Exchange: W19 Docent Print Viewing-Holoka

W19 Docent Print Viewing-Holoka

German
Illustration from an Augsburg Bible (Incunabulum)
hand-colored woodcut on paper
3 ¼ in x 2 7/16 in (8.25 cm x 6.19 cm)
Museum Purchase

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Seven figures wearing brightly colored clothes dance together in a room.

Elizabeth Olds
Harlem Dancers
woodcut on paper
10 1/16 in x 14 ⅛ in (25.56 cm x 35.88 cm)
Allocated by the U.S. Government Commissioned through the New Deal art projects

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A group of four men gently lower a figure into a tomb that is placed parallel to the viewer. To the left is a group of mourners with hands clasped. One female figure kneels at the ledge of the tomb and holds a covered jar. Behind the figures is a rocky landscape with a fence and guard at the gate in the distance at the left. An entrance to a cave is indicated on the right, directly behind the tomb, with the use of dense, dark hatching. At the lower right corner is a circlet of thorny branches.

Albrecht Dürer
The Entombment from "The Small Woodcut Passion"
woodcut print on laid paper
5 in x 3 13/16 in (12.7 cm x 9.68 cm)
Gift of Prof. Eugene and Mrs. Marie Glysson

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This is an abstract multi-colored woodcut print with visible wood grain. The background color is primarily peach. The colors in the print, including blue, green, yellow, white, orange, and brown, appear to drip down and run into each other. <br /><br />
This is 18th in an edition of 30.

Helen Frankenthaler
Tales of Genji I
woodcut on light sienna TGL handmade paper
42 in x 47 in (106.68 cm x 119.38 cm);49 in x 54 in x 2 in (124.46 cm x 137.16 cm x 5.08 cm)
Museum purchase made possible by a gift from Helmut Stern

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This print contains four distinct scenes demarcated by boxes which depict four different incarnations of a deity.

Bernard Picart
Religious Ceremonies and Customs of the People of the World: Incarnations (Avatars) Five through Eight of Vishnu
copper plate engraving on paper
16 9/16 in x 10 3/8 in (42.1 cm x 26.3 cm)
Gift of Professor Walter M. and Nesta R. Spink

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This print shows a circle divided into six sections like a pie. Each piece of the pie is filled with a miniature scene. In the center, the text reads "Six ways to draw on copper," and has the numbers one through six corresponding to each section . Underneath are two columns of text also numbered one through six naming the print technique used on each section which are:<br /><br />
1. Softground<br />
2. Engraving<br />
3. Mezzotint<br />
4. Etching<br />
5. Aquatint<br />
6. Drypoint

Reynold Henry Weidenaar
Six Ways to Draw on Copper
softground, engraving, mezzotint, etching, aquatint and drypoint on paper
10 15/16 in x 8 7/8 in (27.78 cm x 22.54 cm);14 in x 11 11/16 in (35.56 cm x 29.69 cm)
Gift of Carl Fredric Clarke

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This is a nighttime view of a city on water. Along the horizon can be seen numerous buildings and ships. At center left is a three-masted ship at anchor; along the right side are buildings, incuding domes and a tall tower. Throughout the image, there is an importance given to reflections and the nocturnal setting.

James Abbott McNeill Whistler
Nocturne, from the "Twelve Etchings" or the "First Venice Set"
etching and drypoint, printed in warm black ink on laid paper
8 1/16 in. x 11 9/16 in. ( 20.5 cm x 29.3 cm )
Bequest of Margaret Watson Parker

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A man stands within a wooden building, postioned half-way down a deep vista that goes all the way through the building. At the far end of the passageway, a seated figure faces out looking at water and buildings on the opposite shore. The standing man's figure is illuminated by a bright (unseen) overhead light source, such as a skylight, and pairs of ladders are visible on either side of his figure. The foreground of the image consists of dark timbers that frame the view of the passageway and figures; beyond the man, the wooden architecture becomes a jumble of different sloped ceilings and walls, suggesting that this part of the building was constructed at different times or ad hoc.

James Abbott McNeill Whistler
W. Jones, Lime-burner, Thames Street, one of the "Sixteen Etchings," or the "Thames Set"
etching and drypoint on laid Japan tissue
11 3/4 in. x 8 3/8 in. ( 29.9 cm x 21.3 cm )
Museum purchase made possible by the Alfred E. Pernt Memorial Fund, in honor of Dr. of Technical Sciences Max H.J. Pernt and his wife Anna Pernt (née Mueller)

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This print has rows of stencilled black text in all capital letters on black background. In pencil, the print is signed and dated (l.r.) "Glenn Lignon '92" and numbered (l.l.) "27/45".

Glenn Ligon
Untitled
etching, aquatint, spitbite, and sugarlift on Rives BFK paper
25 in x 17 1/4 in (63.5 cm x 43.82 cm);32 3/16 in x 26 3/16 in (81.76 cm x 66.52 cm)
Museum Purchase

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This print has an abstract design with thick black circular lines. There are blue circles in bottom right corner of the print and a red, yellow, and orange abstract shape in center of print. The print is signed (l.r.) "Matta" and numbered (l.l.) "64/125" in pencil.

Roberto Matta
La Catalyseur
color etching and aquatint on Arches paper
8 3/16 in x 6 5/8 in (20.8 cm x 16.83 cm);12 15/16 in x 9 15/16 in (32.86 cm x 25.24 cm);19 3/8 in x 14 3/8 in (49.21 cm x 36.51 cm)
Museum Purchase

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Rembrandt van Rijn
Ephraim Bonus, Jewish Physician
etching, drypoint and engraving on paper
8 7/16 x 7 in. (21.4 x 17.7 cm);22 1/16 x 18 1/8 in. (56 x 46 cm)
Bequest of Margaret Watson Parker

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Johannes Teyler
Bowl of Flowers
etching, printed in color on paper
12 1/8 x 9 3/4 in. (30.7 x 24.7 cm);18 1/8 x 22 1/16 in. (46 x 56 cm)
Museum purchase made possible by the W. Hawkins Ferry Fund

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