Current Ways With Color Prints: Works in Exhibition
Max Kahn, Sleeping Child, Lithograph- Three stones. Three proofs and the final print.
Max Kahn, Ride by the Black Moon, Lithograph- Three stones.
Alice Mason, Memory of an Old Garden, Lithograph- One stone. Mezzotint with scratch work.
Alice Mason, Michigan Forrest, Lithograph- Three stones. Proofs from stones 2 an d 3; print from 1, 2, and 3, showing transparent mezzotint on the first stone; the final print, with overprint of green.
Alice Mason, Sassafras, Lithograph- Two stones. Proof from stone 2; the tusch painting. The final print; tusch painting printed over semi-transparent mezzotint ground.
Alice Mason, Late Summer, Lithograph- Four stones.
Alice Mason, Fungus Growth, Lithograph- Five stones.
Vera Berdich, Time Being Day by Day, 1953, Color Etching from One Plate. The final color print, and two earlier states printed black. Lift-ground aquatint, soft-ground, and line etching, with some engraving and mezzotint.
Vera Berdich, Time Different from the Present, 1949, Color Etching from One Plate. The final color print, and an earlier state printed in black. Aquatint, soft-ground, line etching, and some engraving.
Vera Berdich, The Blue Door, 1948, Color Etching from One Plate. The copper plate and the final color print, with two of the earlier states. Soft-ground etching with actual leaves, aquatint, line etching, and bite-out for high relief.
Frances Foy, Rubrum Lilies, 1952, Serigraph.
Rowena Fry, Garden in Winter, Serigraph.
Warrington Colescott, Naked Dance, Serigraph.
Grace Spongberg, Open Shutters, Serigraph.
Ethel Spears, Winter, Serigraph.
Ethel Spears, Punch and Judy Show, Tuileries Gardens, Paris, Serigraph.
Max Kahn, Singing Birds, Woodcut- from three blocks. The final print and two of the blocks. The yellow (tone) block is carved on the back of the black (key) block.
Charles Smith, Moving Shapes, Block painting- (Wall of outer office).
Fred Biesel, Butterflies, Linoleum cuts from one block.
Fred Biesel, Fish, Linoleum cuts from one block- The print of block.
Fred Biesel, Convention of Birds, Linoleum cuts from one block- Impressions printed in different colors.
Fred Biesel, Flower Patterns (in case), Linoleum cuts from one block. Five working drawings leading to the final design traced on the block; an impression of the final print in brown on colored paper; and two proofs in different colors, on papers of varied hues and textures.
Roland Ginzel, The Insect, Color Etchings from Multiple Plates. The working design in colored inks; six proofs from the color plates; the black plate, and the final color print. Aquatint and line etching, soft-ground, stippled hard-ground, scraping, engraving, hand drill, and punch work. Metal leaf applied by hand.
Roland Ginzel, The Equinox, Color Etchings from Multiple Plates. The final color print, with two proofs from the black plate. A variety of inaglio processes were used. Compared the wall chart with analysis of The Insect.
Seong Moy, Dancer in Motion, Woodcuts- Printed in ten colors from four blocks.
Seong Moy, Study of Kuang Kung, 1952, Woodcuts- Study of Kuang Kung. From two blocks.
Adya Yunkers, Head of a Traveller, Woodcut- Printed in twenty-two colors from seven blocks
Adya Yunkers, Miss Ever-Ready, Woodcut.
Gabor Peterdi, Sunken Treasures, Color etchings- etching, relief-bitten.
Gabor Peterdi, Sponge Fisher, Color etching.
Richard Guy Walton, The Malefactors. Thirteen from a series of sixteen paintings in which the artist has incorporated some graphic processes to achieve the textures and effects desired.
Adrian Troy, Rupestrian Africa, Linoleum Cut- Printed from one block. Colors are applied to block by hand. No press is used; impressions are hand rubbed.