth Basquin Catherine Bindman E Cigarettes (2019) by Mary-Ann Monforton

News of the Print World 56

On the Cover: Lisa Bulawsky, Recommended Reading (2019), annotated photograph.

This Page: Photograph this page by Christina Weyl, 2019.

Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] 1.844.ARTINPR (1.844.278.4677) No part of this periodical may be published without the written consent of the publisher. On Summer Reading By Susan Tallman

rints and books have been wed chits, each bearing a different picto- P since the beginning. The oldest sur- graphic symbol, which might be arrayed Art in Print viving printed book, the Chinese Dia- to form myriad pathways through the mond Sutra created in 868 and now in the collected wisdom of the world. Art in Print is a not-for-profit British Library, is a scripture that opens We have grouped the books here by 501(c)(3) corporation, founded with a printed picture. Centuries later, neither pictograph nor Dewey decimal, in 2010. when papermaking and printing first but through affinities suggested by nomi- hooked up in Europe, they found they nator responses. Mark MacDonald’s Board Members still had special feelings for each other, remarkable recreation of Columbus’s and their early offspring included the collection of 3,204 prints appears under Julie Bernatz blockbook, in which text and image were “Collectors and Collecting,” but might as Catherine Bindman carved together. This issue—our first easily have found a home under “Renais- Renée Bott “Summer Reading” issue—is concerned sance” or “Instruments in the World.” Nicolas Collins not just with books and prints, but also Like history, the list is clumpy—the Thomas Cvikota with books about prints. 15th century looms large, as does the David Dean Assuming that our readers are, well, 20th, with a catenary dip between them; Bel Needles readers, we solicited several dozen con- intaglio manuals occupy a populous cor- Robert Ross tributors—artists, scholars, collectors, ner, while Guido Lengwiler’s book on Antoine Rouillé-d’Orfeuil dealers—to recommend books about screenprint sits alone. There are holes. So Marc Schwartz looking at, or thinking about, or mak- in addition to the delights of the new and Susan Tallman ing, or buying, prints. We imposed no unknown, we anticipate that the list will limitations and offered no instructions produce a spate of slapped foreheads and Editorial Board beyond a request for “favorite books on dismay at the loved works we have col- Richard Axsom prints.” The response was overwhelm- lectively missed. This is inevitable, and Jay A. Clarke ing and diverse: among the more than also an invitation—take it as the starting Paul Coldwell 200 titles suggested lie catalogues rai- point of something better. Stephen Coppel sonnés and children’s books, autobiogra- Beyond this list, the current issue Faye Hirsch phies and novels, scholarly treatises and includes the new iteration of Prix de Jane Kent popular paperbacks. (The list of makers’ Print, for which juror Kit Basquin selected David Kiehl manuals, artists’ books and books-about- Mary-Ann Monforton’s lithograph E Evelyn Lincoln artists-books grew so long we decided Cigarettes (2019), and three longer-form Andrew Raftery to remove them to a subsequent issue.) examinations of books. Anne Adriaens- Christian Rümelin Some contributors wrote lengthy pas- Pannier shines a light on the curious Gillian Saunders sages about a single volume, others sent addenda that Léon Spilliaert drew on long lists. While some books are founda- the pages of previously published books For further information visit tional texts, others sent the editors of this of Belgian Symbolist writings. I review artinprint.org/about-art-in-print/. journal scurrying to bookshops, libraries a new volume by the Swedish artist Jan and websites on research runs. There Svenungsson, Making Prints and Thinking is, we suspect, something new here for About It. And Miguel de Baca examines everyone. Ed Ruscha’s early books in terms of roads, When Ferdinand (or Hernando) directionality and frontiers. Columbus, the explorer’s son, died in As a child Ferdinand Columbus ac- 1539 he left behind the first encyclopedic companied his father on his second library of printed books, ephemera, music thwarted voyage to find a passage to the and images—an undertaking so vast it Indies. Squinting, one might see Ruscha’s necessitated, among other things, the Twentysix Gasoline Stations as a 20th- development of a new form of furniture: century nod to the younger Columbus, the bookshelf. Working four centuries who, having recorded his travels, set before Melvil Dewey and his decimals, about articulating the hopeful and Columbus had to invent new modes of stealthy complexity of the universe arranging knowledge, or at least the con- through books. tainers it came in. His categories were leaky, and his organizational system was Susan Tallman is Editor-in-Chief to our eyes quixotic—thousands of paper of Art in Print.

2 Art in Print July – August 2019 Recommended Reading for the Print-Curious PART I

Contributors Groupings

Lynne Allen Evelyn Lincoln Susan Tallman The Whole (Western, Second Richard Axsom Elenor Ling Sergei Tsvetkov Millennium) Shebang Mark Baron Alexander Massouras Jason Urban Looking and Recognizing Kit Basquin Kate McCrickard Madeleine Viljoen The 15th Century Catherine Bindman John P. Murphy Julie Warchol A Field Guide to Early Prints Peter Briggs Leslie Mutchler Christina Weyl The Renaissance Lisa Bulawsky Nadine Orenstein Stephen Woodall The 17th–18th Centuries Brian D. Cohen David Paisey The 19th Century Paul Coldwell Peter Parshall The 20th Century Prudence Crowther Mark Pascale The 20th Century: Artists Thomas Cvikota Robert Ross Coming Britain Robert Dance Allison Rudnick In September America David Dean Christian Rümelin Indignant Eyes Richard S. Field Britany Salsbury PART II Fiction Diana Gaston Jacob Samuel Instruments in the World Stephen Goddard Suzanne Karr Schmidt Artists Books Collecting and Collections Roslyn Bakst Goldman Erika Schneider Printers and Publishers Sarah Kirk Hanley Harris Schrank Books About References Felix Harlan Marc Schwartz Artists Books Julia V. Hendrickson Rachel Stella Making Faye Hirsch Nicholas Stogdon David Kiehl David Storey Photo detail: Kate McCrickard The Whole (Western, Second Millennium) Shebang

The Print Before Photography Prints and People, a Social History Prints and Visual Communication By Antony Griffiths of Printed Pictures By William Ivins British Museum Press, 2016 By A. Hyatt Mayor Da Capo Press, 1953. Metropolitan Museum of Art, 1971. Second edition: MIT Press, 1969 The product of the author’s decades in Princeton University Press, 1981. the print room of the British Museum, For its importance to print historiography and of a habitually curious mind, A. Hyatt Mayor was head of the Metropoli- I will always vote for William Ivins’s Prints Griffiths’ impeccable, erudite book treats tan Museum’s Department of Prints and and Visual Communication (1953), a study prints in their double identity as art- Photographs between 1946 and 1966. His very much of its time and yet one of the works and as vectors of social activity— book is composed of chatty and informative most historically perceptive and also most economic, technological and political. short pieces on topics that cover the history aggravating writings in the field. Percep- Apollo magazine named it Book of the and uses of prints. It remains a wonderful tive because Ivins thought about the print Year for 2016, and Charles Suarez Smith introduction to the great range of material phenomenon as multi-dimensional, acutely wrote: “Not since William Ivins Jr., the produced in prints and also provides good aware of its social and practical aspects and curator of the Department of Prints at insight into the Met’s vast print collection. its distinctive epistemological force. Aggra- the Metropolitan Museum from 1916 to —Nadine Orenstein vating because of his arch dismissal of so 1946, published Prints and Visual Com- much received wisdom, in particular the Mayor’s canonical text presents a social munication (1953) has a museum scholar legacy of ancient Greece. This contrariness historical survey of the print from the so transformed the understanding of a is symptomatic of an aggressive intelligence Chinese invention of paper to Jasper Johns’s field.”1 and had much to do with the originality of lithographs. Thanks to Mayor’s writing Ivins’ thinking. For better or worse, what The most complete and inspiring overview style, which can be described as vivid with a he drew from the practices of printmaking of the wide-ranging questions concerning light touch, his book is an engaging read to made his book seminal for modern infor- Western printmaking. this day. —Allison Rudnick mation theory and the interpretation of the —Christian Rümelin media. —Peter Parshall I don’t know if I’ve ever had so many questions answered by a single book. —Britany Salsbury

Notes: 1. From https://www.apollo-magazine.com/ book-of-the-year-winner-apollo-awards-2016/. Photo detail: Percy Stogdon.

4 Art in Print July – August 2019 The Art of the Print: Prints About Prints The Rhinoceros and the Megatherium: Masterpieces, History, Techniques By Diana Ewan Wolfe An Essay in Natural History By Fritz Eichenberg Martin Gordon, 1981 By Juan Pimentel Harry N. Abrams, 1976 Harvard University Press, 2017 Prints-about-printmaking is my favorite This is the book I’d take to a desert island, subgenre. This catalogue features an exten- This book examines European responses written by an artist, scholar, and humani- sive collection of them across all places and to the Indian Rhinoceros shipped to Lis- tarian I had the good fortune to hear lecture periods, and it’s great to see so many inter- bon that provided (indirectly) the source in 1978. —Brian D. Cohen pretations of the subject in one place. of Dürer’s famous woodcut, and to the — Britany Salsbury skeletal remains of a Giant Sloth shipped to Spain two centuries later. Not about prints per se, but one of the most elegant essays on Dürer and the role of contemporary print that you will ever read. — Faye Hirsch

Art in Print July – August 2019 5 Looking and Recognizing

Prints and Printmaking: How to Identify Prints: How Prints Look: An Introduction to the History A Complete Guide to Manual and Photographs with Commentary and Techniques Mechanical Processes from By William M. Ivins, Jr. By Antony Griffiths Woodcut to Inkjet Metropolitan Museum of Art, 1943; British Museum Press, 1980. By Bamber Gascoigne revised edition, Beacon Press, 1987 British Museum Press and Thames & Hudson, 1986, 2004 University of California Press, 1996 For the novice willing to face prints in the I love this book for its great blow-up details flesh, and to establish a real relationship Due to its many illustrations, details and that illustrate various techniques under with them, this is a clearly written and con- clear descriptions, this remains the most magnification. A chapter at the end, called ceived primer. Bonus points for the later edi- “Differences,” distinguishes between tech- useful handbook for identifying techniques. tion, revised in 1987 by Marjorie B. Cohn. niques that might appear similar, by show- —Christian Rümelin —Mark Pascale ing side-by-side details. A handy volume for any print enthusiast. —Nadine Orenstein

Above: Wallerant Vaillant, detail of Johann Philipp von Schönborn, Archbishop of Mainz (1658–1677), etching, 30.5 cm x 22 cm. Rijksmuseum, Amsterdam.

6 Art in Print July – August 2019 The Printed Picture The Digital Print: Understanding Japanese By Richard Benson Identification and Preservation Woodblock-Printed Illustrated Books: The Museum of Modern Art, 2008 By Martin C. Jürgens a Short Introduction to their History, Getty Conservation Institute, 2009 Bibliography and Format Benson’s book is singular in treating vir- By Ellis Tinios and Jun Susuki tually all printing processes—not only This book explains the full range of digi- Brill, 2013 those associated with fine art—with clear tal printing processes used in visual art, explanations and finely detailed repro- their materials, behavior and deteriora- This slim, beautifully produced handbook is ductions. In addition to the usual sus- tion, and how to recognize what you’re packed with information for anyone with a pects of relief, intaglio, lithography and looking at. general interest in this subject. It gives advice screenprint, he elucidates all manner of on how best to describe the books, how to photographic and commercial printing, make sense of images available on online from Woodburytypes to barcodes. resources, and has useful appendices including “Era and month names,” and technical terms in both Japanese and transliterated form. I particularly like the guidance for scholars on handling and storage, which includes advice on where to place a collection mark (although individuals are urged to refrain altogether). —Elenor Ling

Art in Print July – August 2019 7 The 15th Century

Origins of European Printmaking: Geschichte und kritischer Katalog Fifteenth Century Fifteenth-Century Woodcuts and des deutschen, niederländischen und Woodcuts & Metalcuts Their Public französischen Kupferstichs im XV. By Richard S. Field By Peter Parshall and Jahrhundert National Gallery of Art Rainer Schoch, with David S. Areford, By Max J. Lehrs (Washington, DC), 1965 Richard S. Field and Peter Schmidt Gesellschaft für vervielfältigende Kunst, Fifteenth Century Engravings National Gallery of Art (Washington, DC) 1908–1934; reprinted by Collectors of Northern Europe Germanisches Nationalmuseum, Editions, 1970, and Hacker, 1985. By Alan Shestack and Yale University Press, 2005 Nine volumes of text and one with plates National Gallery of Art Together with the proceedings of the Na- As a soporific, few pharmaceuticals can (Washington, DC), 1967 tional Gallery symposium “The Woodcut in match Max Lehrs’s nine-volume census of Prints 1400–1800 15th-century Europe,” this catalogue exem- Northern European engravings, the corner- By Harold Joachim plifies how research into a complex subject stone of any library devoted to early prints. Minneapolis Institute of Arts, can be made accessible. I continue to marvel at his assiduous record- Cleveland Museum of Art, —Christian Rümelin ing of every impression then known of some Art Institute of Chicago, 1956 3,000 discrete engravings made north of the As Blake Gopnik put it in the Washington Alps before 1500. —Robert Ross The First Century of Post when this exhibition went up, “It has Printmaking 1400–1500 taken a while, but here it is: a National Gal- Although new research raises questions By Elizabeth Mongan and lery exhibition full of ugly art. Hooray!... It about some of Lehrs’s points, these volumes Carl O. Schneiwand brings up the big questions about what is art, remain the basis of all discussions on en- Art Institute of Chicago, 1941 what it’s good for and what role beauty plays graving north of the Alps during the 15th in it.” —Suzanne Karr Schmidt century. —Christian Rümelin The aftermath of World War II rearranged European collection holdings and saw a These prints are beautiful, heartfelt and full Handbuch der Holz- und mass exodus of 15th-century prints to the of love. —Mark Baron Mettalschnitte des XV. New World. Exhibitions in Chicago in 1941 Jahrhunderts and in Minneapolis in 1956 were instrumen- By W. L. Schreiber tal in opening American eyes (both were ac- Karl W. Hiersemann, 1926–1930. companied by modest catalogues that are Eight volumes charming souvenirs of their time). It was not, however, until 1966 and 1967, when young An Introduction to a curators Richard Field and Alan Shestack History of Woodcut: organized two pivotal National Gallery ex- A Detailed Survey of Work hibitions, that 15th-century print scholarship Done in the 15th Century really moved forward. Both catalogues re- By Arthur J. Hind main lynchpins in the library. Houghton Mifflin, 1935; —Robert Ross reprint, Dover, 1963 Parallel to Lehrs are Schreiber’s eight volumes on 15th-century woodcuts and metalcuts—punctuated with plenty of eye- wateringly illegible Fraktur font—which one consults only in instances of extreme need. Campbell Dodgson’s catalogues and Hind pull up the rear, and round out early writings that remain, for the most part, reliable resources today. —Robert Ross

Photo detail: Percy Stogdon.

8 Art in Print July – August 2019 By the mid-1990s, I was acquiring prints in earnest, insofar as resources allowed. Honing in on a subject as narrow as a hatchetfish—15th-century engravings and woodcuts—meant that building a library devoted to them was a manageable undertaking. Hundreds of books and catalogues now occupy my shelves, and I have suggested here a few favorite bits of Bedtime Reading for the Insomniac Print Collector. —Robert Ross

Art in Print July – August 2019 9 A Field Guide to Early Prints

Richard S. Field’s Recommended Readings on Early Printmaking

“Formschneider, Formschnitt” “Hans Holbeins ‘Icones,’, “Notes on Three Dürer Woodblocks” By Tilman Falk Ihre Formschneider und By William M. Ivins, Jr. In volume 10 of Reallexikon zur deutschen ihre Nachfolge.” In Metropolitan Museum Studies 2 (1929) Kunstgeschichte. Zentralinstitut für By Christian Rümelin Kunstgeschichte, 2004 In Münchner Jahrbuch der bildenden Kunst “Peripeteia. Konrad Celtis, the 47 (1996) Nuremberg School of Poets and “A Closer Look at Mantegna’s Prints” Dürer’s ‘Ercules’” By Shelley Fletcher Die Große Schlacht. By Thomas Schauerte Print Quarterly 18 (March 2001) Ein Historienbild aus der In The Early Dürer. Ed. Daniel Hess and Frühzeit des Kupferstichs Thomas Eser. Germanischen National I Legni incisi della Galleria Estense By Peter Schmidt Museum and Thames & Hudson, 2012 By Maria Goldoni Otto Harrassowitz, 1992 Mucchi Editore, 1986 “‘Archetypus triumphantis Romae,’ “Rhin supérieur ou Bavière? Zu einem gescheiterten Buchprojekt “Antiche matrici silografiche europee. Localisation et mobilité des des Nürnberger Frühhumanismus.” Una descrizione provvisoria delle gravures au milieu du XVe siècle” By Rainer Schoch sopravvivenze come contributo alla By Peter Schmidt In 50 Jahre Sammler und Mäzen: Der comprensione dei nuclei aldrovandiani In Revue de l’Art 120 (1998) Historische Verein Schweinfurt seinem di Bologna” Ehrenmitglied Otto Schäfer (1912–2000) By Maria Goldoni Gedruckte Bilder in Handge- zum Gedenken. Ed. Uwe Müller. In Giuseppe Olmi e Fulvio Simoni, ed. schriebenen Büchern. Zum Historischer Vereinigung Schweinfurth, Ulisse Aldrovandi. Libri e immagini di Gebrauch von Druckgraphik 2001 Storia naturale nella prima Età moderna. im 15. Jahrhundert Bononia University Press (Bologna), By Peter Schmidt 2018 In Pictura et Poesis 16. Interdisziplinäre Studien zum Verhältnis von Litera- “Holzanatomische Untersuchungen tur und Kunst. Vienna; Böhlau Verlag, an den Altdorfen-Stöcken der 2003 Sammlung Derschau: Ein Beitrag zur Methodik von Holzbestimmungen an Kunstgegenständen” By Klaus-Dieter Jäger and Renate Kroll In Forschung und Berichte, Staatliche Mu- seen zu Berlin 6 (1964) In addition to the works explicitly listed, I recommend any essays and reviews by Peter Parshall. —Richard S. Field

Above: Pieter Bruegel the Elder, detail of The Dirty Bride or The Wedding of Mopsus and Nisa (ca. 1566), pen and black-brown ink on white-prepared partially carved block of applewood, 10 3/8 x 16 3/8 x 1 1/8 inches. The Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1932. Accession Number 32.63.

10 Art in Print July – August 2019 Jost Amman, detail of Sculptor. Der Formschneider (The Blockcutter) from the Panoplia omnium illiberalium mechanicarum... (Book of Trades) (1568), woodcut. Donated by William Mitchell, 1904. ©The Trustees of the British Museum.

Art in Print July – August 2019 11 The Renaissance

The Renaissance Print, 1470–1550 Hieronymus Cock: Painted Prints: The Revelation of By David Landau and Peter W. Parshall The Renaissance in Print Color in Northern Renaissance & Yale University Press, 1994 Edited by Joris Van Grieken, Jan Vander Baroque Engravings, Etchings & Stock and Ger Luijten Woodcuts Indispensable and groundbreaking in equal Mercatorfonds and By Susan Dackerman measure. It is my “desert island” print book, Yale University Press, 2013 Pennsylvania State University Press, 2002 worthy of accompanying the National Gal- lery of Art’s WWIII print boxes into the The name Hieronymus Cock (1518–1570) I’m currently co-curating an exhibition on the bunker should the history of art—and civi- might not be familiar to all Renaissance subject of human touch, looking at the desire lization—come to abbreviated end. scholars or historians of printmaking, but it to conspicuously mark or change works we —Robert Ross ought to be. This splendid catalogue, pub- come into contact with, so I’ve been looking lished in conjunction with a major exhibi- again at this catalogue. Hand-coloring is a A milestone in the research and attention to tion in Leuven and Paris, makes it clear why. brave topic to cover, not only because it was printmaking in the late 15th up to the mid- In 1548, Cock and his wife, Volcxken Diericx, not thought of highly as a practice or worthy 16th century, both south and north of the established Aux Quatre Vents (“At the Sign of scholarly attention, but because it is not Alps. —Christian Rümelin of the Four Winds”)... Their initiative and always straightforward to establish when enterprise helped build the foundations of in a print’s life the color might have been Prints and the Pursuit of Knowledge print culture and shape the contours of the added. —Elenor Ling in Early Modern Europe Renaissance. —Alexandra Onuf in AiP 3.6 By Susan Dackerman, Lorraine Daston, Picturing the Book of Nature: Katharine Park, Suzanne Karr Schmidt Image, Text and Argument in and Claudia Swan Sixteenth-Century Human Harvard Art Museum, 2011 Anatomy and Medical Botany Over the course of nine chapters and 102 By Sachiko Kusakawa catalogue entries (many of them several University of Chicago Press, 2012 pages in length and supporting full-page A study of two great early scientific- and even fold-out illustrations), this stupen- books—Leonhart Fuchs’s De historia stir- dous catalogue explores the function of the pium and Andreas Vesalius’s De humani image within the natural sciences in early corporis fabrica—and the critical role of modern Europe, arguing that, beyond their their illustrations in establishing the idea role as descriptions, images actually made of visual information as core to the study knowledge visible. of the natural world. —Armin Kunz in AiP 2.4

Raphael et la seconde main: Raphael dans la gravure du XVIe siècle, simulacres et proliferation By Rainer Michael Mason Cabinet des Estampes, 1984 The first catalogue to attempt a comprehensive overview of prints depicting the works of a painter from the viewpoint of the engravers. —Christian Rümelin

The Print in Italy 1550–1620 By Michael Bury British Museum Press, 2001 Nearly unobtainable for purchase, but still a must-read. —Suzanne Karr Schmidt

12 Art in Print July – August 2019 Calvino-like, I offer an image of the books on the shelf closest to my computer. It includes books I have not finished reading and am supposed to be reviewing for Art in Print (Mark McDonald’s magisterial trifecta of the ceremonies, costumes, portraits and genres in the print collection of Cassiano dal Pozzo); books I myself have written; books written by friends (Lisa Pon, Rebecca Zorach); books written by legendary figures in the print world who have become friends since I first bought their books (Dick Field, whose books were on my shelf from day one of studying the history of prints; Suzanne Boorsch, mentor extraordinaire); library books that are evidently never going back (Rome et la science moderne); books by people I have never met and would like to (Peter Fuhring); and books by Peter Parshall, which is a category all by itself. Mostly, the books in the picture are big books — there is another shelf for smaller books, such inconveniences of storage being part of the curse of being an art historian.

Photo and detail: Evelyn Lincoln. —Evelyn Lincoln

Art in Print July – August 2019 13 The 17th and 18th Centuries

Sculptura: Or the History and Art of Chalcography By John Evelyn Printed by J. C. for G. Beedle and T. Collins (London), 1662 Print historians are familiar with this volume for its inclusion of a pioneering mezzotint by Prince Rupert of the Rhine. Little regard, however, has been given to the text. Eve- lyn was a polymath whose diverse oeuvre includes a volume on how to eliminate pol- lution by planting trees (Fumifugium: or The Inconvenience of the Aer and Smoak of London Dissipated, 1661), as well as the first recorded treatise on salads:Acetaria: A Discourse of Sallets... (1699). Sculptura is the first work to attempt to come to terms with the philosophical and ontological status of the printed text and image. It is not a how-to text in the form of Abraham Bosse’s 1645 treatise or several unpublished late 16th- century books of recipes. To construct an John Evelyn, frontispiece and title page of Sculptura: Or the History and Art of Chalcography etymology of print, Evelyn relies on classical (1662). Printed by J.C. for G. Beedle, and T. Collins, at the Middle-Temple Gate, and J. Crook in and religious sources such as St. Augustine, St. Pauls Churchyard, 1662, London. Courtesy of Beinecke Rare Book and Manuscript Library, General Collection, Yale University, New Haven, CT. stating, for example, that “the protoplast, our father Adam, or (as others) his good genius, the angel Raziel, were the first inven- Rembrandt’s Journey, Painter. Rembrandt as an Etcher tor of letters.” Studying works ranging from Draftsman. Etcher By Erik Hinterding engraved tablets, seals, medals, engraved By Thomas Rassieur, Sound & Vision, 2006. Three volumes stones and more, Evelyn finds the origins of William Robinson, Clifford Ackley Watermarks have been for a long time an print in ancient carvings, cuttings and inci- Museum of Fine Arts Boston, 2003 sions, and in places as far-flung as Mexico important tool to distinguish states and edi- and Nova Francia, well predating contem- This book connects drawing and painting in tions, but with his long-lasting research and porary preoccupations with the globalism a way that breaks the stigma of print, focus- his outstanding results, Hinterding shifted of the medium. In Sculptura, a complicated ing on the artist’s approach to working on watermark research to a completely new rubric that constitutes the broadest range of a plate as if it were paper. In analyzing the level, unequalled for any other artist. sculptural activity, Evelyn locates the source prints, you see how he progresses, using etch- —Christian Rümelin of human knowledge. I have come back to ing as a free way to create ideas. the text repeatedly for its insights into early —Lynne Allen and Sergei Tsvetkov Piranesi: Early Architectural Fantasies: modern print culture. —Madeleine Viljoen A Catalogue Raisonné of the Etchings Rembrandt: Experimental Etcher By Andrew Robison Les effets du soleil: almanachs By Felice Stampfle University of Chicago Press, 1986 Museum of Fine Arts Boston, 1969 du règne de Louis XIV A detailed (perhaps overly detailed!) discus- By Maxime Préaud A wonderful rundown of the differences sion and catalogue raisonné. Réunion des Musées Nationaux, 1995 in states, paper and printing techniques in —Harris Schrank A brilliant overview of peculiar large prints some of Rembrandt’s major prints. of the 17th and 18th century. —Harris Schrank —Christian Rümelin This catalogue takes me into every decision, incremental or decisive, that Rembrandt made in developing his etchings through multiple states. —Brian D. Cohen Photo detail: Percy Stogdon.

14 Art in Print July – August 2019 Hercules Segers, Painter, Etcher Edited by Huigen Leeflang and Pieter Roelofs Rijksmuseum, 2017. Two volumes Segers’s reputation as the mystery man of the Dutch Golden Age may be over- played, but these two volumes (one text, one images) make clear the astonishing invention and peculiarity of the work that survives. Published in conjunction with exhibitions at the Rijksmuseum and the Metropolitan, this publication includes fundamental new research, and entries on every print and painting now attributed to the artist.

Art in Print July – August 2019 15 The 19th Century

The Darker Side of Light: The Painterly Print: Monotypes Printmaking in Paris: Arts of Privacy, 1850–1900 from the Seventeenth The Rage for prints at Edited by Peter Parshall, to the Twentieth Century the fin de siècle with contributions by Peter Parshall, By Sue Welsh Reed, Eugenia Parry Janis, By Fleur Roos Roas De Caravalho/ S. Hollis Clayson, Christiane Hertel Barbara Stern Shapiro, David W. Kiehl, Marije Velle Koop and Nicholas Penny Colta Ives and Michael Mazur Mercatorfonds, Brussels Lund Humphries, 2009 Metropolitan Museum of Art, 1980 Van Gogh Museum, Amsterdam, 2013 This inspiring look at certain prints of the In 1980 this exhibition and its catalogue Both a survey and a revisionist history, second half of the 19th century is also a les- changed the way artists, printers and the Printmaking in Paris was published to son in how to look at questions and objects public thought about what prints could accompany the 2012 exhibition “Beauty in from a new perspective and thus obtain be: “so worth it for history and ideas for Abundance: Highlights from the Print Col- completely unexpected ideas. how mono prints can be painterly.” lection of the Van Gogh Museum.” —Christian Rümelin —Lynne Allen and Sergei Tsvetkov —Britany Salsbury in AiP 4.5 I especially love Parshall’s essay on the inher- Ocean Flowers: ent privacy of prints. He does a wonderful Impressions from Nature job of capturing something that has been By Carol Armstrong and suggested in so much of the literature about Catherine De Zegher printmaking, but never described so explic- Princeton University Press and itly. Though mostly about the 19th century, The Drawing Center, 2004 it allows the reader to understand prints of all periods and places. —Britany Salsbury I bought this beautifully designed book years ago at the exhibition of British 19th-century Edgar Degas: The Painter nature prints at the Drawing Center, and as Printmaker never get tired of looking through it. Mak- By Sue Welsh Reed and ing a large soft-ground print of a lotus leaf Barbara Stern Shapiro for Gabriel Orozco in 2002 gave me a more Little, Brown, 1984 nuanced appreciation of the subtleties possible with direct impressions of botanical This is one of the few books I own in three studies. —Jacob Samuel copies (I think on purpose). It unfolds for the ready Degas’ endless and often inconclusive Set in Stone: Lithography process of experimentation in etching. in Paris, 1815–1900 —Brian D. Cohen By Christine Giviskos Hirmer Etching and Etchers Zimmerli Art Museum, By Philipp Gilbert Hamerton Rutgers University, 2018 Macmillan, 1868 The Print Boom of the 20th century could Still today a fascinating combination of not have happened without the initiatives of technical description, historical approach the French and their populist exploration of and appreciation of then-contemporary large-scale color lithography. artists, including some nice impressions of —Tom Cvikota original plates. A must-read to understand the British etching revival and its French counterpart. —Christian Rümelin

Above: Honoré Daumier, detail of Nadar Élevant la Photographie à la Hauteur de l’Art (1862), lithograph on newsprint, 13 1/4 x 9 3/4 inches. Brooklyn Museum, Frank L. Babbott Fund, 51.4.3

16 Art in Print July – August 2019 Art in Print July – August 2019 17 The 20th Century

A History of Screen Printing The Contemporary Print: The Pop Image: Prints and Multiples By Guido Lengwiler, From Pre-Pop to Postmodern By Judith Goldman foreword by Richard S. Field By Susan Tallman Marlborough Graphics, 1994 ST Media Group International, 2013 Thames & Hudson, 1996 The catalogue I’ve probably spent the most Guido Lengwiler’s A History of Screen My copy of this immensely useful book now time looking at through the years. Printing is a remarkable achievement that bears multiple Post-its flying from the top —Marc Schwartz chronicles the history of the medium from its edge, a handwritten outline taped inside the inception early in the 20th century through front cover, and restrained underlining of the Artists & Prints: Masterworks from the World War II era. The lavishly illustrated text. Tallman put the print into historical, The Museum of Modern Art text, with a foreword by Richard S. Field, is social, economic, political and philosophi- Edited by Deborah Wye, with texts by divided into seven sections and includes cal or spiritual context, while underlining Starr Figura, Judith Hecker, Raimond extensive footnotes, an appendix with a list its relevance in today’s world of reproduc- Livasgani, Harper Montgomery, Jennifer of patents and an index. A ribbon bookmark tions. From the Post-its I can see that I read Roberts, Sarah Suzuki, Wendy Weitman accentuates this elegant production. this book for insight into the prints I own by and Deborah Wye —Stephen Goddard in AiP 4.2 Robert Rauschenberg, Frank Stella, Jasper Museum of Modern Art, 2004 Johns, Robert Motherwell, Pable Picasso, Mexico and Modern Printmaking: Susan Rothenberg, Pat Steir and others. I A history of modern printmaking A Revolution in the Graphic Arts, also used it as a reference for my PhD dis- through the lens of 350 prints from the 1920 to 1950 sertation on words as form and content in MoMA’s vast collection of work from By John Ittmann, prints. —Kit Basquin 1880 forward. with contributions by Innis Howe Shoemaker, James M. First Impressions: Early Prints Thinking Print: Books to Wechsler and Lyle W. Williams by Forty-six Contemporary Artists Billboards, 1980–95 Yale University Press, 2006 By Elizabeth Armstrong and By Deborah Wye Sheila McGuire The Museum of Modern Art and Winner of the International Fine Print Walker Art Center and Harry N. Abrams, 1996 Dealers Association Book Award in 2007, Hudson Hills Press, 1989 this book offers a vital survey of the influ- This catalogue marks one of MoMA’s ential printmaking revival in early 20th- A unique take on the explosion of printmak- periodic surveys of contemporary print- century Mexico. Some 300 prints—some ing that happened in the United States after making. Organized by Deborah Wye, this famous, some previously unpublished— World War II, which sent many veterans to one takes account of the eruption of print are reproduced, alongside scholarly college, and saw the rise of the print work- work in new formats, from billboards to essays. shop—both situations afforded a significant books. number of artists access to making prints. Eye on Europe: Prints, Books, Armstrong’s take resulted from a year of Posters: A Global History and Multiples, 1960 to Now “catching up on reading,” when she received By Elizabeth Guffey By Wendy Weitman and Deborah Wye a grant that allowed her to take a sabbati- Reaktion, 2015 Museum of Modern Art, 2006 cal. Her readings made her see the breadth of Guffey’s goal is to tell the story of “posters printmaking activity among younger artists This exhibition catalogue, which includes as things”—physical, commodifiable and who worked primarily in other media, but well-researched essays on trends in post- transportable objects that “materialize the who then created significant bodies of work war European editions publishing, is increasingly immaterial nature of visual in printmaking. —Mark Pascale particularly useful for its glossary of key communication.” She traces how posters publishers. —Allison Rudnick Armstrong and McGuire contribute to our have moved through the life of the world on understanding of the collaboration between their ephemeral paper substrates. artist and printer, the character of the vari- —Jill Bugajski in AiP 5.4 ous workshops, and the early ideas the artists explored in printmaking. Each of the 46 narratives presents a well-researched and concise bit of print history. —Diana Gaston

Photo detail: Christine Weyl.

18 Art in Print July – August 2019 The Graphic Unconscious Essays by José Roca, Sheryl Conkleton, Shelley Langdale, John Caperton, Lorie Mertes, Julien Robson, Caitlin Perkins and Luis Camnitzer Philagrafika, 2011 The artists featured in this instructive and visually satisfying book include those who work in—or riff on—traditional print forms. There are new large-scale “com- posites” of etching and lithography by Kiki Smith, monumental woodcuts by Chris- tiane Baumgartner, carefully manipulated, politically-charged cartoons by Los Angeles- based artist Enrique Chagoya, the evocative woodcut street art of Caledonia Curry a.k.a. Swoon [image link], as well as comics, pam- phlets, broadsides, posters and books. —Julie Bernatz in AiP 1.1

North American Prints: 1913-1947: An Examination at Century’s End Edited by David Tatham Syracuse University Press, 2003 This collection of conference papers is one of the idiosyncratic volumes I consider essential to the study of American printmaking in the 20th century. — Christina Weyl

When my mother-in-law saw my new office, she asked if I needed another bookcase— there are still two boxes of books left to unpack. “Of course,” I said, as any good art historian would! —Christina Weyl

Art in Print July – August 2019 19 The 20th Century: Artists

Louise Bourgeois: An Unfolding Richard Diebenkorn Jasper Johns: Prints 1960–1970 Portrait: Prints, Books, and the Etchings and Drypoints 1949–1980 By Richard S. Field * Creative Process Edited by Kathan Brown Philadelphia Museum of Art, 1970 By Deborah Wye and Jerry Gorovoy Houston Fine Art Press, 1981 Jasper Johns: Prints 1970–1977 Museum of Modern Art, 2017 The seeming informality of Diebenkorn’s By Richard S. Field * Louise Bourgeois, etchings and drypoints, some done on the Wesleyan University Press, 1978 The Complete Prints & Books backs of used plates, yet always masterfully I am always finding new meaning in Dick Online catalogue raisonné, composed, are a revelation Field’s deep interpretations of Jasper Johns’s Museum of Modern Art —Brian D. Cohen unparalleled engagement with printmaking, https://www.moma.org/explore/collection/ which is challenging and thrilling reading lb/index Jim Dine Prints, 1977–1985 simultaneously. —Mark Pascale By Ellen D’Oench The online catalogue raisonné exhaustively Harper & Row, 1986 details the material facts of [Bourgeois’] Jasper Johns/In Press: works along with myriad anecdotes that This book expanded my sense of the possibil- The Crosshatch Works and Wye meticulously collected in interviews ities of printmaking for the size, subject mat- the Logic of Print with the artist and others. ter, and unorthodoxy of approach in etching By Jennifer Quick, Jennifer Roberts —Faye Hirsch in AiP 7.5 and woodblock. —Brian D. Cohen and Jasper Johns Harvard Art Museums, 2012 Brodsky & Utkin: Feininger im Harz [Roberts] lays out the essential argument The Complete Works Edited by Björn Egging that for Jasper Johns, print marks the junc- By Lois Ellen Nesbitt, Alexander Brodsky Kerber Verlag, 2009 ture between the flat space of the picture and and Ilya Utkin in German the experienced space of bodies; between the Princeton Architectural Press, 2003 This is a catalogue of small sketches and order of the archive and the flux of memory; expanded and updated edition, 2015 woodcuts that Feininger made on vaca- between the world and the mind. The architects Alexander Brodksy and Ilya tion in the Harz Mountains of Germany in —Susan Tallman in AiP 2.3 Utkin made etchings of the works they could 1917–18. The work is casual, small, witty and not build in the USSR—fantastical, elabo- a reminder that size really doesn’t matter. It The Prints of Richard Hamilton rate, visionary, and generally pretty funny. knocks me out every time I leaf through it. A By Richard S. Field —Brian D. Cohen gift from my wife [artist Jane Kent], it is the Davison Art Center, only art book that I have in the studio. Wesleyan University, 1973 John Cage Visual Art: —David Storey For exhaustiveness, this slim paperback has To Sober and Quiet the Mind been superseded by the Lullin catalogue [see by Kathan Brown Betty Hahn: below], but Field’s essay remains the best Crown Point Press, 2001 Photography or Maybe Not thing written on Hamilton’s prints. by Steve Yates, David Haberstitch and An account of Cage’s many projects with —Faye Hirsch Dana Asbury Crown Point Press, this small book is also University of New Mexico Press, 1995 one of the clearest and most meaningful Richard Hamilton: explanations of the philosophy, aesthet- A pioneer in the reclamation of both Prints and Multiples, 1939–2002 ics and strategies of one of the 20th cen- historical photographic methods and By Etienne Lullin, with contributions by tury’s most influential composers. traditional “women’s work” such as Stephen Coppel and Richard Hamilton embroidery, Betty Hahn has long mulled Kunstmuseum Winterthur and the Yale Patrick Caulfield: over the relations between image, repro- Center for British Art, 2003 The Complete Prints 1964–1999 duction and material that are now key to The most recent catalogueue raisonné of By Mel Gooding prints and printmaking. prints by this critically important figure Alan Cristea Gallery, 1999 of 20th-century art. The definitive book on the prints of the most rigorously elegant and elegiac of British “pop” artists.

Photo detail: Percy Stogdon.

20 Art in Print July – August 2019 William Kentridge: Trace. Leopoldo Méndez: Revolutionary Art Gerhard Richter: Editions 1965–2013: Prints from The Museum of and the Mexican Print Catalogue Raisonné Modern Art By Deborah Caplow Edited by Hubertus Butin, By Judith Hecker University of Texas Press, 2007 Stefan Gronert and Gerhard Richter Museum of Modern Art, 2010 Hatje Cantz Verlag, 2014 A cofounder of the Taller de Gráfica Pop- This book turns the idea of an exhibition ular (TGP) in the 1930s, Méndez was a key Gerhard Richter’s online catalogue rai- catalogue on its head. Rather than using it figure in Mexican 20th-century art and sonné (gerhard-richter.com) is a researcher’s simply to document and contextualize the his dynamic, economical graphic style dream, not only offering clear documenta- work, Kentridge revisits his prints, breathing continues to influence artists both inside tion and high resolution images but making new life and new interpretations into them and outside of Mexico. the most of the ability to interlink related through the addition of drawings printed on drawings, prints, paintings, texts and exhi- transparent drafting paper as overlays. In so Printed Stuff: Prints, Posters and bition histories. The book is, appropriately, doing he brings the work into the present and Ephemera by Claes Oldenburg: a different animal. While offering most of destabilizes any fixed chronological reading. A Catalogue Raisonné, 1958-1996 the raisonné material (as of 2013), it com- The work of an artist represents the trace of By Richard H. Axsom and David Platzker* pensates for the fixity of ink-on-paper with a journey, but Kentridge reminds us that it is Hudson Hills Press, 1997 long-form texts (never a pleasure to read on also a resource used by the artists themselves screen). These texts—by Hubertus Butin and to generate fresh ideas. The catalogue serves Picasso, Peintre-graveur Stefan Gronert—may well be the most infor- both to support the exhibition and as an art- By Brigitte Baer and Bernhard Geiser mative, insightful, pragmatic and revealing ist’s book, treasured as an artwork in itself. Seven volumes, plus addendum writings about the artist. —Susan Tallman —Paul Coldwell Éditions Kornfeld, 1986–1996 Mirror, Mirror: The Prints of An inexhaustible eight-volume set in French, Anselm Kiefer: The Woodcuts Alison Saar: From the Collections of which I translate with Google Translate. I By Antonia Hoerschelmann, Klaus Jordan D. Schnitzer and His Family enjoy studying the progressive changes in Albrecht Schröder, Anselm Kiefer Foundation state proofs. —Jacob Samuel Hatje Cantz Verlag, 2016 By Nancy Doll, Susan Tallman and Alison Saar In assembling this body of work and in Paula Rego: Jordan Schnitzer Family Foundation,2019 explaining its many associations, both inter- The Complete Graphic Work nal and external, Hoerschelmann and her By T. G. Rosenthal This newly published volume accompa- colleagues offer a moving survey of Kiefer’s Thames & Hudson, 2012 nies the eponymous retrospective sur- achievements, adding fresh insights and Rego’s complex, narrative, figurative work vey of the American sculptor’s prints. In opening up the discussion of this rich and doesn’t really have a parallel in contem- addition to three essays, including one by important oeuvre. porary art. With 600 illustrations—477 the artist, and full-page reproductions of —Christian Rümelin in AiP 8.1 in tritone—this tome demonstrates her exhibited works, it includes a raisonné of deep understanding of the dramatic all Saar’s prints from 1983 to 2019. Brice Marden: Prints, 1961–1981. nuance embedded in something as seem- A Catalogue Raisonné * ingly simple as “black and white.” John Sloan’s Prints: By Jeremy Lewison A Catalogue Raisonné of the Tate Gallery, 1992 Etchings, Lithographs, and Posters By Peter Morse * Matisse and Engraving: Among my models Alan Wofsy Fine Arts, 1969 The Other Instrument * By Patrice Deparpe, Claude for what makes a great Kiki Smith: Books, Prints and Things Duthit, Cèline Chicha-Castex, and By Wendy Weitman and Kiki Smith Marie-Thèrèse Pulvènis De Sèligny catalogue raisonné. Museum of Modern Art, 2009 Silvana Editorale, 2016 —David Kiehl The catalogue accompanied MoMA’s This is not an extensive study, but it is 2009 retrospective survey of Smith’s worthwhile and offers the added interest of multivalent editioned work, and a critical seeing the printing plate or block reproduced summary of a major contemporary artist. next to the print. —Jacob Samuel

Art in Print July – August 2019 21 Britain

but they have little artistic value. Indeed, the Valentine Green term “hack-work” has special aptness in the By Alfred Whitman context of the early English woodcut.1 A.H. Bullen, 1902 The son of a Dorset clergyman, Richard attended art school before becoming a print Thomas Watson, James Watson, scholar. His fondness for things British was Elizabeth Judson deep, extending to food that one might hesi- By Gordon Goodwin tate to offer a scarcely tolerated house pet A.H. Bullen, 1904 (stringy beef, suet puddings, Spotted Dick), James McArdell but he was always more rake than fogey. By Gordon Goodwin Inherently subversive, he was frequently A.H. Bullen, 1903 found in a state of barely contained glee at a dreary formal event or chuckling wickedly At the beginning of the last century there as he recounted the story of a prank on some was an enthusiastic market for English pompous twit. mezzotints. They were avidly collected English caricature was his great passion: and the most desirable subjects and best In Printmaking in Britain, he describes impressions brought high prices—much Gillray’s prints as “an acid corrective to higher than later in the century. Three the more seemly mezzotints after Reynolds monographs devoted to a handful of the Printmaking in Britain: or Lawrence.”2 Of Hogarth he notes: “his best mezzotint artists came out in quick A General History from importance does not reside in any execu- succession under the auspices of the Its Beginnings to the Present Day tant powers but in his realization that prints British Museum. The first, by Alfred Whit- By Richard T. Godfrey could be a democratic art, not confined to man, keeper of the print room, covered the Phaidon Press, 1978 mere amusement or the portfolio of the col- life and career of Valentine Green (1902). Some 40 years after its publication, lector, but composed of images that reached Gordon Goodwin, a noted British biog- Printmaking in Britain remains a standard thousands of people, and could be used as a rapher, followed with a study of James reference and one I have relied on for years. blunt instrument in the hands of the reformer McArdell (1903) and the next year cata- It addresses an unusually democratic range or moralist.”3 Of the 20th century’s resur- logued the works of Thomas Watson and of material: 16th-century woodcuts; 17th- gent interest in Blake: “Largely ignored in his James Watson (not related), and Elizabeth century etchings; the arrival of mezzotint; lifetime, the shade of William Blake . . . must Judson who was sister-in-law to James Wat- reproductive printmaking (“the handmaiden now observe with complacency the swarms son (1904). These three companion volumes, of art”); the age of Hogarth; English carica- of earnest researchers scrambling across his printed letterpress in editions of 520 copies turists; outliers such as William Blake; the artistic remains, and submitting each word each, are rich testaments to an era of print etching revival of the 19th century, and the and mark, however hasty, to microscopic monographs, with beautifully catalogued emergence of the limited edition in the 20th. analysis and learned exegesis.” And after entries set in an elegant format and illustra- In contrast to the largely mirthless litera- dealing with the early 17th-century engrav- tions taken from plates made photomechan- ture in the field, however, this book exudes ers Thomas Cross and Robert Vaughan, he ically that reproduced almost perfectly the eloquence and a particular brand of irrever- opined: “The work of the remaining English original mezzotints. More than a century ence, especially in relation to British institu- engravers of the period is best passed over in later, the art history remains impeccable, tions and cultural foibles. It was a mode in silence.” and the books’ design could serve as a model which Richard Godfrey delighted. (I knew One can almost picture Richard decamp- today. —Robert Dance Richard from childhood; he died in 2003 at ing to the pub after this proclamation, secure the age of 57.) The prose is often at least as in the knowledge that he did not have to compelling as the prints it describes. The spend another minute rummaging through tenor is set in the first sentence of the first boxes of lackluster engravings in the British chapter: Museum print room. Nothing is less becoming to the history —Catherine Bindman of British prints than their belated, uncouth beginnings. The earliest woodcuts, published by William Caxton and his successors Notes: 1. Printmaking in Britain, 13. Wynkyn de Worde and Richard Pynson, pro- 2. Ibid, 74. vide a certain dry sustenance for bibliophiles 3. Ibid, 36.

22 Art in Print July – August 2019 English Caricature 1620 to the Present William Blake: Apprentice and Master British Prints from the Machine Age: By Richard T. Godfrey By Michael Phillips Rhythms of Modern Life 1914 to 1939 Victoria & Albert Museum, 1984 Ashmolean Museum, 2015 By Clifford S. Ackley Thames & Hudson, 2008 I have a fondness for this catalogue because Phillips’s erudition and passion for Blake run it was written by Richard Godfrey, whom I deep in this book, which accompanied the The aesthetic excitement of a breath- wish I had known. —Elenor Ling exhibition at the Ashmolean. Aside from lessly modern Britain is illuminated here overall scholarship, he has remade Blake’s through 100-plus lithographs, etchings, plates and printed them (some were used in woodcuts, and the now resurgent color the Blake retrospective at the Tate). The per- linocuts of artists such as Sybil Andrews son to see for all things Blake. and Cyril Power. —Jacob Samuel

The question of charm as a negative characteristic of English art of the 1920s and ’30s is nonetheless very real. Within the field of prints, it could be said that Eric Gill, Gwen Raverat, Laura Knight, Stanley Anderson, Robert Austin and Graham Sutherland all sought a style that defied Continental modernist developments with a specifically English charm. Even in the brilliant linocuts of Cyril Powers, Sybil Andrews and Lili Tschudi, modernism is tempered with a wit and aplomb that is irresistibly charming and unmistakably English. —Andrew Raftery in AiP 4.3

Art in Print July – August 2019 23 Britain (cont.)

Frank Pick’s London: The School Prints: Art Design and the Modern City A Romantic Project By Oliver Green By Ruth Artmonsky Victoria & Albert Museum, 2013 Chez l’auteur, 2006; reprinted, Antique Collectors Club, 2010 As managing director of the London Underground and the first chief executive In a remarkable burst of postwar opti- of London Transport, Frank Pick (1878– mism, large editions of lithographs were 1941) commissioned posters from artists commissioned from major artists to be such as Paul Nash, Edward Bawden and hung in British schools for the benefit of Graham Sutherland, and made some of children who might not have other access the most fascinating images on paper to original contemporary art. Henry Edward Bawden & His Circle available to the largest possible audiences. Moore, John Nash and Pablo Picasso were By Malcolm Yorke among the participants. Antique Collectors Club, 2007 Chosen for the same reason I cited Frank Eric Ravilious: Artist & Designer Pick. (Also, I own a copy of the print featured By Alan Power on the cover.) —David Dean Lund Humphries, 2013 Close friends, Bawden and Ravilious were among a number of British artists who took on modernism without relinquish- ing narrative figuration; they also moved fluidly between painting, printmaking, illustration and design in a way that now feels very 21st century. [Bawden] would take any job—beer label, wallpaper, Wedgwood dinnerware, murals for ocean liners, tapestry for an embroider- ers guild—and bring to it professionalism, wit and of course charm. Perhaps his closest American corollary is Rockwell Kent, who also excelled at so many aspects of fine and Previous Page and Above: Cyril Power, detail of The Merry Go Round (ca. 1930), applied art. —Andrew Raftery in AiP 4.3 linocut, 30.2 x 30.2 cm., from the cover of British Prints from the Machine Age: Rhythms of Modern Life 1914 to 1939.

24 Art in Print July – August 2019 and personalities of animals? Those who mainly know his wood strokes will be charmed to discover Bewick was a writer as well: “the Jay—is he not a saucy impertinent fellow? . . . with such a degree of unconcealable roguery and cunning in his face that you cannot help suspecting the purity of his intentions.” Bewick was irre- pressible, and his “ecstasies,” as Uglow says, “gave him the vertiginous sense of being at once weak against the force of the storm, the rolling of earth and sky, and yet blessed to share in the great cycle of birth and life and death.” This last he knew plenty about, liv- ing in times of gang-enforced enlistment for Britain’s perpetual wars, the early brutaliza- tion of workers by industry, and untreatable illness. “He felt [the universe’s] darkness as well as its beauty,” she writes. “His images of Nature’s Engraver: scorn,” considering such creativity as, “the a reed warbler by a stream or a solitary trav- A Life of Thomas Bewick diversion of a trifler.” At home, McBey’s eller holding his coat against the gale were at By Jenny Uglow near-blind, emotionally-damaged mother once signals of freedom and tokens of loss . . . Farrar, Straus and Giroux, 2006 threatened to destroy the press her son had Yet because of their sharpness and flair, their appropriated from the wooden rollers of the “He was a plain, no-nonsense man, who affectionate accuracy and originality, [these laundry mangle; McBey took to leaving the worked in a brown silk cap to hide a bald little images] defy false sentiment . . . He was acid bottle precariously balanced on top of patch, wore worsted stockings, spoilt his tough and so was his art.” One is unsur- it, in case she approached. children and went to the pub in the eve- prised to learn that, later in life, when he had When he was 23 he found her swinging ning. Bluff and direct, warm to his friends become a figure of public piety, Bewick asked from a noose in the bitter cold of the tene- and often generous to the point of foolish- portraitists not to spare his smallpox scars. ment cellar; this event was noted in his ness, he was a shrewd businessman, brisk Lovely man! The book is bountifully illus- pocket diary with the same economic prag- with apprentices, cussed in quarrels, stub- trated, and in all ways comely. matism he applied to the waxing and biting born in holding a grudge.” So Jenny Uglow —Prudence Crowther of a plate. McBey then moved in with his assesses the Northumbrian wood engraver grandmother, a clairvoyant who gnashed on Thomas Bewick (1753–1828), who famously The Early Life of James McBey, eggshells “to cut up any hairs that might be turned boxwood on its end-grain to attain An Autobiography 1883–1911 in the stomach.” By 1921, however, he had uniquely refined effects, part of why his By James McBey left banking behind, selling his etchings for History of British Birds became one of the Oxford University Press, 1977 the highest prices. most beloved visual objects of the 19th cen- McBey’s account of hardship sits in my tury (his “tailpieces,” or vignettes of life in the This book was given to me by a dear friend studio as a caution—art-making requires countryside, were another part). Her wildly who had herself received it from her god- discipline, resilience and ingenuity. It also companionable book offers more creaturely mother in 1977. It recounts the artist’s gruel- holds miraculous possibilities. satisfaction per page than any other I can ing escape from the poverty and ignorance The image on the cover is Boys Fishing, think of. The prose has the acuity of a prod- of the Buchan region of northeast Scotland from 1902, one of the first plates McBey igy printer’s apprentice when accounting for at the end of the 19th century. An autodi- etched, using his grandmother’s darning the textures of Bewick’s miraculous, mostly dact, McBey taught himself painting and needles to draw on a copper plate on the two-by-two-inch pictures—“the blades of then etching by consulting a copy of Max- Aberdeen quays. —Kate McCrickard grass, the bark on a branch, the creases in ime Lalanne’s A Treatise on Etching, bor- clothes, the ruggedness of stone.” By planing rowed from the Aberdeen Public Library. down the surface of the woodblock in certain McBey toiled away long hours in the stern areas he achieved grays that suggested “the Aberdeen bank, earning 10 pounds per year softness of down, the sharpness of claw”— while hiding his passion from colleagues color, too, and did we mention the character who viewed art-making with “vinegary

Art in Print July – August 2019 25 America

Three Centuries of American Prints The Stamp of Impulse: PROOF: The Rise of Printmaking from the National Gallery of Art Abstract Expressionist Prints in Southern California Edited by Judith Brodie, Amy Johnston, By David Acton Edited by Leah Lehmbeck Michael J. Lewis et. al. Hudson Hills, 2001 Norton Simon Museum and National Gallery of Art A Spectrum of Innovation: Color in Getty Publications, 2011 (Washington DC), 2016 American Printmaking 1890–1960 This publication presents the rich history By David Acton The first major museum exhibition in of California’s art communities that con- W. W. Norton, 1990 decades to survey the full history of Ameri- tributed to the resurgence of printmaking. can prints, the National Gallery show Both these books provide granular essays June Wayne and her founding of Tamarind included 150 prints divided chronologically based on deep scholarship about artists who Lithography Workshop is one of the major and thematically through nine sections, made it up for themselves, and who represent narratives weaving through PROOF, and the beginning with “Transatlantic Exchange” a uniquely American point of view and use of contributing writers present the well-estab- and ending with “Pluralism.” At a time print processes. These are love stories about lished history from multiple perspectives and when issues of American identity and cul- printmaking for people who love—or will with fresh insight. —Diana Gaston ture are as fraught as they have ever been, love—prints after reading Acton’s prose. Lehmbeck has assembled a group of expert we could do worse than to reflect upon what —Mark Pascale authors who together create a groundbreak- our printmakers have had to say about this ing portrait of a dynamic period and place, experiment in modern nationhood. The American Dream: and to some extent rewrite the accepted his- —Catherine Bindman in AiP 6.5 Pop to the Present tories of 20th-century art. . . . As someone by Stephen Coppel, Catherine Daunt who straddles specialties on both sides of A Century of American Printmaking: and Susan Tallman the idiom—printing and writing, academic 1880–1980 British Museum and Thames & Hudson, and museum affiliations—I always look for by James Watrous 2017 balance between coverage of the commercial University of Wisconsin Press, 1984 The catalogue is an important document print workshops and publishers, and of print This was probably the first book about that expands upon the ideas evident in the artist specialists. —Mark Pascale in AiP 2.3 printmaking I ever bought, and it was a exhibition, reproduces all the prints on view touchstone for my undergraduate thesis (with the exception of four works added too Second Sight: about Regionalist printmaker Grace Albee. late for inclusion in the text), and includes Printmaking in Chicago 1935–1995 It remains a volume I consult often. brief essays on and biographies of each artist. By James Yood, with essays by —Christina Weyl These are accompanied by two substantial Mark Pascale, James Yood and essays: Coppel’s provides a concise account David Mickenberg American Prints: of the period, locating each work in relation Mary and Leigh Block Gallery, From Hopper to Pollock to historical and cultural events, drawing Northwestern University, 1996 By Stephen Coppel out the themes of the exhibition; Susan Tall- As an intern at the Art Institute of Chicago, I Lund Humphries, 2008 man looks at the growth and development assisted with Mark Pascale’s excellent survey of the American print studios and how they This exhibition offered British audiences exhibition “Chicago Stories: Prints” (2010). forged an ethos very distinct from that of an abundant survey of American art in This book, authored over a decade earlier Europe. In America, as she explains, “the the decades before American cultural by the late art critic James Yood, was an printer’s job was to facilitate the artist’s hegemony made the nation’s art all but anchor, showcasing a multi-generational ideas, to recommend known techniques and inescapable. Composed mostly of small, lineage of printmakers throughout that fair to invent new ones as necessary. The artist’s black-and-white prints, it offers a critical and gridded city. On its dated, 1990s cover, job was to make things that had never been basis for understanding what comes later, a figure by Robert Lostutter confronts the made before.” —Paul Coldwell in AiP 7.2 as well as innumerable objects that are reader with a beaky side-eye. Three excellent important and rewarding on their own. essays on printmaking in Chicago from the 1930s through the 90s are accompanied by 159 color plates. It set the mysterious, cur- tained, Roger Brownian stage for my love of all things Chicago Imagist, and I refer back to it regularly still. —Julia V. Hendrickson

26 Art in Print July – August 2019 A Graphic Muse: Prints by Contemporary American Women By Richard S. Field and Ruth E. Fine Mount Holyoke College Art Museum and Hudson Hills Press, 1987 I’m partial to exhibition catalogues. This one has brief entries on many prominent women printmakers, from Elaine de Koon- ing to Pat Steir, that succinctly summarize the individual artist’s approach to printmaking. —Diana Gaston

Above: F.F. Palmer (drawn by) and J.M. Ives, detail of Across the Continent, “Westward the Course of Empire Takes its Way”(1868), lithograph, 59 x 75.2 cm. Published by Currier & Ives, New York. Library of Congress, Prints and Photographs Division.

Art in Print July – August 2019 27 Indignant Eyes

The Indignant Eye: The Artist as Committed to Print: Social Critic in Prints and Drawings Social and Political Themes in from the Fifteenth Century to Picasso Recent American Printed Art By Ralph E. Shikes By Deborah Wye Beacon Press, 1976 Museum of Modern Art, 1988 This book shares a common thread with Wye’s book and the exhibition it accompa- those of Ivins, Mayor, Tallman and Wye, nied were transformative for me as a younger which is that prints and books—or exactly artist. She told me that she was inspired by repeatable pictorial statements (HA!)— Shikes’s book and carried through with the enabled broad communication, entertain- project as a way of updating it vis-à-vis the ment, and education between tribes. They incredibly activist decades that commenced also share the notion that beyond mimesis, with 1960, when printed matter competed prints produced by people with ideas can be with broadcast television for the minds very dangerous to monarchs, oligarchs, and of citizens, before television lost whatever other authoritarian figures or governments. restraint it had due to self-censorship and —Mark Pascale a world that was gentler and more circum- spect (or maybe just sneaky). Artists on the Left: American Artists —Mark Pascale and the Communist Movement, 1926–1956 Adjusted Margin: Xerography, By Andrew Hemingway Art and Activism in the Late Yale University Press, 2002 Twentieth Century By Kate Eichhorn Radical Art: Printmaking and MIT Press, 2016 the Left in 1930s New York It’s easy to ignore the photocopier’s contri- By Helen Langa butions to, and ramifications on contem- University of California Press, 2004 porary culture. In this book Kate Eichhorn When I began research for the 2014 exhibi- takes what could be a dull and dry subject tion “The Left Front: Radical Art in the ‘Red and shares examples from recent history Decade,’ 1929–1940” (Mary and Leigh Block that breathe life and relevancy into the Xerox Museum of Art, Northwestern University), legacy. —Jason Urban & Leslie Mutcher these two sources proved indispensable. Both authors offered expert guidance through the A People’s Art History of the complex terrain of American prints and United States: 250 Years of politics in the 1930s. Hemingway’s scholar- Activist Art and Artists Working in ship has continued to serve me as a model of Social Justice Movements rigorous research, theoretical sophistication By Nicolas Lampert and tough-minded aesthetic judgments. The New Press, 2013 —John Murphy Lampert provides a radical accounting of Langa is a must-read. —Christina Weyl US history that foregrounds the central- ity of art in the political and social strug- gle for a just society.

Above: Mitchell Siporin, detail of Workers Family from the portfolio A Gift to Biro Bidjan (1937), woodcut, 20.4 x 24.7 cm. Mary and Leigh Block Museum of Art, Northwestern University, 1997.30.15.

28 Art in Print July – August 2019 Art in Print July – August 2019 29 Fiction

The Etcher’s Studio Moby Dick or the Whale The Daughter of Time By Arthur Geisert By Herman Melville By Josephine Tey Houghton Mifflin, 1997 Illustrated by Rockwell Kent Peter Llewelyn Davies, 1951 Random House facsimile of the Charmingly illustrated, this children’s book Early on in my career at the Met, I had lunch Lakeside Press three-volume, limited is about a boy helping his printmaker grand- with John McKendry who asked, “what are edition, 1930 father in his etching studio. It ends with a you reading?” He urged me to go beyond Text originally published 1851 spread showing all the materials in a print- art history, and advised me to look at Jose- making studio and another that shows how I read Moby Dick in paperback in college phine Tey and Anthony Trollope. I continu- an etching is made. —Nadine Orenstein and had very little memory of it. But my ally thank him for his wisdom. The key title dear grandfather, who doesn’t make a habit he first suggested—the one that got me The Mezzotint” from Ghost Stories of giving his possessions away, gave me this hooked—is The Daughter of Time. A police of an Antiquary crumbling brick of a book. He’d had it since inspector is in hospital and a friend brings By M.R. James he was 16 years old. I brought it back to cam- a group of portraits garnered from a print Dover, 2011 (first published 1904) pus, where a friend became obsessed with the shop near the British Museum (old days for illustrations. We looked for other Rockwell sure). It is all about looking and thinking M.R. James wrote this story, which Kent prints everywhere—in antique stores and making judgments from images. For appeared in his (first) published collec- throughout central Ohio, and on eBay in me, one book led to another, and on to his- tion, while he was the director of the the early 2000s heyday of online vintage tory, biography, economics and political his- Fitzwilliam. —Nicholas Stogdon consumption. tory—all essential to grasp the people, times, I am still entranced with the bold and places and artists who turn to printmaking. The Printmaker horrifying beauty of Kent’s faux woodcut John was right; A+++. —David Kiehl By Bronwyn Law-Viljoen lines, drawn to look whittled, as if a sailor Umuzi, 2006 in the narrative captured this strange life in The Invisible Collection As far as I know, there are very few works of real time. The clouds hover like hundreds of By Stefan Zweig fiction that deal with printmakers. An excep- tiny horizontal needles in the air. Perhaps Pushkin Press, 2015 tion is The Printmaker by South African this has subconsciously fueled my insa- Originally published as author and publisher Bronwyn Law-Viljoen. tiable hunt for prints and paintings of ships die Unsichtbare Sammlung in 1925 She tells the fictional story of a reclusive in the backgrounds of TV narratives. (See, Zweig’s novella is written in the voice of printmaker who dies and leaves his thou- for example, a collection of ship imagery a Berlin art dealer, hoping to secure the sands of prints and drawings to a friend, a I’ve compiled at To Set Upon A Ship, 2014– sale of Old Master prints from a valuable story which I believe is based on personal present. https://tosetuponaship.tumblr.com.) collection during the German hyper- experience. The narration jumps in time and —Julia V. Hendrickson inflation of the 1920s. The critical plot among several of the characters, and little by twist may not pass muster among those little more is revealed about the artist and The Truth who have physically handled prints, but his past from various points of view. By Terry Pratchett a compelling read nonetheless. It is the —Nadine Orenstein Doubleday, 2000 basis of the 2012 Brazilian film A Coleção One of Pratchett’s Discworld fantasy nov- Invisível. Consequences els, The Truth is about the invention of By Penelope Lively the printing press by dwarves (all previous Viking and Penguin, 2007 printed communication having been done by It is always nice to see a printmaker in engraving). —Suzanne Karr Schmidt print—in this case, the character is that most British of specialists, a wood-engraver. His romance with a well-born girl sets in motion an intergenerational tale of love and loss, in which printers and publishers also play feature roles. —David Dean

Above: Francesco Villamena, detail of Portrait of Cardinal Roberto Bellarmino (1604), engraving, 34.6 × 21.8 cm. Rijksmuseum, Amsterdam.

30 Art in Print July – August 2019 Art in Print July – August 2019 31 Instruments in the World

Legend, Myth and Magic 500 Years of Women’s Work: Prints in Translation, 1450–1750: in the Image of the Artist: The Lisa Unger Baskin Collection Image, Materiality, Space A Historical Experiment Edited by Naomi L. Nelson, Lauren Edited by Suzanne Karr Schmidt By Ernst Kris and Otto Kurz, Reno, and Lisa Unger Baskin and Edward H. Wouk with a preface by Ernst Gombrich The Grolier Club and Duke University, Routledge, Taylor & Francis, 2017 Yale University Press, 1981 2019 (based on Die Legende vom Künstler: A scholarly volume that examines the Lisa Unger Baskin’s collection, amassed Ein historischer Versuch, Krystall Verlag, interdependence of printed matter and over half a century, documents all man- 1934) other object types in the early modern ner of productive activities performed by period—from paintings to firearms to Not strictly about print, this book considers women, from labor (paid and unpaid) to scientific instruments. tropes woven through artists’ biographies political activism; the prevalence of early since antiquity. In macrocosm these repeti- European women printers and publishers The Shadow of the Guillotine. tions are print-like: the book demonstrates is a revelation. Britain and the French Revolution how stories about artists persist through By David Bindman time and are transferred across geographies. Art and Decoration in British Museum Publications, 1989 It is a remarkably dense book, but written Elizabethan England Prints are put in context with prose, poetry, with a lightness of touch that fills the text Anthony Wells-Cole pottery and coinage to show how these with captivating phrases (“Obviously, these Yale University Press, 1997 are not facts known about the artists’ lives, mediums were used in the debate on the Embarrassingly, I hadn’t read this until but represent moveable scenery inserted French Revolution as it developed into a pro- opening Antony Griffith’s The Print Before in the biographer’s workshop”). And for all paganda war. —Elenor Ling Photography (the Fitzwilliam Museum’s its sweep and ambition, Legend, Myth and copy is housed in the Applied Arts depart- Magic is also pleasingly short. The Development of the ment’s library). I was astonished by the ency- —Alexander Massouras Art Market in England: clopedic comprehensiveness of information Money as Muse, 1730–1900 presented in an eminently readable way. The For the Sake of Simple Folk: By Thomas M. Bayer and John R. Page second half of the book looks at the influence Popular Propaganda for the Routledge, Taylor & Francis, 2016 of prints on the design of tapestry and met- German Reformation An instructive and important book on the alwork but also wood carving, plasterwork By Robert Scribner development of the art market by two eco- and masonry, but the first half is invalu- Cambridge University Press, 1981 nomic historians. Bayer and Page argue able for its introductory essay on prints that that the modern gallery system in essence Scribner argues for greater consideration arrived in England from the Continent and descends from the enterprises of John Boy- of the critical role of printed images in a run-through of sources of prints of differ- dell and Thomas Macklin in particular: their carrying the message of the Reformation ent schools. —Elenor Ling to the population at large. commissioning of pictures to be engraved, the subsequent display and sale of those Sharing Images: Renaissance Prints paintings in a commercial space and, more Mapping Ethnography in into Maiolica and Bronze important, the publication and dissemina- Early Modern Germany: By Jamie Gabarelli tion of the prints, as potentially a far greater New Worlds in Print Culture National Gallery of Art and Lund money-spinner than the pictures themselves. By Stephanie Leitch Humphries, 2018 Palgrave Macmillan, 2010 —Nicholas Stogdon Points for the bowdlerization of its Leitch considers the role of German print subtitle into the nonspecialist-friendly media in the distribution of information “Renaissance Prints into Ceramic and about the people and cultures of Africa, Bronze” by certain online retailers. South Asia and the Americas during the —Suzanne Karr Schmidt early colonial era.

Above: William Hogarth, details of Beer Street (1751), copper plate, 15 7/16 x 13 inches. The Metropolitan Museum of Art, Rogers Fund, 1921.

32 Art in Print July – August 2019 The American Card Catalog: When I arrived at the Met’s Department of The Standard Guide on All Collected Cards and Their Values Prints and Photographs in the early 1970s, By Jefferson R. Burdick Kistler Printing, 1960; John McKendry was following the illustrious Nostalgia Press, 1967 William Ivins and A. Hyatt Mayor—curators This is, first and foremost, a practical guide for collectors of 19th and 20th century trade whose understanding of the print stretched cards, authored by the “father of card collectors.” Burdick’s selfless passion for the pres- from 15th-century woodcuts to baseball cards. ervation of the stuff of visual culture comes through in the very first sentence of his Mayor, with whom I shared time and introduction: “A Card Collection is a magic carpet that takes you away from work-a-day table space, was a perfect mentor. cares to havens of relaxing quietude where you can relive the pleasures and adven- In the early 1990s, I worked part-time with tures of a past day—brought to life in vivid Mitchell Wolfson Jr., whose focus is on works picture and prose.” —Allison Rudnick of art that illustrate a very broad definition of The World in Play: Luxury Cards 1430–1540 “propaganda”: how do societies, states and By Timothy B. Husband Metropolitan Museum of Art and Yale ideologies use art, architecture and design to University Press, 2016 propel and/or express their aims? How is it that Card-playing was widespread in the Middle Ages, but the four decks that are a Deco building from France or the United the subject of this book—the first major study on the subject in decades and the States is considered “good” while a similar only one in English—were luxury items probably never intended for play. building from Germany or Italy is considered

Humour and Folly in Secular and “bad” even though the elements come from the Profane Prints of Northern Europe 1430-1540 same contemporary pool of parts? All this has By Christa Grössinger Harvey Miller, 2002 been essential for my understanding of This book opened up to me all that print- printmaking and its role in the world. making in its nascent years had to say about pretty much everything. —Brian D. Cohen —David Kiehl

Art in Print July – August 2019 33 Collecting and Collections

The Print Collection of Landmarks in Print Collecting: The Modern Art of the Print: Ferdinand Columbus (1488–1539): Connoisseurs and Donors at the Selections from the Collection of A Renaissance Collector in Seville British Museum Since 1753 Lois and Michael Torf By Mark P. McDonald Edited by Antony Griffiths By Clifford Ackley British Museum Press, 2004. British Museum Press, 1996 Museum of Fine Arts Boston, 1984 Two volumes and 1 CD-Rom I read this soon after becoming interested in I really started collecting prints in a serious Ferdinand (or Hernando) was the son and prints and it sparked my curiosity to read manner in the early ’80s. I was lucky enough biographer of Christopher Columbus, more widely about the history of collecting. to see this exhibition at the Boston MFA in whose own compulsion to master the —Elenor Ling 1984, and the Torf catalogue served as my globe took the form of an unprecedented, litmus test as to whether my eye was guiding encyclopedic library of books, prints Mes Estampes, 1872–1884 me down the right path for at least the next and ephemera. Though his print collec- By Henri Beraldi ten years. —Marc Schwartz tion was dispersed after his death, his Daniel (Lille), 1887 carefully annotated manuscript inven- Henri Beraldi was endlessly knowledgeable Les Marques de collections tory survived. It is translated into Eng- about the prints of his time but also had a de dessins & d’estampe lish here, and accompanied by assiduous sense of humor. His description of his own By Frits Lugt research that identifies nearly half the acquisition process as “a singular mania Vereenigte Druckerij, 1921; 3,000+ prints mentioned. consisting of depriving oneself of any rest supplement, Martinus Nijhoff, the Hague, 1956; reprint, Alan Wofsy, 1975. Not the first publication of an inventory of a and of the pleasure that collecting should Online version: lost collection, but with a brilliant analysis bring” gives a good sense of his personal- www.marquesdecollections.fr and a very insightful catalogue, mention- ity. It’s interesting in terms of the history of ing many today totally unknown prints. It prints in fin-de-siècle France, but also as a Not really a cover-to-cover read, but I love reveals many hidden facets of 16th-century rare firsthand account of collecting. this work (the 1921 original and 1956 supple- collecting. —Christian Rümelin —Britany Salsbury ment volume), which identifies collectors’ marks found on drawings and prints, with Un vieux marchand de gravures raconte biographies, collection descriptions and A Noble Collection: The Spencer By Paul Prouté mention of important sales. Since its launch Albums of Old Master Prints P. Prouteé, Paris, 1980 in 2010 on the Fondation Custodia website, By Marjorie B. Cohn I usually use the online version, but I still Fogg Art Museum, This is a fun oral history of one of the longest- enjoy leafing through the volumes. Lugt also Harvard University, 1992 running dealers in the field. Throughout his autobiographical account of the business’s compiled another important art historical This is a favorite because its subject is albums early days and development, Prouté gives an resource, the Répertoire des Catalogues de of prints, a particular interest of mine. The idea of what the print world was like around Ventes Publiques, listing over 100,000 art Fogg Art Museum acquired these nine print the turn of the century, including anecdotes sales catalogues covering the period 1600– albums, all with early 18th-century bindings, about a number of recognizable names. 1925 from libraries in Europe and the US in after they were sold off from Althorp House, —Britany Salsbury four volumes. —Elenor Ling home of the Spencer family. Cohn carried out research that established that they had Prints and the Print Market: been compiled by the renowned Mariette A Handbook for Buyers, Collectors, firm in Paris for the Spencers. Her intro- and Connoisseurs ductory text is followed by entries for the 62 By Theodore B. Donson prints selected for exhibition. One—the only Thomas Y. Crowell Publishers, 1977 mezzotint in any of the albums—I rather admire: a shepherdess on horseback with her For an insight into the print-collecting flock, by Louis Bernard (c. 1650–after 1717). landscape of the 1970s, this book is— —Elenor Ling ironically—informative and entertaining. —Robert Ross

Above: Thomas Rowlandson, Library of the Royal Institution (1800), etching, 23 × 27.3 cm. Rijksmuseum. Amsterdam.

34 Art in Print July – August 2019 Art in Print July – August 2019 35 Printers and Publishers

American Lithographers 1900–1960: De Picasso à Jasper Johns: Rags to Riches: 25 Years of The Artists and Their Printers l’Atelier d’Aldo Crommelynck Paper Art Form from Dieu Donné By Clinton Adams By Céline Chicha, Christine Ljubanovic, Edited by Mina Takahashi University of New Mexico Press, 1983 Marie-Cécile Miessner, Cécile Pocheau- Dieu Donné Papermill, 2001 Lesteven and Rachel Stella Adams was one of the founders of Tama- This exhibition catalogue focuses on Bibliothèque Nationale de France, 2014 rind Lithography Workshop in Los Angeles paper, watermarks, prints and paper in 1960. In this book, he presents the history I wish there were well-researched biogra- multiples by artists such as Mel Boch- of fine art lithography in the United States phies of great printers, but in the meantime ner, Chuck Close, Alan Shields, Michelle right up to the point where TLW emerges this is the best I’ve found. Google Translate Stuart and others. —Kit Basquin on the scene. This detailed history of Ameri- helps. The interviews with some of the print- can printmaking focuses on the interaction ers who worked with Aldo are insightful and Gemini G.E.L.: Art and Collaboration between the artists and printers, highlight- informative—e.g., recalling that he took a By Ruth Fine ing the shifting perceptions of the medium half hour to degrease a plate before begin- National Gallery of Art and and the challenges behind every edition. ning the aquatint process. Abbeville Press, 1984 —Diana Gaston —Jacob Samuel An artist in her own right, Fine has worked A constant source of information and at the intersection of practice and interpre- Ink, Paper, Metal, Wood: understanding on American prints of the tation just at the moment when the world Painters and Sculptors at 1920s–1950s. —David Kiehl needed someone with her astute observa- Crown Point Press tions and tactile experience combined. A prelude to the color explosion from Europe By Kathan Brown —Mark Pascale and a very important account of American Crown Point Press and lithography pre-June Wayne and Tamarind. Chronicle Books, 1996 The Future Must Be Sweet— Written after Clinton’s Tamarind involve- This book is a resource for idea generation as Lower East Side Printshop ment. —Tom Cvikota well as just darn good art. Celebrates 40 Years —Lynne Allen and Sergei Tsvetkov By Marilyn Kushner Singular Multiples: the Peter Blum Lower East Side Printshop, 2008 Edition Archive, 1980–1994 Not just about the how-to-do, but artists’ By Barry Walker with contributions individual approaches to process. Kushner traces the development of this New by Faye Hirsch —David Kiehl York Institution—its services to the com- Yale University Press, 2006 munity through classes and workspace, and Crow’s Shadow Institute its published prints by artists such as Kiki When Peter Blum started publishing portfo- of the Arts at 25 Smith, Glen Ligon, and Kara Walker. lios, he adopted various peculiar approaches Hallie Ford Museum of Art, 2017 —Kit Basquin to force the artists out of their comfort zones. The results were astonishing. Barry Published in association with a 2017–2019 Ambrose Vollard Editeur: Walker established an exemplary catalogue traveling exhibition, the catalogue provides Prints Books Bronzes and documentation when Blum gave his a captivating overview of a quarter-century’s By Una E. Johnson archive to the Museum of Fine Arts, Hous- worth of urgent, inventive and eye-catching New York Graphic Society, 1977 ton. An outstanding publication! prints produced at a studio located in the —Christian Rümelin Umatilla Indian Reservation in Pendleton, This is was one of the first books about Oregon. Given its first 25 years of collabo- prints that I bought, and I now own some of rations with brilliant artists such as Marie the works he published. —David Dean Watt and Wendy Red Star, I’m excited to see what comes next from Crow’s Shadow. —John Murphy

Above: Auguste Ledoux after Frédéric-Désiré Hillemacher, detail of Interior of the Johannes Gutenberg printing company (1863), etching, 49.1 cm x 63.5 cm. S. Emmering Bequest, Rijksmuseum, Amsterdam.

36 Art in Print July – August 2019 Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists Craig Zammiello and Elisabeth Hodermarsky Yale University Art Gallery, 2012 This is a rare format for a book on printmaking—a collaborative effort between print curator and master printer. The tran- scribed conversations between artist, printer and curator capture the experience of the workshop, with all of the discovery, ambition, doubt and hard work that go into such publishing projects. —Diana Gaston

Forty Are Better Than One: Edition Schellmann 1969–2009 Edited by Jorg Schellmann, with contributions by Julienne Lorz and Wendy Weitman Hatje Cantz, 2009 Fifty Are Better Than One: Works from the Archives of Edition Schellman Phillips, 2019 e-catalog: https://issuu.com/phillipsauction/docs/ uk030319_catalog?e=16544782/69924244 An excellent text and fully illustrated coun- terbalance to the presumed American hegemony of the late 20th-century print boom. The auction catalogue from a decade later is also an important document. —Tom Cvikota

Art in Print July – August 2019 37 References Periodicals

Encyclopedic Listings Le Peintre Graveur By Adam von Bartsch The New Hollstein Degen (Vienna), 1803–1821. Dutch & Flemish Etchings, 21 volumes Engravings and Woodcuts 1450–1700 Though also an accomplished etcher, Sound & Vision, 1993–present. Adam von Bartsch has long been con- Multiple volumes sidered the foundational scholar of Old The New Hollstein Master prints. As the keeper of the royal German Engravings, collection in Vienna he was well situated Etchings and Woodcuts 1400–1700 to produce this vastly ambitious listing, Sound & Vision, 1996–present. published between 1803 and 1821 docu- Multiple volumes menting the major prints from the 15th through 17th centuries. His numbering The Hollstein series was born from the system for these works is stillremains the upheaval of Nazi Germany, causing FWH most widely referenced today standard. Hollstein to flee Berlin and his practice as Adam Bartsch, Self-Portrait (1785), a print dealer and settle in Amsterdam, etching, 16.8 x 12.6 cm. The British where he repurposed his meticulous records Museum, London. 1851,0308.947. towards the construction of catalogues on ©Trustees of the British Museum. the works of Dutch, Flemish and German Old Masters. In the 1990s scholars recom- mitted to the project in an updated form known as the New Hollstein series, with the aim of a more rigorous standard and a complete accounting of the works in question. I would recommend Garton and Cook’s —Robert Ross catalogues from the 1980s, because they made I love when our department receives a new volume of Hollstein, Dutch or German. me realize that it was possible to actually What have they discovered this time? Will we be able to identify one or two prints long own prints, and C.G. Boerner’s catalogues from relegated to our anonymous boxes? Every now and then, I even flip through random more recent years, for the same reason, volumes to see what is there. I always come upon a print that I hadn’t focused on before and they are beautifully edited. or a familiar work that I look at it in a new way given the surrounding material. There —David Dean are always revelations. —Nadine Orenstein

Photo details: Percy Stogdon.

38 Art in Print July – August 2019 Periodicals Sales Catalogues

Art on Paper / On Paper Sayer and Bennett’s Catalogue (1996–2009) of prints for the year 1775 (London, 1775; facsimile reprint, 1970) Both journals are archived on JSTOR and accessible through the Art in Print mem- One of the books given to me by David Alex- ber home page. ander, the Fitzwilliam’s Honorary Keeper of British Prints, was Sayer and Ben- Grabado y Edicion (2006-present) nett’s Catalogue of prints for the Year 1775. David recommends books at every Based in Madrid, Grabado y Edicion is a visit, some essential reading, such as Iain Spanish and English language publica- Pairs’s The Discovery of Painting: The tion on editions and multiples. Growth of Interest in the Arts in Eng- land, 1680–1768 (Yale University Press, Nouvelles de L’Estampe 1991), and others like this, to provide context (1963–present) or anecdotal interest for British print- Nouvelles de L’Estampe is the leading making. —Elenor Ling French language publication on printed images. It is published by the National Committee of French Engraving. The Print Collector’s Newsletter Auction catalogues that feature prints. (1970–1996) Archived on JSTOR and accessible through (Any auction, any time, anywhere.) the Art in Print member home page. Perhaps nostalgia, but this out-of-print serial is end- —Peter Briggs lessly interesting. —Peter Briggs

Print Quarterly (1984–present) Founded in 1984, this peer-reviewed British journal offers scholarly research Any uncharitable preconceptions about and writing on the full range of prints, with particular emphasis on Old Masters. scholars who’ve moved to the dealer dark side are

The Tamarind Papers dispelled by the catalogues of Nicholas Stogdon, (1974–1992) each an invaluable scholarly resource in a field Critical and technical journal of lithography. Index and PDFs avail- of slim pickings. His 1996 exhibit of able at https://digitalrepository.unm.edu/ tamarind_papers/ Schongauer engravings in New York, I overlooked these when I lived in Albuquer- followed by an exhibit there que during their publication; now they seem more relevant. —Peter Briggs in 1998, were revelations. —Robert Ross

Art in Print July – August 2019 39 Léon Spilliaert in the Margins By Anne Adriaens-Pannier

Fig. 1. Léon Spilliaert, The Procession; The Wind, Pour les Amis du Poète (1902–1903). Courtesy Museum Plantin-Moretus, Antwerp.

he Belgian artist Léon Spilliaert Spilliaert, like his older compatriot icals. The most renowned was La Lecture T (1881–1946) is best known for moody, James Ensor, spent most of his life in Universelle, founded by the publisher and evocative drawings that extended the the seaside town of Ostend. Largely self- bibliophile Edmond Deman (1857–1918) introspective concerns of Symbolism into taught as an artist, he was precociously and adjoining Deman’s bookshop. There modernism with a fresh economy of form. talented and also a keen reader. He often Spilliaert discovered a lavish and eclectic Working mostly in India ink and pencil, visited his local library to look at recent range of contemporary literature, includ- he captured the immensity of the sea, the publications, and his artistic identity was ing avant-garde journals such as La Jeune vast beaches in and around his hometown nurtured by literary images and by the Belgique and L’Art Moderne, affirming his of Ostend, the dark majesty of trees, and freethinking philosophical discussions strong affinity with Symbolist literature. interior states of loneliness, expectation, he encountered in the books of Fried- As a publisher and collector Deman existential anxiety and spiritual renewal. rich Nietzsche, Comte de Lautréamont was an important patron of contempo- Though his art often exhibits a literary (Isidore-Lucien Ducasse) and François- rary writers and artists, with a particu- sensibility, until recently little attention René de Chateaubriand. lar interest in Belgian artist groups such has been paid to the hundreds of draw- Visiting Brussels as a young man, he as les XX and La Libre Esthétique.2 His ings he executed on the pages of existing would have had access to a number of publications—renowned for their fine books by the writers Emile Verhaeren and reading rooms, where for a small fee one typography, layout and modern ornamen- Maurice Maeterlinck.1 could read and borrow books and period- tation—were the fruits of collaboration

40 Art in Print July – August 2019 Left: Fig. 2. Léon Spilliaert, The Church, the State, the Industry; Ostend, Pour les Amis du Poète (1902–1903). Courtesy Museum Plantin-Moretus, Antwerp. Right: Fig. 3. Léon Spilliaert, The Peasants, the Bride and Bridegroom, Petites Légendes (1903). Courtesy KBR, Department Rare Books, Brussels. between publisher, author and artist: vignettes and tailpieces by Khnopff and Petites Légendes, published by Deman Stéphane Mallarmé selected Edouard Van Rysselberghe, recycled from ear- in 1900, with ornaments by Van Ryssel- Manet to provide lithographs for his lier projects. Copy #351 belonged to the berghe. Written in archaic language, it translation of Edgar Allen Poe’s The artist Marie Danse, and on its pages, in is a collection of a dozen folk tales that Raven (1888) and asked Auguste Renoir 1902–03, Spilliaert added 33 drawings in bears witness to the author’s childhood to do the honors for Mallarmé’s own India ink, watercolor and color crayon. in the Scheldt valley of Flanders, and was poetry collection, Pages (1891); Emile Reflecting the diversity of the poems, dedicated to the author’s friend Max Els- Verhaeren worked with Odilon Redon some drawings fill the entire page, others kamp, a specialist in folklore. Inspired by on several volumes of his verse. occupy only half; there are large vignettes this connection, Spilliaert’s 32 drawings In 1902, when he was 21, Spilliaert and small marginalia. Wherever possible exhibit a somewhat naïve spontaneity, took a job as Deman’s assistant, and for he inserted graphic accents, often using forming the source of weird and won- the first time in his life enjoyed both the printed ornaments as a starting derful flashes of inspiration (Fig. 3). Six enthusiastic support for his aspira- point. On the page bearing the edition full-page illustrations brim with comical tions and immersion in active streams number, Spilliaert added a wide-mouthed inventiveness, though they bear no direct of contemporary art and literature. In wind, blowing up red stripes of flame narrative relationship to the text. Small Deman’s collection, Spilliaert would on the numeration page, reinforcing the vignettes drawn around the book’s title, have become familiar with works by virulence of Verhaeren’s verse. The wind dedication and list of publications invoke Redon, Ensor, Félicien Rops, Théo van seems to carry over to the opposite side a rural environment, conducive to mythi- Rysselberghe and Fernand Khnopff. of the spread, shaking the dark banners cal creations. Above each story title, a Deman also recognized Spilliaert’s of a religious procession—the recourse horizontal vignette alludes to the tale’s gifts as an artist: he bought several of those who believe that miraculous location, while below, the main charac- drawings for his own collection and was interventions by the Virgin Mary will ter appears as a tiny, densely expressive instrumental in arranging commissions solve social ills (Fig. 1). The serene illus- silhouette, reminiscent of Rorschach from other bibliophiles who hired Spilli- trations at the beginning and end of the inkblots (Fig. 4). Verhaeren had written aert to add original illustrations to their book are imbued with a different expres- Petites Légendes following his collection own copies of books previously pub- sive strength. Some, however, are but of poems dealing with the soul-destroy- lished by Deman, enhancing the works’ weak echoes of the poems, and on bal- ing life of cities. In keeping with the more precious nature. ance Spilliaert’s response to Verhaeren’s human, less artificial quality of rural life, The first of these commissions was exceedingly complex lyrical accents does Spilliaert employed a naturalistic vocab- for a small anthology of Verhaeren’s not cohere. The persistent filling of every ulary rather than the idealizing one com- poems, Pour les Amis du Poète, which as available space with drawing further mon at the time. the title suggests had been published at heightens the somewhat chaotic feeling That same year, Spilliaert also cre- the request of Verhaeren’s friends, as a of the book (Fig. 2). ated drawings for a copy of the first edi- limited-edition presentation volume in Spilliaert’s second such project, in tion of Deman’s three-volume collections 1896. The text was ornamented with 1903, also involved a text by Verhaeren: of early plays by Maurice Maeterlinck,

Art in Print July – August 2019 41 Left: Fig. 4. Our Lady with the Cold Coat, Petites Légendes (1903). Courtesy KBR, Department Rare Books, Brussels. Right: Fig. 5. The Death, Maeterlinck Théâtre, vol. 1 (1902–1903). Courtesy private collection.

Théâtre (1901–02). For the original pub- is different in each of the volumes, there above or on the side of the text, or they lication Deman had called on the ser- appears to be no real evolution of style might daringly flow into it. They might vices of the Liège painter, engraver and and, strangely, his full signature and be faint, spare and subtle, or more explo- renowned poster designer Auguste Don- the date, 1903, only appear at the end of sive and dramatic” (Figs. 9, 10).5 nay. Inspired by a careful rereading of the second volume. It would appear that Maeterlinck’s early plays constituted Maeterlinck’s short plays, Donnay pro- Spilliaert’s interventions were dictated by a radical departure from tradition in duced a series of illustrations that, he the available white spaces. dramatic art. Spilliaert grasped their wrote, “could be viewed and understood The compositions that surround the sobriety—the absence of action, the set- even without the text.”4 Donnay’s ten title of each of the three volumes have ting outside real geography or time, the frontispieces are lithographs, a medium no direct connection to events in the dialogues reduced to the extreme.6 His perfectly suited to the artist’s delicate plays that follow; instead they summon pencil strokes. an atmosphere, while the titles of the Copy #110, the last of the print run, individual plays are incorporated into Opposite Page: Top Left: Fig. 6. Alladine had additional drawings and lithographs pictures that reflect the plays settings or et Palomides, Maeterlinck Théâtre, vol. 2 (1902–1903). Courtesy private collection. by Donnay added before binding, and events (Figs. 5, 6). Above the heading of Top Right: Fig. 7. First Act, Pélléas et remained in the possession of the pub- each new act is a large vignette, accom- Mélisande, Maeterlinck Théâtre, vol. 2 lisher. This is the copy that Spilliaert sub- panied by a small one at the bottom of (1902–1903). Courtesy private collection. sequently illustrated with 348 original the relevant page (Fig. 7). In the first two Bottom Left: Fig. 8. The Path by the Pond, drawings, virtually all executed in India volumes, illustrated vignettes follow one L’intruse, Maeterlinck Théâtre, vol. 1 ink. Leafing through the three volumes, another closely, becoming more sporadic (1902–1903). Courtesy private collection. Bottom Right: Fig. 9. Maleine and her Nurse, it is difficult to determine Spilliaert’s in volume III (Fig. 8). As Will Stone has Princesse Maleine, Maeterlinck Théâtre, vol. 1 methodology. The number of drawings explained: “they might be framed below, (1902–1903). Courtesy private collection.

42 Art in Print July – August 2019 Art in Print July – August 2019 43 essentializing expression, to depict a pure state of mind. Maeterlinck’s plays and poetry clearly resonated with Spilliaert’s instinct for dreamlike visions, but author and artist never met in person, only on the pages of books. Verhaeren, however became a friend and mentor. After two years working for Deman, Spilliaert left for Paris, taking with him a letter of introduction from the publisher to the poet, who lived there. Verhaeren bought some early drawings, helping to boost the young artist’s career. Though he soon returned to Ostend, Spilliaert visited Paris regularly and remained close to Verhaeren. Many years later, Spilliaert again had the opportunity to make drawings in a book of poems by Verhaeren. Les Ten- dresses Premières had been published by Deman in 1904, and the drawings commissioned, most probably in 1917, by the bibliophile Hippolyte Joostens. (He later gave the book to his brother’s bride-to- be.) The poems concentrate on the writer’s childhood, adolescence and young adult life, and at the time the book was entrusted to Spilliaert, he himself had just married and was enjoying domestic feli- city after many years of frustration with his artistic career. This time he abjured the largely monochrome tonality of his earlier books, introducing instead bright and joyful imagery, executed in watercolor. While World War I raged through Belgium, the atmosphere in these pages is nostalgic and romantic (Fig. 11). Intimate scenes appear as large vignettes above the titles, narrative depictions of Verhae- ren’s personal souvenirs. Spilliaert followed freely the thoughts of the writer, as he recalls religious rituals and feasts, long days of work, and dreamlike outings in nature. Though he did not abandon figuration, Spilliaert pushed his compositions into increasingly geometric and abstracted structures (Fig. 12). His aware- Top: Fig. 10. The Forest, Les Aveugles, Maeterlinck Théâtre, vol. 1 (1902–1903). Private collection, ness of avant-garde painting, particularly Left: Fig. 11. Seascape and Beach, Les Tendresses Premières (1917). Private collection. Cubism and Futurism, can be observed Right: Fig. 12. The Steps, Les Tendresses Premières (1917). Private collection. in terms of the unusual color palette and the impact of stylistic synthesis on his drawings form a collection of dramatic emanating from the unfolding drama. By imagination. This book was discovered moments, retaining only the essence of contrast, Spilliaert accentuates the frailty only five years ago in a private mansion actions, periods of reflection, and the of figures destined to unhappiness, and in the Walloon Brabant province of Bel- inherent feelings of the characters. illustrates the inevitable confrontation gium, where it had lain undisturbed for As Maeterlinck’s writing evolved, it be- of life with death, which lies in waiting. nearly 100 years. came increasingly concerned with human While Donnay focused on description, Spilliaert also turned to Maeterlinck, suffering. The imposing fortresses, deep Spilliaert eliminates and reduces. He once again, in 1917. This time the product moats and labyrinthine underground comes closer to Maeterlinck’s concept was not an illustrated book but a port- passages in which Maeterlinck sets of “static theater,” emphasizing solitude, folio of ten lithographs. (The architect stories are manifestations of the force immobility and silence, condensing and and interior designer Léon Sneyers had

44 Art in Print July – August 2019 Notes: 1. The 2006 retrospective exhibition at the Royal Museums of Fine Arts, Brussels, recognized these works, and in 2017 I authored a book on his illustrations in conjunction with a show at the Spilliaert Huis in Ostend. See Anne Adriaens-Pannier, Le rêve des autres: Léon Spilliaert illustrateur de Ver- haeren, Maeterlinck, Hellens . . . (Bruges: Van de Wiele/ Het Spilliaert Huis, 2017). 2. Adrienne and Luc Fontainas, Edmond Deman éditeur (1857–1918) (Brussels: Éditions Labor (Archives du Futur), 1997), 23–30. 3. The surviving documentation in Deman’s archives does not mention the terms of this com- mission. 4. Letter from August Donnay to Edmond Deman, Liège, 16 Jan. 1902, KBR, Brussels, Archives and Musée de la Littérature, inv. ML 7186. 5. Will Stone, unpublished synopsis of his contri- bution to the 2020 Léon Spilliaert exhibition catalogue for the Royal Academy, London. 6. Paul Gorceix, preface to Serres chaudes, Quinze chansons, La Princesse Maleine (Paris: Fig. 13. Left: Cloche de verre, ex. 12/20, Les Serres Chaudes (1917–1918). Courtesy private collection NRF Gallimard, 1995), 19. Right: Fig. 14. Cloche à plonger, ex. 12/20, Les Serres Chaudes (1917–1918), Courtesy private collection encouraged Spilliaert to transfer a few of for Benoit Bouché’s Au Temps que Nanette his early drawings to lithograph plates.) était perdue (Brussels, L’Églantine, 1931); For the new prints, Spilliaert chose to a line drawing of two birds for the cover respond to a group of early Maeterlinck of Henri Vandeputte’s Poëme du poëte poems published under the title Serres (Paris, Les Humbles, 1931); an etching to chaudes (Hothouses) in 1889. Printed in a accompany one of the stories in Horace edition of 20 copies by Gérard Van Oest van Offel’s Contes (Brussels, Éditions des in 1918, the black-and-white impressions Artistes, 1935); the cover and six illustra- were hand-colored by the artist with col- tions for Marcel Lecomte’s La Servante ored pencil and India-ink wash (Fig. 13). au miroir (Brussels, Éditions des Artistes, Just as the poetry of Maeterlinck 1941) and the cover and three vignettes evoked the irrational preoccupations of for Paul Neuhys’ Inutilités: Poèmes (Ant- Symbolism—the tortured soul, spleen, werp, Éditions À l’Enseigne des Quatre waiting, searching, longing—Spilliaert’s Vents, 1941). imagery escapes a logical framework. The These later published works are quite poems had been inspired by the green- different in tenor from the earlier enig- houses around Maeterlinck’s hometown matic and evocative drawings in books. of Ghent, and Spilliaert’s pictures con- Throughout his career Spilliaert created jure other forms of concentrated life in surprising and disconcerting images that isolation: an overgrown world of plants, continue to have an impact on Belgian the meditative life of the cloister, the art. It is clear that, in his development, mysterious world of the seabed (Fig. 14). the writings of Verhaeren and Maeter- The absurd juxtapositions of images linck were an important catalyst for his in Maeterlinck’s poems are echoed in own peculiar vision. Spilliaert’s visual vocabulary, which com- municates a sense of the intangible. The Dr. Anne Adriaens-Pannier is artistic director of lithographs follow the dreams that flour- the Spilliaert House in Ostend, Belgium. ished in his mind, and rather abandon the specifics of Maeterlinck’s words. This appears to be the last of Spilli- aert’s hand-drawn addenda to printed books, though beginning in 1920 he designed illustrations for a number of publications: six light and open line drawings for Franz Hellens’s La Femme au prisme: Poèmes (Brussels, Éditions Sélec- tion, 1920); three color lithographs and 13 reproductions of pen and ink drawings

Art in Print July – August 2019 45 On Ed Ruscha’s Books, Los Angeles, and Peripatetic Flow By Miguel de Baca

Ed Ruscha, Twentysix Gasoline Stations (1962), 7 x 5 1/2 inches. ©Ed Ruscha. Courtesy of the artist and Gagosian.

d Ruscha arrived in Los Angeles ism, lapsing into late capitalist dysfunc- shield, document the dirt driveways, E from the flatlands of Oklahoma tion. Implicit in these readings, however, empty fuel pumps, and flat signboards City in 1956. He made the trip with his is the idea of a one-way trip—from east dotting Route 66 between Los Angeles high school friend, Mason Williams, at a to west, from then to now—that is at and Oklahoma City. Real Estate Oppor- formative moment in their young adult- odds with Ruscha’s work itself (or indeed, tunities (1970) is a visual catalogue of hood, driving a black 1950 Ford along Kerouac’s story). This essay examines the vacant lots for sale; and the aerial views in Route 66.1 In the context of postwar directional orientations in Ruscha’s art— Thirtyfour Parking Lots in Los Angeles America, their trek inevitably summons what the artist Richard Prince calls Rus- (1967) show grids of seemingly infinite associations with Jack Kerouac’s On the cha’s “bothness”—not only denotatively parking spaces. Many of Ruscha’s early Road, undertaken in 1951 and published but also philosophically, as a matter of paintings and works on paper are exten- in 1957, and its coming-of-age story of geographical lability and the patterns of sions of these book works.3 throwing aside the suffocating expecta- ideational and material flow.2 The 1966 accordion-fold pamphlet, tions of consensus culture to find tran- Ruscha’s early book works are criti- Every Building on the Sunset Strip, records scendence in the open road. For critics, cal to this discussion. His 1963 book- the asphalt-and-plaster streetscapes of Ruscha’s use of photographs seemingly let, Twentysix Gasoline Stations, which Los Angeles: Ruscha took snapshots taken from automobiles in his early book became the prototype for nearly all his of Sunset Boulevard using a camera projects further cemented “the road” as subsequent artists’ books, consists of mounted above a car and organized them a metonym for the cultural liberation deadpan black-and-white photographs, in two parallel stretches running along experienced by an Oklahoma boy upon captioned with locations, wrapped in the top and bottom of the page, mimick- reaching LA, and more broadly for the a neatly typographic cover. The photo- ing the two sides of the street. Typeset passage from modernism to postmodern- graphs, seemingly shot through a wind- text announces the street numbers and

46 Art in Print July – August 2019 Ed Ruscha, Every Building on the Sunset Strip (1966), 7 x 5 5/8 x 3/8 inches. ©Ed Ruscha. Courtesy of the artist and Gagosian. names of intersecting thoroughfares at For Mansoor, as for Benjamin Buchloh Ruscha implies multiple temporal and irregular intervals. The photographs are and other Marxist critics, Ruscha sits directional passages mutually influenc- contiguous, but not continuous or pano- at a critical intersection, crossing from ing one another. Even Twentysix Gasoline ramic—and the formal compositions of the capitalist materiality of Pop into the Stations is less clearly directional than the individual snapshots vary from one critical stance of Conceptualism: “the often acknowledged: though the cultural to the next. The cityscape depicted is—or momentary stitch barely connecting the journey of Ruscha’s biography moved would have been at the time of publica- naively utopian before and the resigned west, in the book the movement from tion—in no way remarkable: low to mid- and affirmative after characterized by . . . station to station runs eastward, from size commercial buildings, shops and increased corporatization [and] the rise California to Oklahoma City, with one restaurants, parking lots and billboards. of the culture industry at large.”6 exception— the last photograph marks In 2005 Jaleh Mansoor wrote a seduc- Ruscha’s path, however, does not align the first leg of the return trip. Reversal is tively titled article, “Ed Ruscha’s One- with a one-way street leading from a a frequent feature of Ruscha’s work, and Way Street,” examining Sunset through state of origin (the “before” of modern- something he frequently plays with in his the lens of Walter Benjamin’s 1928 essay ism) through a phase change (the “after” book works, disrupting or complicating “Einbahnstraße” (One-Way Street).4 De- of postmodernism). While Ruscha’s move the expected monodirectional flow from ploying the automobile as a metaphor westward, from Oklahoma to Los Angeles front cover to back. Sunset is structured for changing modes of subjectivity in and from youth to adulthood, is critical as an accordion fold that can be stretched modernity, Benjamin had analogized the to his biography, in his art the direction out to a single 27-foot-long single page; road to the printed page and argued that of momentum is more complex. Sunset, the upper photographic strip showing the modern self and its newly energized for example, can be seen as a project for one side of the street and the lower strip (one might say “technologized”) percep- posterity—a “time capsule,” in the artist’s showing the other. The reader can begin tive faculties demanded fresh ways of words—in which the present moment (in at either end, and is free to double back experiencing the written word: commu- which the reader views the book) both at any time. The blank white between the nicative experiences like books and news- enriches and attenuates perception of two strips is where the roadbed would be, papers were giving way to the side-to-side the past. As he recalled in 1998, “I’ve seen, with traffic flowing both ways. When the scanning of photographically illustrated over the years, young people saying, ‘God, book was exhibited at Leo Castelli Gal- magazines and billboards. For Benjamin, that’s ten years ago you did [Sunset].’ And lery, Ruscha instructed Castelli to display the progress is salutary—a one-way street yet ten years ago is not that much. This is it unfolded, like a sculpture, with no pre- leading to new cultural forms—though thirty years ago. But to some people ten scribed entry point for the viewer’s gaze. he cautions that the superficial pleasures years is a vast, long time. Time, as a prop- Readerly reversal is also a feature of of speedily racing through images might erty, seems to be important to me. You many of Ruscha’s nonbook works, such override serious critique.5 may not see it in all my work, but it is.”7 as the gouache and screenprint draw-

Art in Print July – August 2019 47 ing The Back of Hollywood (1968), which argue, excite a Deleuzean flow, in which Print also has a strange temporality. depicts the famous landmark sign from categories become leaky and direction- The potential limitlessness of printed behind; in 1977 Ruscha repeated this ality may be hard to pin down. And in matter defies the standard valuation of view in a painting and a billboard. “Hol- his use of the book format, Ruscha took originality: one print is just as original— lywood” is as much a geographic location a symbol of traditional learning and just as “good”—as another in the edition. as a concept or intention, a place that restructured it to suggest nonlinear ways And this dearth of an identifiable “origi- could at any moment be approached or of thinking. nal” has implications for how we think departed from. Similarly, one can cite The role of print is also relevant to about time. If, as Deleuze would have it, the palindromes that Ruscha placed on the way location and time play out in the past is not stable but reactive, then it the bilaterally symmetrical mountains Ruscha’s work: printing is critical to Los is not reasonable to believe in the exis- of his “mirror paintings,” such as Sex at Angeles as a hub of popular culture, and tence of an “original” in the sense of an Noon Taxes and Lion in Oil (both 2002—a print’s capacity for reduplication creates immutable template for future reproduc- palindromic year). The painting Evil Olive multiple, interlocking chains of significa- tion; any attempt to judge the faithful- Open Book (2003) showed a stylized blank tion of the type explicated in the Deleuz- ness of a reproduction will depend on tome above the palindromic caption that ian view. At Chouinard, Ruscha trained multiple probabilities interlocking within further insinuates a double entendre in commercial graphic design and has the present moment. The commercial between the picture of an actual, roly- continued to employ principles of paste- print systems employed and referenced poly olive (a Dadaist oddity found fre- up throughout his career: the process of by Ruscha deemphasize the value of the quently across Ruscha’s oeuvre) and Olive arranging layout boards to get a sense original (single origin/past) in favor of Street, a thoroughfare in downtown Los of how images and text would look in the value of image distribution (multiple/ Angeles. adjacency, then shooting layouts and future). This, in turn, can involve built-in On Ruscha’s conceptual highway, time transferring them to plates or screens obsolescence and further future replace- and space move in opposing directions at for reproduction, was a generative one ment by other images. Print prompts an the same time. If we think about direction for Ruscha, and key to the ways in which awareness of the durability of materials, we might conjure the phrase, “from point he expanded the parameters of Pop into which led Ruscha to consider time in a A to point B,” where “A” is the origin and the more intellectual realm of conceptual larger sense. “B” is the destination. This also implies a art. Returning to Quick’s observation of conventional understanding of time: we The art historian Jennifer Quick has Ruscha’s “representation of place,” it is start at “A” and arrive at “B” sometime pointed to the influence of LA’s “cultural worth considering the geographical posi- later. Gilles Deleuze, however, proposed production industries, such as fashion, tion of Los Angeles not only as the western the alternate view that, in terms of per- film, advertising and printing/publish- endpoint of Route 66 but as an important ceptions and experience, any present ing”—industries she describes collec- eastern terminus on the Pacific Rim. Suc- action alters our perception of both past tively as an “image-producing complex” cessive waves of immigration throughout and future, and does so intricately from marked by “niche markets, rapid inno- the 20th century and especially during moment to moment. Deleuzean time is vation, and a strong attachment to and the humanitarian crisis in Southeast Asia best visualized not as a straight line but representation of place.”9 Thus, Quick during the 1970s formed distinct com- as a web. And as in a spider’s web, pres- argues, Ruscha’s books and prints reflect munities within Southern California’s sure on one strand effects unpredictable the workings of advertising and commer- urban sprawl.10 Ruscha’s first two decades change in the perception of another.8 cial image production as much or more in Los Angeles coincided with this demo- Ruscha’s evocations of the road, I would than they do a car-window worldview. graphic transition during which the city

Ed Ruscha, Back of Hollywood (1968), gouache on screenprint on paper, 17 1/2 x 44 1/2 inches (44.5 x 113 cm) ©Ed Ruscha. Courtesy of the artist and Gagosian.

48 Art in Print July – August 2019 ental (both 1985), begging the question of how to read such references to globalized traffic in the context of his larger body of work. Ruscha returned to this theme in his Course of Empire painting cycle, first presented at the 51st Venice Biennale in 2005. The series recalls the eponymous quintet of grand paintings by the Ameri- can landscape artist Thomas Cole (1834– 37), which depicted the rise and fall of a civilization and was understood in its day as a lesson in the dangers of unchecked avarice. The first five paintings in Rus- cha’s cycle conscript an earlier series, entitled Blue Collar (1992), of grisaille paintings of industrial buildings in Los Angeles emblazoned with signs: “Tech- Chem,” “Tool & Die,” “Trade School,” “Telephone,” and “Tires.” The second half brings Blue Collar into the present: the looming factories are now low-slung buildings emblazoned with imaginary Korean characters and fake logotypes, set against serene blue skies and sunsets. The dynamic urgency of Blue Collar is seemingly resolved into smooth geometries. In contrast to the melodramatic fire and earthquake obliteration of Cole’s Empire, Ruscha’s terminus is one of disturbing

Above: Ed Ruscha, Japan is America (1985), oil on canvas, 64 x 64 inches (162.6 x 162.6 cm) ©Ed Ruscha. Courtesy of the artist and Gagosian. Below: Ed Ruscha, Blue Collar Tool & Die (1992) acrylic on canvas, 52 x 116 inches (132.1 x 294.6 cm) ©Ed Ruscha. Courtesy of the artist and Gagosian. began to perceive itself as a cosmopoli- from US exports to Asia and South Amer- passivity—the monolithic multinational tan megalopolis.11 At the same time, the ica, to imports arriving mainly from East corporation starkly envisioned in terms region became the leading hub of trans- Asia.12 In the mid-1980s, Ruscha created of the flow of capital from Asian invest- pacific trade on the Pacific coast of the a number of works explicitly citing Asia, ment in the manufacturing landscape of Americas. The balance of trade shifted such as Japan Is America and Things Ori- present-day Los Angeles.

Art in Print July – August 2019 49 Ed Ruscha, The Old Trade School Building (2005), acrylic on canvas, 54 x 120 inches. ©Ed Ruscha. Courtesy of the artist and Gagosian.

Thus, instead of a “one-way street,” Twentysix Gasoline Stations and Sunset

Ruscha’s LA might be best understood as deconstruct and destabilize iconic thor- Notes: 1. Michael Auping, “A Long Drive,” in Ed Ruscha: a place of past and future fluctuations: it oughfares and the gasoline stations, Road Tested (Ostfildern: Hatje Cantz Verlag for is the endpoint of Manifest Destiny (the buildings and parcels of real estate that the Modern Art Museum of Fort Worth), 11. future “West” of the American imagina- line them, while Ruscha’s many plays on 2. Richard Prince, “Radio On,” in ibid, 41. tion); a multicentered urban space that back/front, left/right, east/west act as a 3. Ibid., 43. See also Patricia Failing, “Ed Rus- fails to conform to familiar models of reminder that any one point can be cha, Young Artist: Dead Serious about Being Nonsensical,” in Ed Ruscha, Leave Any Infor- urbanism (as Thomas Pynchon put it, approached from multiple positions. mation at the Signal: Writing, Interviews, Bits, “less an identifiable city than a grouping Frontiers shift over time, and so they Pages, ed. Alexandra Schwartz (Cambridge: The of concepts”13); the capital of an image should. These small books deliver an MIT Press, 2002), 225-237: 233. industry for which the reproducibility unexpectedly expansive notion of the 4. Jaleh Mansoor, “Ed Ruscha’s ‘One-Way of print is key; and finally an important frontier, unfolding over the horizon of Street’,” October 111 (Winter 2005), 127–142. 5. Ibid., 138–141. node for the traffic of persons, goods and experience. 6. Ibid., 142. ideas between North America and Asia. 7. Siri Engberg, “The Weather of Prints: An Inter- In 2009, Ruscha retrospectively view with Edward Ruscha,” in Ed Ruscha, Leave acknowledged Kerouac’s influence on his Miguel de Baca is a Senior Program Officer Any Information at the Signal (Cambridge: MIT young self by printing his own, photo- at the Getty Foundation and Associate Professor Press, 2002), 369. graphically illustrated version of On the of Art History at Lake Forest College. 8. James Williams, Gilles Deleuze’s Philosophy of Time: A Critical Introduction and Guide (Edin- Road, and making an attendant suite of burgh: Edinburgh University Press, 2011), 7–10. paintings and drawings that incorporate 9. Jennifer Quick, “Pasteup Pictures: Ed Rus- phrases from the novel.14 The photo- cha’s Every Building on the Sunset Strip,” The graphs depict the typologies of the open Art Bulletin 100, no. 2 (June 2018), 132–33, 145. road: car parts (gears, steering wheels), 10. Erica Allen Kim, “Saigon in the Suburbs: Pro- test, Exclusion, and Visibility,” in Conflict, Iden- places of transit (pavement, empty rail- tity, and Protest in American Art, ed. Miguel de road tracks) and, of course, gasoline sta- Baca and Makeda Best (Newcastle-upon-Tyne: tions. Some are inspired by specific scenes Cambridge Scholars Publishing, 2015), 155–56. in Kerouac’s narrative (the stacks of 11. Lionel Frost, “Anglo-Saxon Cities on the cheap sandwiches that fueled the protag- Pacific Rim,” in Megalopolis: The Giant City in History, ed. Theo Barker and Anthony Sutcliffe onists Sal and Dean as they drove), and its (London: Palgrave Macmillan, 1993), 130–142. cultural moment (musical instruments 12. Willis H. Miller, “The Port of Los Angeles- denoting the jazz that became synony- Long Beach in 1929 and 1979: A Comparative mous with the freedom and spontaneity Study,” Southern California Quarterly 65, no. 4 of the Beats). As a 21st-century reprise of (Winter 1983), 374. Kerouac, it is not so much a celebration of 13 .Thomas Pynchon, The Crying of Lot 49 (New York: Bantam, 1966), 12. automobility as of the creative exchanges 14. Auping, “A Long Drive,” 34. that derive from travel.

50 Art in Print July – August 2019 BOOK REVIEW Art Intelligence: Jan Svenungsson on Making and Thinking By Susan Tallman

Making Prints and Thinking About It By Jan Svenungsson Walter de Gruyter, Berlin, 2019 $34.99

ard to categorize, this deft book H by the Swedish artist Jan Svenungs- son should be read by everyone involved with contemporary prints, whether as makers or viewers. In some ways it is a cousin to Jim Dine’s A Printmaker’s Docu- ment [see Art in Print Jul–Aug 2013]— both books proceed through project-by- project accounts of successes and fail- ures, and for Svenungsson, as for Dine, printmaking is a collaborative adventure dependent on the creative skills and com- patibility of master printers, rather than a one-man-and-his-press saga. But where Dine gives us an episodic fan letter to techniques and printers, Svenungsson walks us through his attempt to figure out what it is—structurally, materially and psychologically—that makes prints matter. The result is a thoughtful, jargon- free inquiry into making and viewing art right now. It is also smart, funny and a pleasure to read. At a time when critical theory—having failed to produce any measurable change in economics, psychology, politics or the writing of novels—has holed up in art schools as a kind of last redoubt, it is especially important to have this kind of book. For Svenungsson, printmaking “and its particular tensions between original and copy, between handmade and machine-dependent, between the aim for control and the embrace of accident, between analogy and digital . . . is a useful tool for research and progress. There is the aura and there is the democratic aspect, but for most artists, the real value of printmaking is in the making.” Artists, he argues, are people who like to make things; the various ambitions those meanings and ambitions any less of necessity—where you go is certainly and constructions of meaning that preoc- important. It is merely a variant on Ernst as critical as what got you moving in the cupy them can be seen as a way “to create Gombrich’s maxim that “making comes first place. And for Svenungsson, “mak- sense for a compulsion which, on its own, before matching” or Jared Diamond’s ing” is more than just an act of genera- does not make sense.” This does not make observation that invention is the mother tion, it is also a process of selection—the

Art in Print July – August 2019 51 Spread from Jan Svenungsson's artist's book PARAD (1991), reproduced Making Prints and Thinking About It. constant decisions about what gets kept Though Svenungsson observes that as actual site-specific brick chimneys, and what gets tossed in terms of marks, “the joy of making precedes the joy of then turned into various print projects, materials, strategies or backstories. This thinking,” most of his own work can be including a prolonged experiment in give-and-take also distinguishes “mak- classed as “conceptual,” in the sense that manual labor in which he spent months ing” from “execution”: its initiation point is usually a question handcutting woodblocks for a photo- about how images and ideas work. He mechanical, four-color-separation wood- A common verb in current English is fascinated by incremental deviation cut of a photograph (at one point he grew usage about artists and artists’ work and repetition—at what point, Ship-of- so bored he forgot to reverse the image is “to execute.” . . . I have found the Theseus style, does one thing become left-right). The Bernd and Hilla Becher word both strangely convenient and identified as another? These concerns documentary romance of the original hugely irritating. To say “the work have motivated great printmakers from photos is subsumed and transformed was executed” implies an understand- Rembrandt to Jasper Johns, and Sve- through these material artifacts of shifting that the fundamental act of art nungsson adds to them a 21st-century ing economies, means and modes of making is conceptual, not observa- geopolitical awareness. One recursive making. (This elliptical series reached an tional or artisanal. . . . There lingers body of work, in play now for some 30 unintended apotheosis when Svenungs- no trace of hesitation or searching years, began with photographs of indus- son found that the background engraving for the right expression when you trial chimneys, which he recast as eccen- in Swedish passports now pictures one of “execute” a work. trically framed objects, then adapted these chimney sculptures.)

52 Art in Print July – August 2019 Spread from Jan Svenungsson's artist's book PARAD (1991), reproduced Making Prints and Thinking About It.

All these stages, the reasoning behind other kinds of topics—“collaboration” flush with the page edges is another them and the disappointments and joys and “European Union” and “A hint of source of tactile pleasure. they occasioned are described with suc- explosion,” for example. These phrases Reviewing his lack of enthusiasm for cinct wit. At the same time, however, lie within the chronologically arrayed one particular finished work, Svenungs- every discussion flows out into broader stories, identified by red type. Without son observes: “There is a fine line defin- considerations—the nature of transla- disrupting the reading, this structure ing the difference between success and tion, for example, or the relative allure acknowledges the constant doubling of almost success. . . . I do think this print is of tangible artisanship versus digital dis- logistics and analysis. accomplished and there’s nothing wrong embodiment. (The fact that each has its In the later part of the book the with it—yet it doesn’t achieve that effort- attractions is treated as a given.) thumbnails expand to full page repro- less ‘thingness’ which you know when This attentiveness to multiple levels ductions of the works discussed, again you see it, but still can’t explain exactly of meaning extends to the book’s design, with small, exquisite touches. The livre in words.” which is so graceful it is easy to overlook d’artiste Parad (1991) is reproduced in its He may not be able to explain it all how clever it is. While the text is broken entirety—rectos, versos, interleaving and exactly, but he surely comes close. into sections by project, with the art- covers—and the original book’s gutters work title in bold and a handy march of are sutured into the new book’s gutters, referential thumbnail images in the mar- forming a perfect book-within-a-book. gin, the table of contents is organized by The fact that cover boards are perfectly

Art in Print July – August 2019 53 Prix de Print N0. 36

PRIX E Cigarettes (2019) de by Mary-Ann Monforton PRINT Juried by Kit Smyth Basquin

This iteration of the Art in Print Prix of paper-and-tobacco, signaling their Michigan, prompted her to return to the de Print has been judged by Kit Smyth status as electronic only by the blue glow studio and make art again. When a friend Basquin. The Prix de Print is a bimonthly at the tip. gave her some stone clay, she began play- competition, open to all subscribers, Monforton describes herself as a ing with it, coiling snakes that evolved in which a single work is selected by an sculptor who draws in preparation for into e-cigarettes. When she gave these outside juror to be the subject of a brief her sculptures. She prefers to create four-inch objects to friends, they laughed essay. For further information on entering simple objects that reverberate in com- and pretended to smoke—or more accu- the Prix de Print, please go to our website: plex ways. Many of her sculptures have rately, to vape. With these forlorn but https://artinprint.org/about-art-in-print/. taken the form of simple objects that act somehow charming objects, whether as metonyms for human quandaries: a sculpted or drawn, Monforton captures Mary-Ann Monforton dilapidated football questions the hon- the responses to smoking, both positive E Cigarettes (2019) esty and morality of professional sports; a and negative. While e-cigarettes may Lithograph, 30 x 19 3/4 inches. Edition misshapen 8-ball promises—on no good be less lethal than regular smokes (they of 20. Printed and published by Derriere evidence—good fortune. are too recent for longitudinal studies), L’Etoile Studios, Queens, NY. $400. She has also created e-cigarette sculp- their chemical contents are linked to tures—small ones made from clay, pen- brain damage, heart disease and cancer; cil and paint, and large ones from wire they are restricted by the Food and Drug mesh and plaster gauze that lean against Administration to people 18 and over; ll the works submitted for the Prix the wall like flimsy, loitering logs—or and they are not approved as a quit-smok- A de Print were carefully crafted and people who have a quick smoke by an ing aid, like medicinal patches or gum. interesting. Some engaged not only the office building’s back door. Like those Monforton’s image entices, but it also visual sense, but also the intellect and the in the print, the sculptures are slightly provokes questions. emotions—a triple treat. Some further- bent and irregular, communicating a Mary-Ann Monforton has a lot to say. more called up contemporary social poignancy that throws the viewer off bal- Her viewers want her to keep on talking. issues, putting the work into a larger his- ance, prompting both humor and dread. torical context. Working on this lithograph with printer Jurors for the Prix de Print are given Maurice Sanchez at Derriere L’Etoile Stu- Kit Smyth Basquin is an art historian images and descriptions, but not the dios, she purposefully emphasized the and a writer. artist’s name (although several entries drawn line that articulates the cigarette’s were by printmakers whose work has irregular forms and filter bands. previously appeared in Art in Print and Since arriving in New York City from might be recognized by regular readers). Grand Rapids, Michigan, with a BFA in I chose Mary-Ann Monforton’s decep- sculpture in 1974, Monforton has enjoyed tively simple lithograph. The delicate a varied career: she has been a chorus-line colors and thin lines catch the viewer off dancer for the reggae/ska band the Copa- guard: are the two long vertical forms cetics; a jazz music promoter, combining with a brown band at the top and a established musicians and punk jazz; and rounded blue tip of color at the bottom since 1993, associate publisher of BOMB a pair of knee socks? Or are they more Magazine. She began collecting art in 1981 sinister—test tubes suggestive of drug with works by Kenny Scharf, Keith Har- production, perhaps? The title identifies ing and Jean-Michel Basquiat. Monforton’s simplified forms as a pair The death of her mother and a subse- of e-cigarettes—traditional banded tubes quent Ox-Bow residency in Saugatuck,

54 Art in Print July – August 2019 Mary-Ann Monforton, E Cigarettes (2019)

Art in Print July – August 2019 55 Evan Colbert, Astronomy Domaine (2019) Rupert Deese, Rivers & Mountains/3, News of the Color lithograph, 22 1/4 x 30 inches. Edition Pink/Blue Green (2018) of 20. Printed by Bud Shark and published by Painted paper, 14 x 41 inches. Edition of 6. Printed Print World Shark’s Ink., Lyons, CO. $1,200. by Jonathan Higgins and published by Manneken Press, Bloomington, IL. $2,000.

Selected New Editions

Simon Attwood, Point of Disorder (2019) Eight color lithograph, image 57 x 77.5 cm, sheet 64 x 85 cm. Edition of 25. Printed and published by The Artist’s Press, White River, South Africa. Rupert Deese, Rivers & Mountains/3, ¥R 4,000 (excl. VAT). Pink/Blue Green (2018).

Nicholas Dowgwillo, The Long Embrace (2019) Lithograph, 30 x 22 inches. Edition of 25. Printed Evan Colbert, Astronomy Domaine (2019). by Lee Marchalonis in Detroit, MI. Available from Stewart & Stewart, Bloomfield Hills, MI. $850.

Michael Craig-Martin, Piano (2019) Set of 12 screenprints, 60 x 60 cm. Edition of 20. Published by Alan Cristea Gallery, London. £1,500.

Simon Attwood, Point of Disorder (2019).

Nancy Azara, Wilder Witch Hazel #14 (2019) Monoprint/etching, 14 x 22 inches. Unique image. Printed and published by VanDeb Editions, Long Island City, NY. $1,500.

Nicholas Dowgwillo, The Long Embrace (2019).

Catherine Howe, E.P. no 5 (2019) Michael Craig-Martin, Piano (2019). Monotype, 29 3/4 x 22 inches. Unique image. Printed by Jonathan Higgins and published by Manneken Press, Bloomington, IL. $2,000. Ian Davenport, Colour Splat Bang (2019) Nancy Azara, Wilder Witch Hazel #14 (2019). Series of 3 screenprints, 117.7 x 94.2 cm each. Edition of 30. Published by Alan Cristea Gallery, London. £3,500. Norman Catherine, Head Stone (2019) Four-color lithograph, 37.5 x 30 cm. Edition of 30. Printed and published by The Artist’s Press, White River, South Africa. ¥R 4,100 (excl. VAT).

Catherine Howe, E.P. no 5 (2019). Ian Davenport, Colour Splat Bang (2019).

Norman Catherine, Head Stone (2019).

56 Art in Print July – August 2019 Hugh Kepets, Watering Cans (2019) Emil Lukas, Double event 1759 (2019) James Nares, High Speed Cone Archival pigment print, 22 x 29 1/2 inches. Relief monoprint on handmade paper, 17 1/4 x 22 Graphs I, 90º (2019) Edition of 45. Printed and published by the art- 1/4 inches. Unique image. Printed and published Portfolio of nine photogravure etchings, 20 x 20 ist, New Milford, CT. Available from Stewart & by Durham Press, Durham, PA. $3,000. inches. Edition of 15. Printed and published by Stewart, Bloomfield Hills, MI. $900. Durham Press, Durham, PA. $1,500 individual print; $9,000 for the portfolio.

Hugh Kepets, Watering Cans (2019). Emil Lukas, Double event 1759 (2019).

Lauren Krukowski, Untitled Creighton Michael, DitDot #12 (2019) (On knowing what I think I might want) (2019) Monoprint, 23 x 22 inches. Unique image. Printed Hand-painted chine-collé monotype, 16 x 12 and published by VanDeb Editions, Long Island James Nares, High Speed Cone inches. Unique image. Printed and published City, NY. $2,000. Graphs I, 90º (2019). by the artist at Robert Blackburn Printmaking Workshop, New York, NY. $350. Sam Nhlengethwa, White Taxi (2019) Five-color lithograph, image 25 x 33 cm, sheet 44 x 36 cm. Edition of 30. Printed and published by The Artist’s Press, White River, South Africa. ¥R 9,800 (excl. VAT).

Creighton Michael, DitDot #12 (2019).

Miho Morinoue, Deluvium (2019) Lithograph, 37 x 75 1/2 inches. Edition of 25. Printed by Bud Shark and published by Shark’s Ink., Lyons, CO. $3,000. Sam Nhlengethwa, White Taxi (2019). Lauren Krukowski, Untitled (On knowing what I think I might want) (2019). Katja Oxman, With Spring Rain (2018) Aquatint in color, 23 1/2 x 17 1/2 inches. Edition Emily Legleitner, I promise, I swear, of 50. Printed and published by the artist in I’ll never do that again. (2019) Amherst, MA. Available from Stewart & Stewart, Woodcut, 24 x 34 inches. Unique image. Printed Bloomfield Hills, MI $600. and published by the artist, Ann Arbor, MI. $600.

Miho Morinoue, Deluvium (2019).

Emily Legleitner, I promise, I swear, I’ll never do that again (2019).

Katja Oxman, With Spring Rain (2018).

Art in Print July – August 2019 57 Cornelia Parker, Floating Mahonia (2019) Series of 3 polymer gravure etchings, 82.2 x 58.2 cm. Edition of 18. Published by Alan Cristea Gallery, London. £1,500.

ANDERSON RANCH EDITIONS

ANDERS BERGSTROM

ŽELJKA BLAKŠIĆ

ROSS BLECKNER Nina Torr, Letting the days go by (2019). KATHERINE BRADFORD Diane Victor, Burning Day (2019) Three-color lithograph, 36.5 x 43.6 cm. Edition of VICTORIA BURGE Cornelia Parker, Floating Mahonia (2019). 30. Printed and published by The Artist’s Press, White River, South Africa. ¥R 7,500 (excl. VAT). GREG FOLEY Masami Teraoka, McDonald’s Hamburgers Invading Japan/Tattooed Woman and Geisha III (2018) SIMRYN GILL Woodcut in 43 colors from 37 blocks of laminated cherry wood carved by Motoharu Asaka, 12 1/4 x 18 1/2 inches. Edition of 85 + 20 AP. Printed by RUTH LINGEN Satoshi Hishimura and Keizo Sato with assistance from Makoto Nakayama. Published by Catherine LANIE MCNULTY Clark Gallery, San Francisco, CA. $8,500.

JOHN MITCHELL

RACHEL OSTROW Diane Victor, Burning Day (2019). ROBERT OLSEN Sandy Walker, Forest Rhapsody (2017) Woodblock print, 48 x 36 inches. Edition of 6. NAHO TARUISHI Printed by Ryan Harrison. Published by the artist. $900. FREDERIC TUTEN Masami Teraoka, McDonald’s Hamburgers Invading Japan/Tattooed Woman and VICTORY GARDEN Geisha III (2018). Nina Torr, Letting the days go by (2019) Lithograph with color chine-collé, 40.5 x 31 cm. CHUCK WEBSTER Edition of 25. Printed and published by The Artist’s Press, White River, South Africa. ¥R 2,800.

Nina Torr, Letting the days go by (2019). Planthouse 55 WEST 28TH STREET NEW YORK NY 10001 Sandy Walker, Forset Rhapsody (2017). PLANTHOUSE.NET

58 Art in Print July – August 2019 Exhibitions of Note DETROIT “From Camelot to Kent State: BALTIMORE Pop Art, 1960–1975” “A Golden Anniversary: 17 February 2019 – 25 August 2019 Celebrating 50 Years of the Print, Detroit Institute of Arts Drawing & Photograph Society” https://www.dia.org/events/camelot-kent-state- 29 August 2018 – 6 October 2019 pop-art-1960-1975 Baltimore Museum of Art https://artbma.org/ DUBLIN “Bauhaus 100: The Print Portfolios” BERLIN 20 July 2019 – 1 December 2019 “Matt Saunders: Duets” National Gallery of Ireland 26 April 2019 – 3 August 2019 www.nationalgallery.ie Borch Gallery nielsborchjensen.com EASTON, MD “Amze Emmons: Pattern Drift” BOSTON 2 August 2019 – 30 September 2019 “Royal Celebrations: Academy Art Museum Japanese Prints and Postcards” academyartmuseum.org 13 February 2019 – 15 September 2019 EUGENE, OR “Toulouse-Lautrec and the Stars of Paris” “Saints and Spirits in 7 April 2019 – 4 August 2019 Early Modern Europe” Museum of Fine Arts, Boston 30 March 2019 – 10 November 2019 https://www.mfa.org Jordan Schnitzer Museum of Art jsma.uoregon.edu BROOKLYN “Rembrandt to Picasso: FAYETTEVILLE, AR Five Centuries of European Works “Mirror Mirror: on Paper” The Prints of Alison Saar” 21 June 2019 – 13 October 2019 28 May 2019 – 4 October 2019 Brooklyn Museum Walton Arts Center www.brooklynmuseum.org https://waltonartscenter.org/edu/visual-arts/ CAMBRIDGE, UK FORT WAYNE, IN “Palaces in the Night: “Dox Thrash: The Hopeful Gaze” The urban landscape in Whistler’s prints” 27 April 2019 – 4 August 2019 4 June 2019 – 8 September 2019 Fort Wayne Museum of Art “Enriching Collections: www.fwmoa.org Recent Acquisitions of Prints and Drawings 2009–2019” FRANKFURT, GERMANY 21 May 2019 – 1 September 2019 “The Mysteries of Material: The Fitzwilliam Museum Kirchner, Heckel and Schmidt-Rottluff” fitzmuseum.cam.ac.uk 26 June 2019 – 13 October 2019 Städel Museum CHICAGO www.staedelmuseum.de “The People Shall Govern! Medu Art Ensemble and the LAGUNA BEACH, CA Anti-Apartheid Poster” “I Will Not Make Any More Boring Art: 27 April 2019 – 2 September 2019 Prints by John Baldessari” 16 June 2019 – 22 September 2019 “Everyone’s Art Gallery: Posters of the London Underground” “Self-Help Graphics, 1983–1991” 25 May 2019 – 5 September 2019 17 January 2019 – 22 September 2019 The Art Institute of Chicago Laguna Art Museum www.artic.edu https://lagunaartmuseum.org/

CLEVELAND LONDON “Sunrise” “Edvard Munch: Love and Angst” 15 March 2019 – 11 August 2019 11 April 2019 – 21 July 2019 MOCA Cleveland Alan Cristea Gallery www.mocacleveland.org www.alancristea.com

“A Lasting Impression: “Rembrandt: Thinking on Paper” Gifts of the Print Club of Cleveland” 7 February 2019 – 4 August 2019 5 May 2019 – 22 September 2019 Austin / Desmond The Cleveland Museum of Art www.austindesmond.com www.clevelandart.org “Symbolist Prints” 12 April 2019 – 18 July 2019 COBURG, GERMANY The British Museum “Dragon’s Blood & Bold Heroes” britishmuseum.org 27 June 2019 – 22 September 2019 Kunstsammlungen der Veste Coburg veste.kunstsammlungen-coburg.de

Art in Print July – August 2019 59 LOS ANGELES “Whistler as Printmaker: “Bauhaus Beginnings” Highlights from the 11 June 2019 – 13 October 2019 Gertrude Kosovsky Collection” The Getty Museum 30 April 2019 – 1 September 2019 www.getty.edu The Frick Collection Art in Print www.frick.org MINNEAPOLIS “Weather: Prints by Karen Kunc” NORTHAMPTON, MA Advertising 1 August 2019 – 31 August 2019 “Defiant Vision: Prints & Poetry Highpoint Center for Printmaking by Munio Makuuchi” www.highpointprintmaking.org 23 August 2019 – 8 December 2019 Smith College Museum of Art Rates 2018 “Picasso Cuts the Bull” smith.edu/artmuseum 6 April 2019 – 19 January 2020 Minneapolis Institute of Art PASADENA, CA Art in Print is pleased to offer a new.artsmia.org “AIR LAND SEA: A Lithographic Suite variety of affordable advertising by William Crutchfield” MONTREAL 19 July 2019 – 4 November 2019 options. “Alanis Obomsawin, Printmaker. Norton Simon Museum An Artist and her Nation: www.nortonsimon.org The Waban-Aki Basketmakers Print Ads of Odanak” PHILADELPHIA, PA 7 June 2019 – 25 August 2019 “We the People: Small $105–$150 Montreal Museum of Fine Arts American Prints from 1/3 Page $210–$300 www.mbam.qc.ca Between the World Wars” 1/2 Page $300–$500 21 March 2019 – 24 July 2019 NEW HAVEN, CT Philadelphia Museum of Art Full Page $480–$800 “Japan on Paper” philamuseum.org Inside Front Cover $720–$1200 25 May 2019 – 11 August 2019 Back Cover $1200–$2000 Harvard Art Museum PRINCETON, NJ harvardartmuseums.org “Helen Frankenthaler Prints: Discounts apply for Seven Types of Ambiguity” multiple print ad packages. NEW YORK 29 June 2019 – 20 October 2019 “New Prints 2019” Princeton University Art Museum 11 July 2019 – 28 September 2019 artmuseum.princeton.edu Online Ads International Print Center New York 2 Months $100 www.ipcny.org PULLMAN, WA “Louise Bourgeois: Ode to Forgetting” 4 Months $180 “Ann Aspinwall: Spirit of Place” 21 May 2019 – 10 August 2019 6 Months $240 14 June 2019 – 14 July 2019 Jordan Schnitzer Museum of Art at WSU McKenzie Fine Art http://www.jordanschnitzer.org 12 Weeks $420 http://www.mckenziefineart.com/

“Selections from the SAN FRANCISCO Biweekly eBlast Department of Drawings “Summer Choices: and Prints: Rembrandt” A Group Exhibition” Banner Ads 30 April 2019 – 28 July 2019 8 June 2019 – 31 August 2019 2 Weeks $500 Metropolitan Museum of Art National Gallery of Art www.metmuseum.org www.nga.gov 4 Weeks $900 8 Weeks $1,500 “Hock E Aye Vi Edgar Geap of Birds: “Fred Martin: Beulah Land” Surviving Active Shooter Custer” 8 June 2019 – 27 July 2019 31 March 2019 – 2 September 2019 Crown Point Press Deadlines MoMA PS1 https://crownpoint.com momaps1.org Reservations are due six weeks “Andy Warhol— From A To B And Back Again” in advance of publication. “Too Fast to Live, Too Young to Die: Punk Graphics, 1976–1986” 19 May 2019 – 2 September 2019 9 April 2019 – 18 August 2019 San Francisco Museum of Modern Art More... Museum of Arts and Design sfmoma.org https://madmuseum.org To view or download our SPOKANE, OR “The Legends of Black Girl’s Window” complete Media Kit, please visit “Polly Apfelbaum: 21 October 2018 – 1 January 2020 Atomic Pinwheels and Other Mysteries” https://artinprint.org/advertising/ Museum of Modern Art 27 August 2019 – 14 March 2020 or contact us at advertising@ https://www.moma.org Jordan Schnitzer Museum of Art at WSU artinprint.org. 1-844-278-47677 “Sculptor’s Prints” https://museum.wsu.edu/ 7 June 2019 – 2 August 2019 Pace Prints WASHINGTON, DC paceprints.com “Votes for Women: Art in Print is read by thousands An American Awakening, 1840–1920” of people around the globe, “Leon Polk Smith: Drawings, 31 March 2019 – 5 January 2020 online and in print. Collages and Prints” Smithsonian National Portrait Gallery 6 June 2019 – 19 July 2019 http://npg.si.edu/ Senior & Shopmaker Gallery http://www.seniorandshopmaker.com

60 Art in Print July – August 2019 New Books

Eileen Mayo: Nature, Art and Poetry by Peter Vangioni with Jillian Cassidy Published by Christchurch Art Gallery Te Puna o Waiwhetū , New Zealand, 2019 NZ$ 34.99 Eileen Mayo (1906–1994) was one of those 20th- century British artists who worked across all media, from painting to printmaking to all manner of commissioned design work. Introduced to linocut by Claude Flight when she was a student at the Slade, Mayo went on to study with Fernand Léger in Paris, and then to help spark the printmaking revival in Australia in the 1950s. The last third of her life was spent in New Zealand, where she became the nation’s “grand dame of printmaking” and, eventually, a Dame Commander of the British Empire. Despite the high visibility of her work, this is the first substantive publication to be produced; like the recent reconsiderations Pulled in Brooklyn: of Edward Bawden and Eric Ravilious, it gives 26 Printshops, 101 Artists serious attention not only the unique and limited Published by International Print Center edition work, but book illustrations, stamps and New York, New York, 2019 coins. A winsome small hardback with large and $10 fine reproductions, it should do much to revive This small catalogue supporting the eponymous interest in this exceptional artist. exhibition at IPCNY will surely prove to be a his- toric document. Curated by Samantha Rippner and the great Roberta Waddell, is surveys the astonishing printerly activity of New York City’s Open Gate Press hippest borough—from book makers to paper makers, from rarified to accessible, from woodcut to intaglio to lithography to screenprint to digital, the entire history of print techniques is being reenacted in Brooklyn. The catalogue includes brief essays, a helpful map, a directory of workshops and an illustrated checklist of works. A great argument for the continued relevance of print.

Jörg Schmeisser Retrospective: www.opengatepress.com Neverending Journeys Edited by Eri Wanajo Published by Kyuryudo, Tokyo, 2018 ¥2700 This Japanese exhibition catalogue documents nearly 200 intaglio prints by Jörg Schmeisser (1942–2012), produced throughout his career. Schmeisser, who trained under Paul Wunderlich in Hamburg in the 1960s, shared his mentor’s fas- cination with line and luminosity. But he spent much of his adult life in Australia and Asia, a fact reflected in his many elaborate depictions of architecture, artifacts and topography, and in his visible interest in the objective world. Imagine a merger of the technical preoccupations of Stan- Join us this Fall ley William Hayter, the horror vacui of Rodolphe Bresdin, and the archival fascinations of concep- New York Satellite tualism. In other words: a singular figure. Print Fair 24-27 October 2019 Hudson Mercantile Annex 37 517 West 37th Street • NYC 10018

Printer/Publisher & Dealer of Fine Prints Since 1980 www.StewartStewart.com

Member

Art in Print July – August 2019 61 The Rona and Martin Schneider Collection of European and American Prints by Domenic J. Iacono Published by Syracuse University Art Galleries, 2018 $45 This catalogue documents the fine collection of 19th and early 20th-century, mostly American, prints presented to the Syracuse University Art Galleries in 2017 by print dealer Rona Scheider and her husband. While some of these artists— Joseph Pennell or Thomas and Mary Nimmo Moran—will be familiar to those who have paid attention to the American etching revival, most are less celebrated, and act as a reminder of the treasures that still lay unbidden in drawers. Not all works are illustrated, but those that are enjoy high quality reproductions that communicate the tonal nuance so critical to the period.

In San Francisco: Installation view of the exhibition “What is an edition, anyway?” at the McEvoy Foundation for the Arts. Photo: Henrik Kam.

Other News What is an edition, anyway? McEvoy Foundation for the Arts Association of Print Scholars San Francisco, 24 May – 7 September 2019 2019 Schulman and Bullard Article Prize This exhibition extends the concept and titular The Association of Print Scholars has awarded question of the 2018 show at MANA Contem- the 2019 Schulman and Bullard Article Prize to porary in Chicago, examining the multivalent Shira Brisman, Assistant Professor of History presence of editions in contemporary art, this of Art at the University of Pennsylvania for “A time from a distinctly Bay Area perspective. It Matter of Choice: Printed Design Proposals includes limited-edition prints and multiples, and the Nature of Selection, 1470–1610,” pub- book and album cover designs, musical record- lished in Renaissance Quarterly. The award, ings and film ephemera from the McEvoy Fam- now in its fifth year, is given to an early-career ily Collection and the collection of Thomas scholar for compelling and innovative research Cvikota (lead curator of the Chicago iteration). on prints and printmaking. APS is fielding In addition, six artists with Bay Area roots— Please submit announcements of submissions for the 2020 prize on their website Enrique Chagoya, Daniel Clowes, Ala Ebtekar, at https://printscholars.org/awards/. Jonn Herschend, Stephanie Syjuco, and Hank exhibitions, publications and Willis Thomas—were invited to contribute a other events to work related to the concept of the edition. The [email protected]. works on view raise questions of ownership, authenticity, sampling, distribution and creative autonomy that are at the core of contemporary art, and more broadly, of life in the 21st century. Please visit https://www.mcevoyarts.org/ exhibition/what-is-an-edition-anyway/.

Boston Printmakers 2019 North American Print Biennial The Bostons Printmakers North American Print Biennial is considered by many to be one of the most prestigious events of its kind. Founded in 1947, its mission is “to promote public knowledge of printmaking, encourage and support artists working in printmaking, and promote excellence and innovation within the field.” The Biennial will take place at the Jewett Art Gallery at Wellesley College and will run from 26 August through 29 September 2019. The event is free and open to the public. Shelley Langdale, Curator and Head of Modern Prints and Drawings at the National Gallery of Art in Washington, DC, will be the juror. We would like to thank the Mary and Leigh There will be a public reception featur- Block Museum of Art, Northwestern University, ing a Juror’s Talk on 8 September from for use of the image Workers Family by 2–5 pm. For more information please visit Mitchell Siporin. A detail of the image was https://www.bostonprintmakers.org/biennials/ featured in the “Recommended Reading for biennial-2019/. the Print-Curious” section of this issue.

62 Art in Print July – August 2019 Crown Point Press

e Dilexi Retrospective and Beyond Featuring Beulah Land, a project by Fred Martin, 1966 June 8 - July 27, 2019

Summer Choices A group exhibition with prints by Anne Appleby, William Bailey, Robert Bechtle, John Chiara, Richard Diebenkorn, Leonardo Drew, Marcel Dzama, Jacqueline Humphries, Al Held, Joan Jonas, Tom Marioni, Ed Ruscha, Wayne iebaud, Patricia Treib, Charline von Heyl, and William T. Wiley June 8 - August 31, 2019

Patricia Treib, Drape, 2018. Color etching on gampi paper chine collé, edition 25

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Art in Print July – August 2019 63 POLLY APFELBAUM

On Target | 2019 Portfolio of 6 Woodblock Prints 25 5/8 x 25 5/8 in (65.1 x 65.1) Edition of 25

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Art in Print July – August 2019 65 TH E INTERNATIONAL EXPOSITION OF CONTEMPORARY AND MODERN ART

19–22 SEPTEMBER 2019 OPENING PREVIEW THURSDAY 19 SEPT CHICAGO | NAVY PIER

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19 September 2019— 5 January 2020 Chicago Cultural Center & Citywide chicagoarchitecturebiennial.org Evening & Day Editions Editions 12 September 2019, London Fall 2019 Editions & Works on Paper October 2019, New York TH E INTERNATIONAL EXPOSITION OF Consignment deadline 1 August

CONTEMPORARY AND MODERN ART Enquiries [email protected]

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Art in Print July – August 2019 67

Dolan/Maxwell 2046 Rittenhouse Square Philadelphia, Pennsylvania 19103 215.732.7787 www.DolanMaxwell.com [email protected] by appointment please

In celebration of Christina Weyl’s landmark book The Women of Atelier 17: Modernist Printmaking in Midcentury New York Published by Yale University Press Excellent prints by many of these too little known artists are available at Dolan/Maxwell.

Left: Terry Haass, Open Mind 1948; Center: Helen Phillips, La Piege 1953; Right: Pennerton West, In Action, Wonder Wide c. 1948

a free, public program with presentations & panels from leaders in the print community organized & presented by tamaRind institute with support from fRedeRiCk hammeRsley foundation HEAD OF A WOMAN RedRessing the PaRallel histoRies of CollaboRative PRintmaking and the Women's movement

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Danielle Orchard, Frederick Hammersley Artist Residency Smile More, 2019, two-color lithograph, 42 x 30 inches, edition of 10

Fine Art Lithography Workshop & Gallery tamarind.unm.edu Contributors to this Issue

Book List Contributors Julia V. Hendrickson is a curator, editor, Erika Schneider is the founder and master writer and book lover based in Austin, TX, and printer at Bleu Acier Press, Tampa. Los Angeles. Lynne Allen is a professor of art and print- Harris Schrank is a print dealer based in making at Boston University. Faye Hirsch is Visiting Associate Professor of New York. Art + Design at SUNY Purchase. Richard H. Axsom is Senior Curator Emeri- Marc Schwartz is a contemporary art collector tus at the Madison Museum of Contemporary David Kiehl is Curator Emeritus at the Whitney who lives in Detroit. art, and Professor Emeritus of Art History at the Museum of American Art. is an independent scholar based University of Michigan. Rachel Stella Evelyn Lincoln is professor of the History of in Paris. is, with Elise Boisanté, a principle Art & Architecture and Italian Studies at Brown Mark Baron is a connoisseur and dealer of Baron/Boisanté Editions and Om from India. University. Nicholas Stogdon in Old Master prints. is an art historian and is a Research Assistant within Kit Smyth Basquin Elenor Ling is a painter who makes prints. a writer; her biography of pioneer animator the department of Paintings, Drawings and David Storey Mary Ellen Bute will be published in 2020. Prints at the Fitzwilliam Museum, University of Susan Tallman is Editor-in-Chief of Art in Print. Cambridge. Catherine Bindman is an independent scholar Sergei Tsvetkov is an artist who lives and and former editor of Art on Paper. Alexander Massouras is a British artist and works in Boston, Massachusetts. writer. Peter S. Briggs is the Helen DeVitt Jones Jason Urban is an artist and co-founder of the Curator of Art at the Museum of Texas Tech Kate McCrickard is an artist and writer based website Printeresting. University and director of the Artist Printmaker/ in Paris. Photographer Research Collection (AP/RC). Madeleine Viljoen is curator of the Miriam and John P. Murphy is the Hoehn Curatorial Fellow Ira D. Wallach Division of Art, Prints and Photo- Lisa Bulawsky is an artist and director of for Prints at the University of San Diego. graphs at the New York Public Library. Island Press at Washington University, St. Louis. Leslie Mutchler is Chair of the Foundation Julie Warchol is Collection and Exhibitions Brian D. Cohen is a printmaker, painter, writer Department at Pratt Institute and lives and Manager in the Department of American Art at and educator. works in Brooklyn, NY. the Art Institute of Chicago.

Paul Coldwell is an artist and professor at the Nadine Orenstein is Drew Heinz Curator in Christina Weyl is an independent scholar and University of the Arts London. Charge of the Department of Prints and Draw- curator specializing in mid-20th-century prints. ings at the Metropolitan Museum, New York. Prudence Crowther is a senior editor at the Stephen Woodall is the collections specialist New York Review of Books, and manuscript David Paisey is a former German specialist at for artists’ books at the Achenbach Foundation editor of this journal. the British Library. for Graphic Arts, Fine Arts Museums of San Francisco. Thomas Cvikota is a publisher, writer, curator Peter Parshall is the former Curator of Old and dealer. Master prints at the National Gallery of Art in Washington DD, and is currently Janson- Robert Dance is an art dealer in New York. La Palme Lecturer at Princeton University. is a former director of Printed David Dean Mark Pascale is Janet and Craig Duchossois Journal Articles Matter, and has worked for The National Curator of Prints and Drawings at the Art Insti- Trust, English National Opera and the Queens tute of Chicago. Museum. Anne Adriaens-Pannier is artistic director of Robert Ross is a Los Angeles collector with the Spilliaert House in Ostend, Belgium, and Richard S. Field is Curator Emeritus of Prints particular interest in early Modern prints. the author of the catalogue raisonné and several and Drawings at the Yale University Art Gallery. monographs on Léon Spilliaert. Allison Rudnick is Assistant Curator in the is director of the Tamarind Diana Gaston Department of Drawings and Prints at the is a Senior Program Officer Institute. Miguel de Baca Metropolitan Museum of Art. at the Getty Foundation and Associate Profes- sor of Art History at Lake Forest College. His Stephen Goddard is associate director and a Christian Rümelin is Keeper of Prints and senior curator at the Spencer Museum of Art. Drawings at the Musée d’art et d’histoire in scholarship has been recognized by fellowships Geneva. at the Smithsonian American Art Museum and Roslyn Bakst Goldman has been an appraiser Dumbarton Oaks. In 2017–18, de Baca served of fine art for 38 years, specializing in original Britany Salsbury is Associate Curator of Prints as the Terra Foundation Visiting Professor of prints. and Drawings at the Cleveland Museum of Art. American Art at the University of Oxford.

Sarah Kirk Hanley is an independent print Jacob Samuel is a printer and publisher, specialist and critic based in the New York area. and founder of Edition Jacob Samuel in Santa Monica. Felix Harlan co-founded with Carol Weaver the New York print workshop and publisher Suzanne Karr Schmidt is the George Amos Harlan & Weaver. Poole III Curator of Rare Books and Manuscripts at the Newberry Library in Chicago.

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