#pochoir print

[thekingofcrochet]

What if I actually get back into printmaking?

[psikonauti]

Umberto Brunelleschi (Italian,1879-1949)

Fishing

Pochoir on paper

[hclib]

RARE BOOK EXHIBIT NOW ON VIEW

Storied Leaves: Unveiling the Library's Rare Art Book Collection

Visit Minneapolis Central Library to see Storied Leaves: Unveiling the Library’s Rare Art Book Collection! The exhibit, located in Cargill Gallery, features over 80 titles from our rare art folio collection and includes some really stunning prints of art from all over the world! There’s also some library/collection history, explanations of printing techniques, and more. The exhibit runs October 4 – November 29, 2023.

Travel through time and across the globe as you explore the library's rare Art Book Collection. This vibrant exhibit showcases art from six continents—Asia, Africa, North America, South America, Europe, and Oceania—spanning ancient to contemporary times. Produced between 1850 and 1950, the works in this exhibit are leaves from folios, or individual pages contained within portfolios. Most have been carefully hand-printed, stenciled or hand-colored. Delve into the stories of these unique prints to learn how this remarkable collection came to be at Minneapolis Central Library, gain insights into the art and craft of printing, and be inspired to connect with art at your library. This exhibit is funded with money from Minnesota’s Arts and Cultural Heritage Fund.

[uwmspeccoll]

It's Fine Press Friday!

The recent donation from the estate of Dennis Bayuzick includes several publications by the British Whittington Press, a few of which are illustrated using the pochoir stencil technique, including the book New Castle, a brief encounter by longtime Whittington illustrator and compositor Miriam Macgregor. The book, printed in 1998 in hand-set 14 pt. Walbaum type on Zerkall mould-made paper in an edition of 100 copies signed by the author/artist, is Macgregor's memoir of her visit to the Historic District of New Castle, Delaware, where she had gone to visit Oak Knoll Books, one of America's premier bookstores specializing in fine press publications and books on books. We think the occasion was for the 1997 Oak Knoll Fest.

New Castle's Historic District, designated a National Historic Landmark in 1967, contains about 500 historic buildings from the colonial and early Republic periods, one of the highest concentrations of well-preserved buildings from this period. At the time, Oak Knoll was located in a later-period building that used to be the town's butcher shop, just a block and a half north of the Historic District's town square, "The Green." Macgregor writes:

This small town on the western bank of the Delaware River was an enchanting, if misleading, introduction to America, and the following images are the result of one day's drawing, some photographs and, of course, memory.

Once a busy little port town but long since diminished, Macgregor notes that:

A 1932 guidebook described it as 'a diminutive town of forgotten asperations, the beckoning path of Europe spread before its sleepy eyes.' Thus, away from the limelight, many of the older buildings escaped modernisation and in due course, the inhabitants came to realise that they had a living museum to hand -- a microcosm of American colonial architecture.

View more posts that include the work of Miriam Macgregor.

View other posts relating to the Whittington Press.

View other examples of pochoir illustration.

View other books from the collection of Dennis Bayuzick.

View more Fine Press Friday Posts.

[kecobe]

La Danse = The Dance George Barbier (French; 1882–1932) Pl. XI in Modes et Manières d'Aujourd’hui (1914) Pochoir print FIT Gladys Marcus Library, Special Collections & College Archives, New York

Je suis beau. Mon corps maigre que vêt une ample robe d’or s’incruste dans le panneau de laque noir….. (I am beautiful. My lean form, clothed in a loose golden dress, blends into the black lacquer panel…..)

[mote-historie]

1913 Victor Lhuer, Costumes Parisiens. Charmeuse robe trimmed with sable and ermine. Ermine vest. Clergyman shoes. (Robe de charmeuse garnie de zibeline et d'hermine. Ghilet d'hermine. Souliers clerggyman). Journal des Dames et des Modes.

This remarkable pochoir fashion print is from Journal des Dames et des Modes, Costumes Parisiens. The work was published between 1912 and 1914 with only 1,279 copies printed in total. Leading artists of the time contributed to the Journal including Barbier, Brunelleschii, Bakst, J. van Brock, Wegener, Drian, and many others.Journal des Dames sought to be an expression of French elegance. It showed the fashion and also the culture of the early 20th century. Each illustration was printed on high quality paper using excellent pochoir coloring. Pochoir is created when single layers of color are added by hand to a lithograph using a stencil.George Barbier's contributions to this work are particularly desirable. He contributed greatly to design in this era and also had work featured in Vogue. --- The work is in very good to excellent condition overall. There may be a few minor imperfections or faint marks to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 5 1/2" by 8 3/4". Seller Inventory # dames128. 

AbeBooks

[arron-foster-studio]

……

And now for something completely different.

Spaces places moments past.

Intaglio with Pochoir.

13”x9”

2022

Edition of 15

Sure good time.

#intaglio #etching #printmaking #art

#contemporaryart #contemporaryprintmaking #artistoninstagram #ohio #kentohio #ohiortist #peopleofprint

[artdecoandmodernist]

1924 Fans (Éventails), detail from Le Bonheur du Jour; ou, Les Graces à la Mode. George Barbier. Pochoir. 

For sale: Met Costume Prints

[onlinebodybag]

what do you see?

3/3

complex pochoir on paper

[benjaloo]

The Dreyfus affair, day 7--the retrial and denouement: Saturday W42Y3

[betzinihilo]

• • • • • • Samson slaying ENI lion from A.Dürer, Samson slaying the lion(1498) Spraypaint on paper 300gsm 65x60cm #stencil, #stencilart, #pochoir, #plantilla, #sprayart, #artwork, #stencilartist, #streetart, #gas, #streetartistry, #streetarteverywhere, #print, #artoftheday, #artofvisuals, #artgallery, #artlovers, #lion, #energy, #fuel, #spraycanart, #spraypaint, #spraycan, #schablone, #stenciling, #stencilartwork, #stencilwork, #stencilpainting, #durer, #graffitiart, #engraving https://www.instagram.com/p/CpNFIM0oQw4/?igshid=NGJjMDIxMWI=

[sassafrasmoonshine]

Georges Barbier (French, 1882-1932), illustrator • Incantation • illustration for Gazette du Bon Ton • 1922 • Pochoir print • Private Collection

[psikonauti]

Umberto Brunelleschi (Italian,1879-1949)

C'etait le soir des dieux

pochoir

[the1920sinpictures]

1925 c. Hand-colored pochoir ad print for Gotham Silk Hosiery Company, signed by Hoffe. From Art Deco, Avant Garde and Modernism, FB.

[uwmspeccoll]

Shakespeare Weekend!

This weekend we are sharing Shakespeare’s historical drama, Henry the Fourth, Part II, the tenth volume of the thirty-seven volume The Comedies Histories & Tragedies of William Shakespeare, published by the Limited Editions Club (LEC) from 1939-1940. This play was likely written between 1596 and 1599. It was first printed in the First Folio in 1623. 

This volume was illustrated by the English painter and illustrator Edward Bawden (1903-1989). His watercolor illustrations were reproduced in print and pochoir. Bawden expressed that to his surprise and satisfaction his illustrations had never been so exquisitely reproduced as they are in this edition. 

His one full page illustration and ten smaller illustrations, two to a page, have the feeling of a storyboard. They appear to be quick gestural drawings with the affect of a cartoon. Washes of color add some specificity to scenes and characters. 

The volume was printed in an edition of 1950 copies at the Press of A. Colish. Each of the LEC volumes of Shakespeare’s works are illustrated by a different artist, but the unifying factor is that all volumes were designed by famed book and type designer Bruce Rogers and edited by the British theatre professional and Shakespeare specialist Herbert Farjeon. Our copy is number 1113, the number for long-standing LEC member Austin Fredric Lutter of Waukesha, Wisconsin.

View more Limited Edition Club posts.

View more Shakespeare Weekend posts.

-Teddy, Special Collections Graduate Intern

[newyorkthegoldenage]

William H. Johnson, Blind Singer, ca. 1940. Screenprint with tempera additions.

Johnson was among the foremost painters of African-American life during the Harlem Renaissance. Born in South Carolina and educated in fine arts in New York and Provincetown, Johnson spent most of his time from the mid-1920s to the late 1930s in Europe, where he was influenced by Post-Impressionism and Expressionism. After achieving critical acclaim abroad, he returned to New York permanently in 1938 under the threat of war and with a desire to reconnect to his roots. The move produced a dramatic change in his work. Assigned by the government's Works Progress Administration to teach at the Harlem Community Art Center, Johnson became immersed in the sights, sounds, and people of New York's African-American community, which he captured in compositions of flat shapes, patterned designs, and brilliant colors that were distinctly modernist in their simplicity and directness.

During his lifetime, Johnson created more than seventy-five prints. While in Europe he produced woodcuts and linoleum cuts, usually with hand coloring, inspired by the raw power of German Expressionism. After returning to New York, he took up screenprint and pochoir, techniques that suited his new embrace of simplified forms and bold colors. He printed these works on assorted found papers and often completed his images by hand with tempera, making each print slightly different from the next. He frequently experimented with subjects by printing compositional variants and also rendering them in drawing and painting, each format enriching the other, but with the printed versions the most simplified of all.

Notable among Johnson's New York prints are those that capture the essence of Harlem's fashion, music, and dance. This print, entitled Blind Singer, shows a pair of musicians in an open-air performance that was common on the city's bustling streets. The composition's flatness, pure color, and orchestrated angularity endow this still image with a sense of rhythmic motion and dynamic energy. --Judy Hecker, in Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art

Photo & text: MoMA