Art Market News
Posted: 03/17/2023
Posted by: Association of Print Scholars
Paris Print Fair
Paris Print Fair/Salon de l’Estampe
Paris,
France
03/22/2023
You're invited to the second edition of the Paris Print Fair, running alongside the Salon de Dessins. The VIP Opening is Wednesday, 22 March 4-9pm (Paris time); with the fair open to visitors: 23-26 March. Located at Réfectoire du Couvent des Cordeliers, (15 rue de l’École de Médecine), 20 exhibitors will present showcasing their works.
Please visit the link below for more information.
Please visit the link below for more information.
Art Market News
Posted: 03/17/2023
Posted by: Association of Print Scholars
London Print Fair
Somerset House
London,
United Kingdom
03/30/2023
This year marks the 38th Edition of the Fair and brings together over 40 top international print dealers, publishers and studios. With works spanning six centuries of printmaking, the Fair will include significant pieces by world renowned artists including Dürer, Rembrandt, Picasso, Hockney, Riley and Rego.
Launching at the Fair will be new work by Harland Miller, Gavin Turk, Grayson Perry, Tracey Emin, David Shrigley and Brian Eno. Founded in 1985, LOPF is London’s longest running art fair, offering visitors an unparalleled opportunity to explore, learn about and collect works by some of the world’s greatest masters, alongside new pieces by rising talents, hot off the press. Celebrating printmaking in all its forms, the Fair will have something for everyone with a programme of inspiring talks and live demonstrations.
Please visit the link below for event info.
Launching at the Fair will be new work by Harland Miller, Gavin Turk, Grayson Perry, Tracey Emin, David Shrigley and Brian Eno. Founded in 1985, LOPF is London’s longest running art fair, offering visitors an unparalleled opportunity to explore, learn about and collect works by some of the world’s greatest masters, alongside new pieces by rising talents, hot off the press. Celebrating printmaking in all its forms, the Fair will have something for everyone with a programme of inspiring talks and live demonstrations.
Please visit the link below for event info.
Conference or Symposium Announcement
Posted: 03/15/2023
Posted by: Helena E. Wright
Photomechanical Symposium – Registration now OPEN
FAIC
Washington,
DC, United States
10/30/2023-11/03/2023,
9 am - 5 pm daily
Registration is now open for FAIC’s "Photomechanical Prints: History, Technology, Aesthetics, and Use" symposium. The symposium will take place at the National Gallery of Art in Washington, DC on October 31 - November 2, 2023. The registration fee is $199 for members of the American Institute for Conservation, $249 for non-members, and $119 for students.
Workshops and tours will take place on October 30 and November 3. Applications are currently being accepted for workshop on collotype printing, photogravure printing, and processes identification. Interested individuals must apply by April 1 to be considered for a workshop. Tours of photomechanical collections in prominent local institutions will be offered. Registration will open at the beginning of May on a first-come first-serve basis.
For roughly 150 years, people have been accustomed to seeing photomechanical prints on a daily basis. Prints exist in a variety of milieus with multiple variations over time, use, and geography. Historic and contemporary examples are prevalent in museums, libraries, archives, and personal collections worldwide. Photomechanical prints were developed to fill many needs including practical and economical methods for mass reproduction, techniques to facilitate the simultaneous printing of images and text, increased image permanence, a perception of increased truthfulness and objectivity, and an autonomous means of artistic expression. They exist at the intersections of numerous disciplines: photography and printmaking, functional and artistic practices, the histories of photography and the graphic arts, and the specialties of paper and photograph conservation.
The program will provide an opportunity for conservators, curators, historians, scientists, collections managers, catalogers, archivists, librarians, educators, printmakers, artists, and collectors to convene and collaborate while exploring all aspects of photomechanical printing. The resulting advancement of our collective understanding of these ubiquitous but under-researched materials will allow for new interpretations and improved approaches to their collection, interpretation, preservation, treatment, and display.
The program schedule, abstracts, and workshop information can be found at https://learning.culturalheritage.org/p/photomechanical. Register for the symposium and apply for the workshops now!
Workshops and tours will take place on October 30 and November 3. Applications are currently being accepted for workshop on collotype printing, photogravure printing, and processes identification. Interested individuals must apply by April 1 to be considered for a workshop. Tours of photomechanical collections in prominent local institutions will be offered. Registration will open at the beginning of May on a first-come first-serve basis.
For roughly 150 years, people have been accustomed to seeing photomechanical prints on a daily basis. Prints exist in a variety of milieus with multiple variations over time, use, and geography. Historic and contemporary examples are prevalent in museums, libraries, archives, and personal collections worldwide. Photomechanical prints were developed to fill many needs including practical and economical methods for mass reproduction, techniques to facilitate the simultaneous printing of images and text, increased image permanence, a perception of increased truthfulness and objectivity, and an autonomous means of artistic expression. They exist at the intersections of numerous disciplines: photography and printmaking, functional and artistic practices, the histories of photography and the graphic arts, and the specialties of paper and photograph conservation.
The program will provide an opportunity for conservators, curators, historians, scientists, collections managers, catalogers, archivists, librarians, educators, printmakers, artists, and collectors to convene and collaborate while exploring all aspects of photomechanical printing. The resulting advancement of our collective understanding of these ubiquitous but under-researched materials will allow for new interpretations and improved approaches to their collection, interpretation, preservation, treatment, and display.
The program schedule, abstracts, and workshop information can be found at https://learning.culturalheritage.org/p/photomechanical. Register for the symposium and apply for the workshops now!
Relevant research areas: 19th Century, 20th Century, Contemporary, Digital printmaking, Engraving, Etching, Lithography, Relief printing
Exhibition Information
Posted: 03/05/2023
Posted by: Association of Print Scholars
GRABADO POPULAR: PRINTS FOR THE PEOPLE
Chicago Printmakers Collaborative Gallery,
Chicago,
IL, United States.
03/18/2023 -
05/27/2023.
A show by Carlos Barberena, Atlan Arceo-Witzl, & CHema Skandal.
Please visit the link below for information about gallery hours and exhibition programming.
Please visit the link below for information about gallery hours and exhibition programming.
Exhibition Information
Posted: 03/05/2023
Posted by: Association of Print Scholars
New to the Museum: Prints, Drawings, and Photographs
St. Louis Art Museum,
St. Louis,
MO, United States.
04/14/2023 -
07/09/2023.
Mirroring the expansive nature of the Museum’s collection, recently acquired works on paper represent a wide variety of media and cultures and span 500 years, from an early 16th-century woodcut to a digital work created in a virtual platform from 2017 by the Indigenous artist Skawennati. New to the Museum: Prints, Drawings, and Photographs will showcase many of these rare and fascinating works.
More than 2,400 works on paper have entered the Museum’s collection since the 2016 exhibition A Decade of Collecting: Prints, Drawings, and Photographs. Since then, several exhibitions focused on vernacular photography, early modern European prints, Black abstraction, and contemporary art, have featured recent acquisitions. New to the Museum celebrates new arrivals that have not yet been displayed.
More than 2,400 works on paper have entered the Museum’s collection since the 2016 exhibition A Decade of Collecting: Prints, Drawings, and Photographs. Since then, several exhibitions focused on vernacular photography, early modern European prints, Black abstraction, and contemporary art, have featured recent acquisitions. New to the Museum celebrates new arrivals that have not yet been displayed.
Exhibition Information
Posted: 02/27/2023
Posted by: Suzanne Karr Schmidt
Pop-Up Books through the Ages
Suzanne Karr Schmidt.
Newberry Library,
Chicago,
IL, United States.
03/21/2023 -
07/15/2023.
Exhibiting artist(s): Hannah Batsel, Vincenzo Coronelli, Albrecht Dürer, Lothar Meggendorfer, Giulio Sanuto, Shawn Sheehy, Kara Walker .
Pop-up books have a longer history than you might think. For centuries, books with interactive flaps, dials, and other moving parts have captivated readers of all ages.
Pop-up books go back centuries. Since at least the 1100s, readers have been lifting flaps, spinning dials, and opening elaborate three-dimensional spreads in the pages of books. The earliest interactive texts were intended for scholars. Over time, pop-up books found new audiences and grew in popularity, engaging a wide range of users from emperors to mathematicians to children.
Featuring books, maps, and ephemera from the Newberry collection, Pop-Up Books through the Ages traces the extensive history of hands-on reading. Tactile, interactive components can be found in everything from a 1483 astronomical calendar and a 1775 battle map to a 1932 edition of Pinocchio. Viewing these different items in one place, visitors will see how the art, science, and business of pop-up books evolved over hundreds of years.
In addition to exploring the past, the exhibition highlights the present and future of pop-up books, including the work of contemporary book and paper artists who are pushing the form in new directions. Two of these artists, Hannah Batsel and Shawn Sheehy, have even designed a pop-up version of the Newberry that you can take home and construct yourself!
Pop-Up Books through the Ages is generously supported by The National Endowment for the Arts, the Gladys Krieble Delmas Foundation, Professor James H. Marrow and Dr. Emily Rose, Alan Templeton, Diane and Richard Weinberg, and The Movable Book Society.
HOURS
Tuesday – Thursday
10am – 7pm
Friday and Saturday
10am – 5pm
Admission for Newberry exhibitions is free. No advance registration required.
GUIDED PUBLIC TOURS
Visit for a free docent-led tour of Pop-Up Books through the Ages.
Tuesdays at 1pm
Thursdays at 11:30am
Fridays at 1pm
Saturdays at 1pm
Pop-up books go back centuries. Since at least the 1100s, readers have been lifting flaps, spinning dials, and opening elaborate three-dimensional spreads in the pages of books. The earliest interactive texts were intended for scholars. Over time, pop-up books found new audiences and grew in popularity, engaging a wide range of users from emperors to mathematicians to children.
Featuring books, maps, and ephemera from the Newberry collection, Pop-Up Books through the Ages traces the extensive history of hands-on reading. Tactile, interactive components can be found in everything from a 1483 astronomical calendar and a 1775 battle map to a 1932 edition of Pinocchio. Viewing these different items in one place, visitors will see how the art, science, and business of pop-up books evolved over hundreds of years.
In addition to exploring the past, the exhibition highlights the present and future of pop-up books, including the work of contemporary book and paper artists who are pushing the form in new directions. Two of these artists, Hannah Batsel and Shawn Sheehy, have even designed a pop-up version of the Newberry that you can take home and construct yourself!
Pop-Up Books through the Ages is generously supported by The National Endowment for the Arts, the Gladys Krieble Delmas Foundation, Professor James H. Marrow and Dr. Emily Rose, Alan Templeton, Diane and Richard Weinberg, and The Movable Book Society.
HOURS
Tuesday – Thursday
10am – 7pm
Friday and Saturday
10am – 5pm
Admission for Newberry exhibitions is free. No advance registration required.
GUIDED PUBLIC TOURS
Visit for a free docent-led tour of Pop-Up Books through the Ages.
Tuesdays at 1pm
Thursdays at 11:30am
Fridays at 1pm
Saturdays at 1pm
Relevant research areas: North America, South America, Western Europe, Medieval, Renaissance, Baroque, 18th Century, 19th Century, 20th Century, Contemporary, Book arts, Engraving, Etching, Letterpress, Lithography, Relief printing
Art Market News
Posted: 02/03/2023
Posted by: Ann Shafer
Baltimore Fine Art Print Fair
Fine Arts Baltimore LLC
Baltimore,
MD, United States
03/30/2023 , 6-9 pm
We're excited to announce the Baltimore Fine Art Print Fair (BFAPF) is in its second iteration and is coming up March 30–April 2, 2023. It is the only all-contemporary print fair in the country. Twenty galleries, dealers, and print publishers present the finest investment-quality, limited-edition contemporary fine art prints, multi-part portfolios, and artist books by the best of established and emerging artists. Converse with the people who, in many cases, made the art, and fall in love with your next acquisition.
This year’s fair kicks off with a VIP Preview Party on Thursday, March 30, from 6:00–9:00 pm. Tickets for this much-anticipated event are $85/person (this ticket includes access to the fair all weekend). Day passes for general public hours on Friday, Saturday, and Sunday are $15/person. Tickets are available at baltimoreprintfair.com.
The Baltimore Fine Art Print Fair takes place on the top floor of the Baltimore Innovation Center, 1100 Wicomico Street, in Baltimore’s Pigtown neighborhood. A three-level parking garage is attached to the building (entrance at 940 Ostend Street). Please note the front door is the only ADA accessible entrance on Wicomico Street.
We're pleased to announce this year's list of BFAPF 2023 exhibitors:
Aspinwall Editions | Hudson, NY
Bleu Acier | Tampa, FL
Center for Contemporary Printmaking | Norwalk, CT
Childs Gallery | Boston, MA
Dolan/Maxwell | Philadelphia, PA
Flatbed Press | Austin, TX
Gemini GEL at Joni Moisant Weyl | New York, NY
Inky Editions | Hudson, NY
Kingsland Editions | Brooklyn, NY
Lily Press | Rockville, MD
Oehme Graphics | Steamboat Springs, CO
Outlaw Printmakers | Park Hills, MO
Overpass Projects | Providence, RI
Pyramid Atlantic | Hyattsville, MD
Solo Impression | Bronx, NY
Stewart & Stewart | Bloomfield Hills, MI
Tandem Press | Madison, WI
VanDeb Editions | Long Island City, NY
Wildwood Press | St. Louis, MO
Two talks are scheduled (so far). On Saturday, April 1, at 1:30 pm, Tom Hück and Ann Shafer will converse about Tom's crazy and wonderful woodcut editions. On Sunday, April 2, at 1:30 pm, Shelley Langdale and Phil Sanders will talk about museums and curators' role in the print ecosystem. Both talks take place within the fair space and are free to day-pass holders.
This year’s fair kicks off with a VIP Preview Party on Thursday, March 30, from 6:00–9:00 pm. Tickets for this much-anticipated event are $85/person (this ticket includes access to the fair all weekend). Day passes for general public hours on Friday, Saturday, and Sunday are $15/person. Tickets are available at baltimoreprintfair.com.
The Baltimore Fine Art Print Fair takes place on the top floor of the Baltimore Innovation Center, 1100 Wicomico Street, in Baltimore’s Pigtown neighborhood. A three-level parking garage is attached to the building (entrance at 940 Ostend Street). Please note the front door is the only ADA accessible entrance on Wicomico Street.
We're pleased to announce this year's list of BFAPF 2023 exhibitors:
Aspinwall Editions | Hudson, NY
Bleu Acier | Tampa, FL
Center for Contemporary Printmaking | Norwalk, CT
Childs Gallery | Boston, MA
Dolan/Maxwell | Philadelphia, PA
Flatbed Press | Austin, TX
Gemini GEL at Joni Moisant Weyl | New York, NY
Inky Editions | Hudson, NY
Kingsland Editions | Brooklyn, NY
Lily Press | Rockville, MD
Oehme Graphics | Steamboat Springs, CO
Outlaw Printmakers | Park Hills, MO
Overpass Projects | Providence, RI
Pyramid Atlantic | Hyattsville, MD
Solo Impression | Bronx, NY
Stewart & Stewart | Bloomfield Hills, MI
Tandem Press | Madison, WI
VanDeb Editions | Long Island City, NY
Wildwood Press | St. Louis, MO
Two talks are scheduled (so far). On Saturday, April 1, at 1:30 pm, Tom Hück and Ann Shafer will converse about Tom's crazy and wonderful woodcut editions. On Sunday, April 2, at 1:30 pm, Shelley Langdale and Phil Sanders will talk about museums and curators' role in the print ecosystem. Both talks take place within the fair space and are free to day-pass holders.
Relevant research areas: North America, Contemporary, Collograph, Digital printmaking, Engraving, Etching, Lithography, Monoprinting, Relief printing, Screenprinting
Exhibition Information
Posted: 01/23/2023
Posted by: Association of Print Scholars
Bearing Witness? Violence and Trauma on Paper
The Fitzwilliam Museum,
Cambridge,
United Kingdom.
01/10/2023 -
04/02/2023.
Spanning almost 400 years, this display of prints and drawings explores some of the ways artists have responded to political violence and social injustice. Drawn from collections at the Fitzwilliam Museum and the Museum of Archaeology and Anthropology, the display surveys different forms of witnessing: works by artists who had direct experience of horrors, or who grew up in the shadow of terrible events; those who were commissioned to give visual form to the words of others, and those who assimilate in their work the trauma of distant ordeals.
The display asks us to think about how violence can be understood or appreciated through art. These artists bear witness to the collectivity of violence, but their works are also about looking. Each tries to draw us in to contemplate their challenging image, sometimes with the intention to shock, but always with the intention to mesmerize. What does it mean to witness violence even at a remove, even years after the events depicted?
The display showcases a recent acquisition of 20 prints by contemporary artist, Marcelle Hanselaar, and is juxtaposed alongside other historic, modern, and contemporary prints and drawings from the permanent collection and loans from the Museum of Archaeology and Anthropology, including works by the Chapman Brothers, Goya, Jane Joseph, Manet, Picasso, and Judy Watson.
Bearing Witness? contains images of trauma, violence, and death.
The display asks us to think about how violence can be understood or appreciated through art. These artists bear witness to the collectivity of violence, but their works are also about looking. Each tries to draw us in to contemplate their challenging image, sometimes with the intention to shock, but always with the intention to mesmerize. What does it mean to witness violence even at a remove, even years after the events depicted?
The display showcases a recent acquisition of 20 prints by contemporary artist, Marcelle Hanselaar, and is juxtaposed alongside other historic, modern, and contemporary prints and drawings from the permanent collection and loans from the Museum of Archaeology and Anthropology, including works by the Chapman Brothers, Goya, Jane Joseph, Manet, Picasso, and Judy Watson.
Bearing Witness? contains images of trauma, violence, and death.
Relevant research areas: 20th Century, Contemporary
Collection News
Posted: 01/23/2023
Posted by: Benjamin Dunham
Emil Jacobi “Re-proofs” go to Library Company of Philadelphia
Benjamin S. Dunham Collection of Emil Jacobi Re-Proofs
Philadelphia,
PA, United States
In November, Ben Dunham's collection of phototype (collotype) “re-proofs” by Emil Jacobi went to their new home in the Graphic Arts Department at the Library Company of Philadelphia. Jacobi once ran the printing facility of Philadelphia photographer Frederick Gutekunst. Jacobi came to Ben’s attention because his reproductions of J. Alphege Brewer’s 1914 etchings of Rheims Cathedral and copies by other printers became the “go-to” art for Americans who supported the Allies or had a family member serving in WWI. Visit Ben’s website devoted to Brewer’s life and work at www.jalphegebrewer.info/
jacobi-re-proofs. With luck and persistence, his extensive collection of Brewer etchings will find a similarly caring repository.
jacobi-re-proofs. With luck and persistence, his extensive collection of Brewer etchings will find a similarly caring repository.
Relevant research areas: North America, 20th Century
General Announcement
Posted: 01/23/2023
Posted by: Amanda Lahikainen
Money and Materiality
Ogunquit, Maine,
ME, United States
The University of Delaware Press published the book Money and Materiality in the Golden Age of Graphic Satire (2022), by Amanda Lahikainen, as part of the series Studies in Seventeenth- and Eighteenth-Century Art and Culture.