Art Market News
Posted: 03/12/2025
Posted by: ronald fleming
peter paul rubens and his printmakers
rubens and his printmakers and copyright
Laurel,
MD, United States
03/27/2025
there are many roles that artists bring not only reflect our world but also shapes it our focus is on printers form long ago and todays artist captured the essence of the time they lived in painter express their thoughts and ideas in the works that was painted for example the artist of the 16th century peter paul rubens a highly charged composition reference erudite asects of classical and christian history we want to take a closer look at rubens art and his printmakers from 1615 to 1624 particularly two creations rubens first idea in making a print 1615 to 1617 rubens and franc snyders collaborated on a painting that franc snyders had already painted it was called the wreath of fruit in 1619 rubens obtained authority to copyright his images and hire printmakers to translate his composition into engraving the second printing plate that rubens gave authorit to make was the assumption of the virgin
Conference or Symposium Announcement
Posted: 03/09/2025
Posted by: ronald fleming
peter paul rubens and his printmakers
ron fleming
rubens meg ship copyright
M D ,
MD, Italy
03/12/2025-03/19/2025,
4 to 6
THERE are many roles that artists being not only reflect our world but also shapes it our focus is on painters and printmakers form european renaissance particularly two creations rubens first idea in making a print in 1615 to 1617 the collaboration on painting the wreath of fruit where first copyright began
General Announcement
Posted: 03/04/2025
Posted by: Thomas Cox
Universal Limited Art Editions, the First Twenty-Five Years – Update to the Art Institute of Chicago’s catalogue raisonné
New York City,
NY, United States
A vital update to the Art Institute of Chicago’s catalogue raisonné, Universal Limited Art Editions, the First Twenty-Five Years (1957-1982) is now available in a pre-publication edition.
Researched and compiled over eleven years by Tony Towle, Secretary and Administrative Assistant to Tatyana Grosman from 1964-1981, the letter-sized, 28-page booklet can be kept under the catalogue’s front cover for easy reference to its 600 errors and corrections.
The booklet, presently in a proof (trial) edition of 50 copies, will be succeeded by an official edition; the information, however, will not change from the proof edition, but the price likely will.
The few remaining booklets are being offered at $30 each, including first class mail in the United States. Please send an email to reserve a copy or to request additional information.
ThomasCoxArtist@gmail.com
Researched and compiled over eleven years by Tony Towle, Secretary and Administrative Assistant to Tatyana Grosman from 1964-1981, the letter-sized, 28-page booklet can be kept under the catalogue’s front cover for easy reference to its 600 errors and corrections.
The booklet, presently in a proof (trial) edition of 50 copies, will be succeeded by an official edition; the information, however, will not change from the proof edition, but the price likely will.
The few remaining booklets are being offered at $30 each, including first class mail in the United States. Please send an email to reserve a copy or to request additional information.
ThomasCoxArtist@gmail.com
Conference or Symposium Announcement
Posted: 02/24/2025
Posted by: Clayton Lewis
AHPCS 2025 Annual Meeting: Registration Open!
American Historical Print Collectors Society
Cleveland Museum of Art / Western Reserve Historical Society / Cleveland Public Library / Glidden House
Cleveland,
OH, United States
04/24/2025-04/27/2025,
9am-7pm
Get ready for an unforgettable experience on April 24-27th at the 49th Annual Meeting of the AHPCS, set in Cleveland’s vibrant and culturally rich University Circle.
Widely celebrated as the #1 arts district in the country by USA Today in 2021, University Circle is a haven for culture and history. And for AHPCS members, the timing couldn’t be better—our visit will coincide with the Print Club of Cleveland’s annual Fine Print Fair at the Cleveland Museum of Art.
All of this cultural splendor is just a short stroll away from our conference home base, the historic Glidden House hotel. Built in 1910 as a grand residence, the Glidden House retains much of its original charm, including its elegant library, parlor, and loggia, offering a unique and inspiring atmosphere for our gathering.
We've planned a fantastic set of lectures, museum visits, and delicious meals. Join us in Cleveland for this must-attend event for print
Widely celebrated as the #1 arts district in the country by USA Today in 2021, University Circle is a haven for culture and history. And for AHPCS members, the timing couldn’t be better—our visit will coincide with the Print Club of Cleveland’s annual Fine Print Fair at the Cleveland Museum of Art.
All of this cultural splendor is just a short stroll away from our conference home base, the historic Glidden House hotel. Built in 1910 as a grand residence, the Glidden House retains much of its original charm, including its elegant library, parlor, and loggia, offering a unique and inspiring atmosphere for our gathering.
We've planned a fantastic set of lectures, museum visits, and delicious meals. Join us in Cleveland for this must-attend event for print
Relevant research areas: North America, 18th Century, 19th Century, 20th Century, Contemporary, Book arts, Engraving, Etching, Lithography, Relief printing
Exhibition Information
Posted: 02/13/2025
Posted by: Cori Sherman North
89th Annual Members Exhibition of the Society of American Graphic Artists
Juror Jenn Bratovich of Print Center New York; Cori Sherman North, Ron Michael.
Birger Sandzén Memorial Gallery,
Lindsborg,
KS, United States.
01/26/2025 -
04/20/2025.
This traveled exhibition features selections from the Society of American Graphic Artists’ (SAGA) 89th
Annual Members Exhibition. First opened in New York City Oct 22 - Nov 3, 2024, a selection of the works from printmakers were around the country were chosen by Gallery curator, Cori Sherman North, and director, Ron Michael, to make a special encore in the Midwest. The Gallery's namesake, Birger Sandzén (1871-1954), was an active member of the print society during his lifetime, when it was known first as the Society of Brooklyn Etchers (est. 1915) and through its time as the Society for American Etchers, Gravers, Lithographers, and Woodcutters.
Annual Members Exhibition. First opened in New York City Oct 22 - Nov 3, 2024, a selection of the works from printmakers were around the country were chosen by Gallery curator, Cori Sherman North, and director, Ron Michael, to make a special encore in the Midwest. The Gallery's namesake, Birger Sandzén (1871-1954), was an active member of the print society during his lifetime, when it was known first as the Society of Brooklyn Etchers (est. 1915) and through its time as the Society for American Etchers, Gravers, Lithographers, and Woodcutters.
Relevant research areas: North America, Contemporary, Collograph, Engraving, Etching, Lithography, Monoprinting, Relief printing, Screenprinting
Exhibition Information
Posted: 02/13/2025
Posted by: Cori Sherman North
Highlights from the Sandzén-Greenough Family Print Collection
Cori Sherman North.
Birger Sandzén Memorial Gallery,
Lindsborg,
KS, United States.
01/26/2025 -
04/20/2025.
Exhibiting artist(s): Anders Zorn, Rembrandt, Albrecht Dürer, John Taylor Arms, Grant Wood, Auguste Lepère, Georg Pencz, Doel Reed, Norma Bassett Hall, B.J.O. Nordfeldt, Bertha Jaques, Natori Shunsen, Gene Kloss, Charles Meryon, Edmund Blampied, Herschel Logan, and others.
Highlights from the Sandzén-Greenough Family Collection features (55) examples of etchings,
engravings, mezzotints, lithographs, and color woodcuts in the Sandzén Gallery’s permanent collection of about
8,000 works on paper. Selections on display cover an astonishing international range: Japanese color woodcuts,
French revival landscape etchings, early German “Little Masters” and Albrecht Dürer woodcuts, Dutch old
masters such as Rembrandt etchings, exquisite European portrait engravings, Swedish etchings of Anders Zorn,
B.J.O. Nordfeldt white-line woodcuts, American Regional lithographs by Grant Wood and Thomas Hart
Benton, and more. Birger Sandzén was actively involved in most of the print societies around the country,
including the Chicago Society of Etchers (1910), the Print Makers of California (1914), and the Brooklyn
Society of Etchers (1915) which went through several name changes to become what is now SAGA (Society of
American Graphic Artists), before organizing the Prairie Print Makers at his home studio in December of 1930. He was
invited to be a charter member of Kansas City’s Woodcut Society in 1932, and collected all that Society’s
presentation prints issued twice-yearly through 1947. Sandzén also joined the Society of Print Connoisseurs in
1945, as a collecting member to add commissioned prints such as Gene Kloss’ 1948 drypoint, Processional-
Taos (in this exhibition), to his personal collection.
Once Sandzén was firmly settled in central Kansas and teaching at Bethany College from 1894, he
began his own collection of original prints. When his daughter Margaret married Charles Pelham Greenough 3rd
in 1942, Sandzén found a kindred spirit as his son-in-law's print collection was as varied and deep as his own.
The family collection was eventually inherited by the Greenoughs, who opened the Birger Sandzén Memorial
Gallery in 1957 to host contemporary guest artists and to share their paintings, prints, and sculpture with a wider
audience.
engravings, mezzotints, lithographs, and color woodcuts in the Sandzén Gallery’s permanent collection of about
8,000 works on paper. Selections on display cover an astonishing international range: Japanese color woodcuts,
French revival landscape etchings, early German “Little Masters” and Albrecht Dürer woodcuts, Dutch old
masters such as Rembrandt etchings, exquisite European portrait engravings, Swedish etchings of Anders Zorn,
B.J.O. Nordfeldt white-line woodcuts, American Regional lithographs by Grant Wood and Thomas Hart
Benton, and more. Birger Sandzén was actively involved in most of the print societies around the country,
including the Chicago Society of Etchers (1910), the Print Makers of California (1914), and the Brooklyn
Society of Etchers (1915) which went through several name changes to become what is now SAGA (Society of
American Graphic Artists), before organizing the Prairie Print Makers at his home studio in December of 1930. He was
invited to be a charter member of Kansas City’s Woodcut Society in 1932, and collected all that Society’s
presentation prints issued twice-yearly through 1947. Sandzén also joined the Society of Print Connoisseurs in
1945, as a collecting member to add commissioned prints such as Gene Kloss’ 1948 drypoint, Processional-
Taos (in this exhibition), to his personal collection.
Once Sandzén was firmly settled in central Kansas and teaching at Bethany College from 1894, he
began his own collection of original prints. When his daughter Margaret married Charles Pelham Greenough 3rd
in 1942, Sandzén found a kindred spirit as his son-in-law's print collection was as varied and deep as his own.
The family collection was eventually inherited by the Greenoughs, who opened the Birger Sandzén Memorial
Gallery in 1957 to host contemporary guest artists and to share their paintings, prints, and sculpture with a wider
audience.
Relevant research areas: North America, Western Europe, East Asia, Renaissance, Baroque, 18th Century, 19th Century, 20th Century, Contemporary, Engraving, Etching, Lithography, Relief printing
Exhibition Information
Posted: 02/13/2025
Posted by: Liz Dooley
The Future is Today: Prints and the University of Warwick 1965 to now
Sarah Shalgosky, Liz Dooley, Thomas Ellmer.
Mead Gallery, University of Warwick,
Coventry,
--, United Kingdom.
01/16/2025 -
03/09/2025.
Exhibiting artist(s): Richard Hamilton, Andy Warhol, David Hockney, Le Corbusier, Josef Albers, Polly Apfelbaum, Sonia Boyce, Christian Noelle Charles, Lubaina Himid, Ed Ruscha, Robert Rauschenberg, Khadija Saye, Sin Wai Kin, Paula Rego, Damien Hirst, Tracey Emin, Leonie Bradley, Ciara Phillips, Peter Blake, Julian Opie, Yinka Shonibare, Emma Stibbon, Paule Vezelay, Quinlan and Hastings, Ruth Ewan.
in 1965, the students at the new University of Warwick began to imagine the future. Sixty years later, this exhibition explores what has changed in society since that time through the lens of the University Art Collection and its prints.
The exhibition features the works of over 60 artists and includes work by an early generation of printmakers including Josef Albers and Le Corbusier; works by a new generation in the 1960s who used screen printing to make images drawn from mass media to challenge social norms. These include Peter Blake, David Hockney, Richard Hamilton and Andy Warhol. From these beginnings, later prints in the University Art Collection present a wide range of ideas and attitudes by artists including Polly Apfelbaum, Sonia Boyce, Christian Noelle Charles, Lubaina Himid, Yinka Ilori, Lakwena, Khadija Saye, George Shaw and Emma Stibbon. The exhibition includes loans of major works by Ruth Ewan, Ellen Gallagher, David Hockney, Ciara Phillips, Robert Rauschenberg, Ed Ruscha, Shanzhai Lyric and Sin Wai Kin.
The exhibition is home to a free, working print studio where visitors can work with our studio technician to make their own monoprints inspired by the exhibition.
The exhibition features the works of over 60 artists and includes work by an early generation of printmakers including Josef Albers and Le Corbusier; works by a new generation in the 1960s who used screen printing to make images drawn from mass media to challenge social norms. These include Peter Blake, David Hockney, Richard Hamilton and Andy Warhol. From these beginnings, later prints in the University Art Collection present a wide range of ideas and attitudes by artists including Polly Apfelbaum, Sonia Boyce, Christian Noelle Charles, Lubaina Himid, Yinka Ilori, Lakwena, Khadija Saye, George Shaw and Emma Stibbon. The exhibition includes loans of major works by Ruth Ewan, Ellen Gallagher, David Hockney, Ciara Phillips, Robert Rauschenberg, Ed Ruscha, Shanzhai Lyric and Sin Wai Kin.
The exhibition is home to a free, working print studio where visitors can work with our studio technician to make their own monoprints inspired by the exhibition.
Relevant research areas: Contemporary, Collograph, Digital printmaking, Etching, Letterpress, Lithography, Monoprinting, Relief printing, Screenprinting
Conference or Symposium Announcement
Posted: 02/13/2025
Posted by: Paula Fayos-Perez
De Goya à Delacroix. Les Caprices dans la France du 19e siècle
Musée National Eugène Delacroix
Musée National Eugène Delacroix
Paris,
France
03/06/2025,
6:30 pm
Echoing the presentation ‘Is this a Delacroix? The art of copying’, the Musée Delacroix invites you to the lecture “From Goya to Delacroix: the Caprichos in 19th-century France” given by Paula Fayos-Pérez, postdoctoral researcher in Art History, in the heart of the painter's studio. [Presentation given in French]
The conference looks at the impact of Goya's Caprichos on 19th-century French art, particularly on the work of Eugène Delacroix. While the interest of the French public and the Romantic generation in Goya reached its peak in the 1830s, Delacroix was a pioneer, beginning to copy this print series around 1819. Deeply linked to his interest in caricature, expressivity and the grotesque, the Caprichos became part of his artistic imagination and led him to produce, in the following years, numerous Goyesque figures that appeared directly or indirectly in his graphic and pictorial work (as, for example, in Faust). His almost obsessive interest in Goya was part of a wider context marked by the 'Romantisme noir', a taste for Spanish art and orientalism, and he was part of the ‘Goya network’ to which artists and writers such as Théophile Gautier, Victor Hugo, Louis Boulanger, Alfred de Musset and George Sand belonged.
The conference looks at the impact of Goya's Caprichos on 19th-century French art, particularly on the work of Eugène Delacroix. While the interest of the French public and the Romantic generation in Goya reached its peak in the 1830s, Delacroix was a pioneer, beginning to copy this print series around 1819. Deeply linked to his interest in caricature, expressivity and the grotesque, the Caprichos became part of his artistic imagination and led him to produce, in the following years, numerous Goyesque figures that appeared directly or indirectly in his graphic and pictorial work (as, for example, in Faust). His almost obsessive interest in Goya was part of a wider context marked by the 'Romantisme noir', a taste for Spanish art and orientalism, and he was part of the ‘Goya network’ to which artists and writers such as Théophile Gautier, Victor Hugo, Louis Boulanger, Alfred de Musset and George Sand belonged.
Exhibition Information
Posted: 01/29/2025
Posted by: Heike Berl
Paper Biennial – Metamorphoses
Centre d'Art Camille Varlet,
Moret sur Loing,
France.
01/31/2025 -
02/09/2025.
The Paper Biennial "Metamorphoses" features 40 selected, international artists presenting paper works in different styles: handmade paper, recycled paper, assembled, painted, chewed, glued, engraved, cut, embossed, sewn, woven, knitted and sculpted. Some 15 workshops are on offer over the 10 days of the exhibition in Moret sur Loing (near Paris).
Conference or Symposium Announcement
Posted: 01/15/2025
Posted by: Lisa Pon
Big Paper: Large Design in the Renaissance
Lisa Pon
USC-Huntington Early Modern Studies Institute
San Marino,
CA, United States
01/24/2025-01/25/2025,
9:30am - 4:00pm
BIG PAPER is a play on the Italian word cartone, the art historical term for a preparatory drawing made on a one-to-one scale to the final work: carta = paper and -one = big. In the Renaissance, these cartoons were made during the production of wall-sized expanses of frescoes, tapestries and stained glass. This public conference explores paper in early modern Europe in terms of its use as sheets, pieces joined together or bound codices; relationships between books, bodies, and architectural space; period notions of “scale” and design; and the ties between drawing, monument, and myth. Thus, we take “big” to mean large in material size, but also in terms of intellectual and artistic possibilities, as well as geographic and imaginative scope.
SPEAKERS: Juliana Barone, Shira Brisman, Tracy Cosgriff, Mari Yoko Hara, Heather Macdonald, Maurizio Michelozzi, Morgan Ng, and Michael Waters
CHAIRS: Claire Farago, Frederic Nolan Clark, Lisa Pon
RSVP by January 17 at https://docs.google.com/forms/d/e/1FAIpQLSf-3l1HAS6SU0sICFARfSN-dsgUww7h_AfTUVCpJZxmBP4_Tw/viewform
SPEAKERS: Juliana Barone, Shira Brisman, Tracy Cosgriff, Mari Yoko Hara, Heather Macdonald, Maurizio Michelozzi, Morgan Ng, and Michael Waters
CHAIRS: Claire Farago, Frederic Nolan Clark, Lisa Pon
RSVP by January 17 at https://docs.google.com/forms/d/e/1FAIpQLSf-3l1HAS6SU0sICFARfSN-dsgUww7h_AfTUVCpJZxmBP4_Tw/viewform