#color lithograph on paper

[artsandculture]

Tournée du Chat Noir (1896) 🎨 Théophile Alexandre Steinlen 🏛️ Museu Nacional d'Art de Catalunya 📍 Barcelona, Spain

[uwmspeccoll]

It’s Fine Press Friday!

This Friday we highlight another book by Gaylord Schanilec and Midnight Paper Sales, out of Stockholm, WI. It’s Come to This, by Twin Cities writer Patricia Hampl, was printed in 2023, in a limited edition of 70 copies signed by Hampl, Schanilec, and Lila Shull – who drew and printed the cover lithograph of ginkgo leaves. The wood engravings are by Schanilec – the large river panorama based on a photograph by Hampl. Typefaces used include Oldrich Menhart’s Monotype Menhart,Hermann Zapf’s Michealangelo, and an italic cast by Nick Gill. Molly Brown assisted the printing “in the wilds of Western Wisconsin,” on the Vandercook Universal III. The paper was handmade in the mid-20th century, at the Velke Losiny Paper Mill in what is now the Czech Republic. According to the colophon, this was when the formula included more sizing, and the formidable paper therefore "retains its pleasing 'rattle.'" Matthew Lawler Zimmerman bound the edition at Studio Alcyon.

“Life’s a journey—no wonder it’s our most ancient metaphor. A platitude, but only truth can harden into cliché.” Written during Covid isolation at her home in St. Paul, It’s Come to This explores escape – that “Midwestern birthright, the desire to be somewhere else” – as well as the significance of a long pandemic: “At your age, a year is a serious percentage of what’s left.” With the background of Midwestern summer storms, the George Floyd protests, and menacing Boogaloo Bois, Hampl walks her dog along the Mississippi feeling both isolated from and deeply connected to the events around her. The text first appeared in The American Scholar in October of 2021. “What exactly, has come to what?” Hampl wonders to her dog. “What is this it I sigh into, what is the this I keep falling upon? What distress and what comfort does this muttered mantra express?”

Shull’s rich pattern of ginkgo leaves across the cover speaks to the dog’s favorite spot to stop along their walks. “I get it.” Hampl concludes to her companion. “And now, standing by the side of the moving water, apparently we have achieved our destination, the ghostly This.”

View more work by Gaylord Schanilec and Midnight Paper Sales.

View other Fine Press Friday Posts.

--Amanda, Special Collections Graduate Intern

[oncanvas]

Home to Thanksgiving, Currier & Ives, 1867

Hand-colored lithograph on paper 37.1 x 63.5 cm (14 ⅝ x 25 in.)

[sassafrasmoonshine]

Mela Koehler (Austrian, 1885-1960) • Mode (Fashion) • Color lithograph (applied to postcards) • 1912 • Metropolitan Museum of Art, New York City

[tomoleary]

Jules Chéret (1836-1932) "Musee Grevin, Theatre Les Fantoches De John Hewelt" (1900) Source

[artghutry]

Jonas Wood

American, b. 1977

Shelf Still Life

2018

Lithograph and screenprint in colors on wove paper

32 x 26 in.

81.28 x 66.04 cm.

[antiqueanimals]

Mr. John Martin's Single Combed Dorking Hen, color lithograph on cream wove paper, circa 1890s.

Bonhams

[worldsandemanations]

Pierre Soulages - Lithographie n° 14, 1964 (Lithograph printed in colors on de Rives wove paper)

[kafkasapartment]

Orange, Feb. 27, 1996. Donald Sultan. Color lithograph, woodcut and etching on TGL handmade paper.

[disease]

JOAN MITCHELL / "FIELDS" / 1991-92 [lithograph in colors on paper | 30 x 22 1⁄4"]

[topcat77]

Keith Haring

Exhibition Poster, 1983 Offset lithograph in colors, on wove paper, with full margins

[jareckiworld]

Paul Wunderlich (1927-2010)—The Song of Songs which is Solomon's (I:16) [color lithograph on Rives wove paper, 1969]

[uwmspeccoll]

Staff Pick of the Week

First serialized in Pearson’s (UK) and Cosmopolitan (US) in 1897, H.G. Wells’s War of the Worlds wasn’t the very first alien story ever told, but it is probably the most enduring and culturally significant of those early tales. Wells wasn’t just drawing on the nascent genre of science fiction but also the (earthly) invasion literature that was first popularized by George Tomkyns Chesney’s The Battle of Dorking ( Blackwood's Magazine, 1871). Wells later wrote that War of the Worlds was inspired by the genocidal treatment of Aboriginal Tasmanians by British colonizers.

The Limited Edition’s Club edition of H.G. Well’s War of the Worlds was published in 1964. It is illustrated with ten color lithographs, drawn directly on the plates by Joeseph Mugnaini, as well as a number of smaller line drawings by the artist. We posted a few years ago about the Limited Editions Club edition of The Time Machine, also illustrated by Mugnaini. These two books were originally issued together in an ochre-yellow slipcase that matches the end papers; the linen-weave book-cloth bindings are dyed in an opposite color scheme (black with a red spine label for The Time Machine and red with a black spine label for War of the Worlds). The boxed set was designed by Peter Oldenburg and printed on white wove paper from Curtis Paper Company by Abraham Colish at his press in Mt. Vernon, NY. The lithographs were pulled by master printer George C. Miller. 

I love how Mugnaini’s colorful illustrations manifest a sense of unease: the yellow and red skies backing the alien invaders, the extreme heat of blue streaked flames, the kaleidoscopic ruins of a building. Mugnaini was best known for his many collaborations with another Science Fiction heavyweight: Ray Bradbury, including cover art for the first paperback and hardback editions of Fahrenheit 451. A previous Staff Pick featured Mugnaini’s illustrations for the Limited Editions Club of Bradbury’s The Martian Chronicles.

You can find more posts on the work of H. G. Wells here.

Check out more from illustrator Joe Mugnaini here.

And here you can find more from Limited Editions Club.

For more Staff Picks here. 

-Olivia, Special Collections Graduate Intern

[oncanvas]

25 Cats Name(d) Sam and one Blue Pussy, Andy Warhol, circa 1954

Offset lithographs with hand-coloring in watercolor on paper 9 ¼ x 6 ⅛ in. (23.5 x 15.6 cm) each

[sassafrasmoonshine]

Élisabeth Sonrel • Winter • 1901 • Color lithograph • Private collection

[neshamama]

lou albert-lasard, "three women inmates seated near the fences in the gurs camp," 1940, watercolor on paper. from jwa:

[Lou Albert-Lasard] did drawings and watercolors of the women inmates of the camp, who were her models, showing them in various scenes of camp life. She used to wander around the camp with a sketchpad in her hand, wearing a wide-brimmed hat and a colorful scarf, and was considered eccentric. After her release, she returned to Paris and in the 1950s resumed her travels with her daughter by caravan, recording her impressions in watercolors and lithographs. She died in Paris in July 1969.