Platemark: prints and the printmaking ecosystem

In s3e19, host Ann Shafer talks with Maryanne Ellison Simmons, printer and owner of Wildwood Press in St. Louis, MO. She and her husband, baseball hall-of-famer Ted Simmons, also collect contemporary art. A large portion of the collection is now at the Saint Louis Art Museum where it was celebrated in an exhibition in 2022.

Listeners may remember that Ann and Tru Ludwig traveled to St. Louis to see this exhibition and interview curator Elizabeth Wyckoff (s3e7), artist Tom Huck (s3e4 and s3e13), and Ted and Maryanne. Sadly, the audio file from the conversation with the Simmonses was corrupt, so Ann circled back and interviewed Maryanne without Ted (sorry, Ted). But it gave them an opportunity to talk about not only the collection and the exhibition, but also Wildwood Press.

Episode image: Brian Cummings.

Artist Juan Sanchez working on plates for Rosa at Wildwood Press, St. Louis.

Juan Sanchez (American, born 1954). Saint Martin, 2022. Collagraph, batik fabric, collage, digital print, wood, and cowrie shells with hand coloring. Sheet: 48 x 48 in. Wildwood Press, St. Louis.

Artist Juan Sanchez working on plates for Madre Salva at Wildwood Press, St. Louis.

Michael Berkhemer (Dutch, born 1948). Printed and published by Wildwood Press, St. Louis. Four prints from the series St. Louis, 2011. Collagraph and relief. Each: 85 x 60 inches.

Artist Michael Berkhemer working at Wildwood Press, St. Louis, 2007.

Artist Michael Berkhemer working at Wildwood Press, St. Louis, 2011.

| Valerie Hammond (American, born 1952). Printed and published by Wildwood Press, St. Louis. Séance, 2011. Photolithograph and relief on handmade paper. 72 x 48 inches.

Yizhak Elyashiv (American, born Israel, born 1964). Printed and published by Wildwood Press, St. Louis. Untitled (Orange Series #7), 2001. Collagraph. 66 x 58 ½ inches.

Artist Yizhak Elyashiv working at Wildwood Press, St. Louis.

https://lefortrestorations.com/contact.htm

Annette Lemieux (American, born 1957). Printed and published by the Washington University School of Art Collaborative Print Workshop, St. Louis. Left Right Left Right, 1995. 30 photolithographs mounted to board. 108 x 184 x 18 inches. Mildred Lane Kemper Art Museum, Washington University, St. Louis.

Kiki Smith (American, born 1954). Published by Artes Magnus. Finger Bowl, 1995. Sterling silver. 16 ½ x 16 x 16 inches. Saint Louis Art Museum, St. Louis.

Donald Judd (American, 1928–1994). Untitled, 1992. Set of four woodcuts. Each image: 25 x 37 ¾ inches. Saint Louis Art Museum, St. Louis.

Peter Hujar (1934–1987) Candy Darling on Her Deathbead, 1973. Gelatin silver print. Image: 14 5/8 × 14 5/8 in. (37.1 × 37.1 cm.); sheet: 19 7/8 in. × 16 in. (50.5 × 40.6 cm.). Saint Louis Art Museum, St. Louis.

Paul Thek (American, 1933–1988). Potlatch, 1975. Ink and gesso on newspaper. 23 × 29 in. (58.4 × 73.7 cm.). Saint Louis Art Museum, St. Louis.

David Wojnarowicz (American, 1954–1992). Untitled (Face in Dirt), 1991. Gelatin silver print. Image: 19 in. × 19 3/4 in. (48.3 × 50.2 cm.); sheet: 19 7/8 in. × 24 in. (50.5 × 61 cm.). Saint Louis Art Museum, St. Louis.

Enrique Chagoya (American, born Mexico, 1953). Printed And published by Smith Andersen Editions, Palo Alto. Liberty, 2006. Monotype. 34 5/8 × 47 7/8 in. (87.9 × 121.6 cm.). Saint Louis Art Museum, St. Louis.

Enrique Chagoya (American, born Mexico, 1953). Printed and published by Shark's Ink, Lyons, CO. Escape from Fantasylandia: An Illegal Alien's Survival Guide, 2011. Lithograph with gold metallic powder on amate paper. Sheet (folded): 9 1/2 × 4 15/16 × 1/2 in. (24.1 × 12.6 × 1.3 cm.); sheet (unfolded): 9 1/2 in. × 80 in. (24.1 × 203.2 cm.). Saint Louis Art Museum, St. Louis.

Bruce Nauman (American, born 1941). Printed and published by Gemini G.E.L. Los Angeles. Pay Attention, 1973. Lithograph. Image: 37 3/8 × 27 11/16 in. (94.9 × 70.3 cm.); sheet: 38 3/8 × 28 5/16 in. (97.5 × 71.9 cm.). Saint Louis Art Museum, St. Louis.

Tom Huck (American, born 1971). Chili Dogs, Chicks, and Monster Trucks, from the portfolio 2 Weeks in August: 14 Rural Absurdities, 1997, printed 2000. Woodcut. 33 7/8 x 29 1/4 in. (86 x 74.3 cm.). Saint Louis Art Museum, St. Louis.

Artist Jane Hammonds' snake patterns at Wildwood Press, St. Louis.

Damon Davis (American, born 1985) signing All Hands on Deck #5, 2015. Photolithograph and graphite (from a set of 7). Sheet: 32 x 51 in. Wildwood Press, St. Louis.

Artist Jerald Ieans working at Wildwood Press, St. Louis.

Artist Josely Carvalho working at Wildwood Press, St. Louis, 2006.

Artist Linda Schwarz working at Wildwood Press, St. Louis, 2004.

Artist Linda Schwarz working at Wildwood Press, St. Louis, 2007.

Artist Mary Judge working at Wildwood Press, St. Louis.

Artist Michele Oka Doner working at Wildwood Press, St. Louis, 2007.

Artist Xiaoze Xie working at Wildwood Press, St. Louis.

Artist Valerie Hammond working at Wildwood Press, St. Louis.

https://www.wildwoodpress.us/

In s3e18, host Ann Shafer talks with dealer Susan Teller, whose eponymous gallery operates out of the Mana Fine Arts facility in Jersey City, NJ. Susan specializes in American paintings and works on paper of the mid-twentieth century. She also works with multiple artists' estates including Peggy Bacon, William Baziotes, Bernarda Bryson Shahn, Sue Fuller, Michael J. Gallagher, Peter Grippe, Fannie Hillsmith, Hugh Mesibov, Angelo Pinto, Anne Ryan, Louis Schanker, Karl Schrag, Judith Shahn, Ben Shahn, Mitchell Siporin, Harry Sternberg, Ansei Uchima, and Lynd Ward.

Ann was eager to talk with Susan about managing artists' estates. How do family members approach a pile of stuff in the attic by aunt so-and-so? And, of course, Susan's relationships with families of many of the women who worked at the New York Atelier 17 in the 1940s and 1950s was too intriguing for Ann to pass up.

https://instagram.com/stg568

https://www.susantellergallery.com

Mana Contemporary, Jersey City, NJ.

Peggy Bacon (American, 1895–1987). Had Sung their Last Song and Related their Last Poem, 1931. Pen and ink. 8 x 6 in. Susan Teller Gallery, Jersey City.

Guerrilla Girls (American, New York based, originated 1985). Guerrilla Girls' 1986 Report Card, 1986. Offset lithograph. Sheet: 559 x 432 mm. (22 x 17 in.). Baltimore Museum of Art, Baltimore.

Fritz Eichenberg (American, 1901–1990). Day Care Center from the portfolio Dance of Death, 1980, printed 1983. Wood engraving. Image: 9 ¾ x 12 in.; sheet: 14 x 17 in. Brier Hill Gallery, Boston.

Charles Keller (American, 1914–2006). The Latest Dirt, 1937. Lithograph. Sheet: 9 x 7 in. Susan Teller Gallery, Jersey City.

Stanley William Hayter (British, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore.

Fannie Hillsmith (American, 1911–2007). Garden Plan I, c. 1945. Etching, softground etching, and open bite etching. Sheet: 482 × 327 mm. (19 × 12 7/8 in.); plate: 377 × 174 mm. (14 13/16 × 6 7/8 in.). Baltimore Museum of Art, Baltimore.

Dorothy Dehner (American, 1901–1994). The Barn in Bolton, 1952. Etching and aquatint. Sheet: 498 x 379 mm. (19 5/8 x 14 15/16 in.); plate: 352 x 252 mm. (13 7/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore.

David Smith (American, 1906–1965). Women and War, 1941. Etching and engraving. Sheet: 255 × 330 mm. (10 1/16 × 13 in.); plate: 173 × 227 mm. (6 13/16 × 8 15/16 in.). Baltimore Museum of Art, Baltimore.

Anne Ryan (American, 1889–1954). Abstract for Elie, 1945. Engraving. Sheet: 285 × 224 mm. (11 1/4 × 8 13/16 in.); plate: 144 × 94 mm. (5 11/16 × 3 11/16 in.). Baltimore Museum of Art, Baltimore.

Anne Ryan (American, 1889–1954). Primavera, 1946. Color woodcut on black paper. Sheet: 11 x 15 in. Susan Teller Gallery, Jersey City.

Louis Schanker (American, 1903–1981). Musical Clowns, 1939. Color woodcut. Sheet: 356 × 458 mm. (14 × 18 1/16 in.); image: 289 × 380 mm. (11 3/8 × 14 15/16 in.). Baltimore Museum of Art, Baltimore.

Sue Fuller (American, 1914–2006). Cacophony, 1944. Etching, softground etching, and aquatint. Sheet: 424 × 293 mm. (16 11/16 × 11 9/16 in.); plate: 300 × 225 mm. (11 13/16 × 8 7/8 in.). Baltimore Museum of Art, Baltimore.

Kett (Margaret Kettunen Zegart; American, born 1926). Boulder Landscape. 1953. Engraving. Plate: 12 x 13 in. Susan Teller Gallery, Jersey City.

Hugh Mesibov (American, 1916–2016). Space Venture, 1951. Woodcut. Image: 8 x 10 in. Susan Teller Gallery, Jersey City.

Albert Heckman (American, 1893–1971). Storage Tanks at Rondout, 1933. Lithograph. Image: 10 ¾ x 13 ¼ in. Susan Teller Gallery, Jersey City.

William Baziotes (American, 1912–1963). Untitled, c. 1948. Etching and softground etching. Sheet: 11 x 9 1/2 in. (27.9 x 24.1 cm.); plate: 5 7/8 x 7 7/8 in. (14.9 x 20 cm.). Reading Public Museum, Reading.

Werner Drewes (American, born Germany, 1899–1985). Praying Mantis, 1944. Engraving. Sheet: 264 × 362 mm. (10 3/8 × 14 1/4 in.); plate: 198 × 301 mm. (7 13/16 × 11 7/8 in.). Baltimore Museum of Art, Baltimore.

Sybil Andrews (British, 1898–1993). Racing, 1934. Color linoleum cut. Sheet: 295 x 382 mm. (11 5/8 x 15 1/16 in.); image: 260 x 345 mm. (10 1/4 x 13 9/16 in.). Baltimore Museum of Art, Baltimore.

Mary Cassatt (American, 1844–1926). The Banjo Lesson, c. 1893. Drypoint and color aquatint with monoprint inking. Sheet: 404 × 324 mm. (15 7/8 × 12 3/4 in.); plate: 299 × 299 mm. (11 3/4 × 11 3/4 in.). Baltimore Museum of Art, Baltimore.

Martin Lewis (American, born Australia, 1881–1962). Shadow Dance, 1930. Drypoint and sandpaper ground. Sheet: 330 × 373 mm. (13 × 14 11/16 in.). Baltimore Museum of Art, Baltimore.

Thomas Hart Benton (American, 1889–1975). The Fence Mender, 1940. Crayon lithograph. Image: 254 x 354 mm. (10 x 13 15/16 in.). Baltimore Museum of Art, Baltimore.

Isabel Bishop (American, 1902–1988). Soda Fountain, 1950. Etching. Plate: 6 ¼ x 4 1/8 in. Susan Teller Gallery, Jersey City.

Alice Trumbull Mason (American, 1904–1971). White Scaffolding, 1946. Etching, softground etching, and roulette. Sheet: 447 x 329 mm. (17 5/8 x 12 15/16 in.); plate: 342 x 244 mm. (13 7/16 x 9 5/8 in.). Baltimore Museum of Art, Baltimore.

Minna Wright Citron (American, 1896–1991). Squid Under Pier, 1948. Etching, softground etching, engraving, and scorper; printed from two plates in three passes: on plate with background texture in blue (intaglio), on image plate in brown (stencil, relief), and on same image plate in black (intaglio). Sheet: 497 x 620 mm. (19 9/16 x 24 7/16 in.); plate: 378 x 458 mm. (14 7/8 x 18 1/16 in.). Baltimore Museum of Art, Baltimore.

Anne Ryan in Christina Weyl, The Women of Atelier 17: Modernist Printmaking in Midcentury New York. New Haven: Yale University Press, 2019.

Louise Nevelson (American, born Ukraine, 1899–1988). Flower Queen, 1953. Etching and aquatint. Sheet: 600 x 508 mm. (23 5/8 x 20 in.); plate: 498 x 403 mm. (19 5/8 x 15 7/8 in.). Baltimore Museum of Art, Baltimore.

Angelo Pinto (American, 1908–1994). Pole Vaulter, 1932. Wood engraving. Image: 6 x 8 in. Susan Teller Gallery, Jersey City.

William E. Smith (American, 1913–1997). Awai Ueg, Belgium, 1945. Watercolor over graphite. Sheet: 9 x 7 in. Susan Teller Gallery, Jersey City.

Page from James McNeill Whistler catalogue raisonné (University of Glasgow) with impressions of Nocturne, 1879—80. Etching and drypoint. Plate: 202 x 294 mm.

https://etchings.arts.gla.ac.uk/catalogue/

Harry Sternberg (American, 1904–2001). Blast Furnace #1, 1937. Etching and crayon aquatint. Plate: 11 3/4 x 8 3/8 in. Susan Teller Gallery, Jersey City.

Henri Matisse (French, 1869–1954) and Stéphane Mallarmé (author, French, 1842–1898). Fan and Gloves (published state on page proof for Poésies de Mallarmé), 1930–31. Etching. Sheet (folded): 330 x 250 mm. (13 x 9 13/16 in.). Baltimore Museum of Art, Baltimore.

Henri Matisse (French, 1869–1954). Fan and Gloves (study for tailpiece in Poésies de Mallarmé), 1930–31. Graphite. Sheet: 330 x 251 mm. (13 x 9 7/8 in.). Baltimore Museum of Art, Baltimore.

Ben Levy trying to take a good picture of a very shiny copper plate (with cancelling marginalia visible) by Henri Matisse (French, 1869–1954) from Poésies de Mallarmé, 1930–31. Etched copper plate. Baltimore Museum of Art, Baltimore.

Stanley William Hayter (British, 1901–1988). Cascade, 1959. Open bite etching; printed in black (intaglio), blue-pink-blue gradient (relief), yellow, green, and blue, unblended (offset, relief). Sheet: 794 x 584 mm. (31 1/4 x 23 in.); plate: 489 x 489 mm. (19 1/4 x 19 1/4 in.). Baltimore Museum of Art, Baltimore.

Stanley William Hayter (British, 1901–1988). Plate for Cascade, 1959. Open bite etched zinc plate. Plate: 489 x 489 mm. (19 1/4 x 19 1/4 in.). Baltimore Museum of Art, Baltimore.

Ian Hugo (American, 1898–1984). Lightly, 1941. Engraved copper plate. Plate: 97 x 113 mm. (3 13/16 x 4 7/16 in.). Baltimore Museum of Art, Baltimore.

Platemark s2e23 continues hosts Ann Shafer and Tru Ludwig's conversation on reproductive prints. Once again, for clarity, a reproductive print is one in which an artist creates a design (a drawing, painting, sculpture) and another artist creates a print after that original design. These can be sanctioned by the first artist or not or they can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due. Over time, reproductive prints became quite formulaic and staid—wait until we get to the early 19th century. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print.

Episode image : Domenico del Barbiere (Italian, 1506–1565) after Michelangelo (Italian, 1475–1564). Group from Last Judgment, St. Bartholomew, St. Peter, and other Apostles, n.d. Engraving. Sheet: 14 3/4 x 8 7/8 in. (37.5 x 22.5 cm.). Metropolitan Museum of Art, New York.

Israhel van Meckenem (German, c. 1445–1503) after Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1480/90. Engraving. Sheet (trimmed to plate mark): 24.8 x 16.9 cm (9 3/4 x 6 5/8 in.), National Gallery of Art, Washington, D.C.

Martin Schongauer (German, 1445–1491). Death of the Virgin, c. 1470–74. Engraving. Plate: 25.7 x 16.8 cm. Achenbach Foundation, Fine Arts Museums of San Francisco.

Albrecht Dürer (German, 1471–1528). The Presentation in the Temple, from the series The Life of the Virgin, c. 1505. Woodcut. Sheet: 17 3/8 x 12 1/16 in. (44.2 x 30.6 cm.); image: 11 11/16 x 8 3/16 in. (29.7 x 20.8 cm.). Metropolitan Museum of Art, New York.

Marcantonio Raimondi (Italian, c. 1480–before 1534) after Albrecht Dürer (German, 1471–1528). The Presentation of Jesus to Simeon in the Temple, c. 1500–34. Engraving. Sheet (trimmed within platemark): 11 7/16 × 8 1/8 in. (29 × 20.7 cm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York.

Master LCz (German, active c. 1480–1505). The Temptation of Christ, c. 1500/1505. Engraving. Sheet (trimmed to platemark): 227 x 165 mm. (8 15/16 x 6 ½ in.). National Gallery of Art, Washington, D.C.

Martin Schongauer (German, c. 1435/50–1491). Saint Anthony Tormented by Demons, c. 1470–75. Engraving. Sheet: 30 x 21.8 cm (11 13/16 x 8 9/16 in). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 393 x 285 mm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore.

Laocoön and His Sons, c. 200 BCE–70 CE. Marble. 208 × 163 × 112 cm. (6' 10 » × 5' 4 » × 3' 8 »). Vatican Museums, Vatican City.

The Dying Gaul, Roman copy after a sculpture situated in the Pergamon Acropolis. Photo: DEA / G. NIMATALLAH/Getty Images

Winged Victory of Samothrace, 2nd century BCE. Marble. Height: 2.75 m. Louvre, Paris.

Marco Dente da Ravenna (Italian, active by 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1506. Engraving. Sheet (trimmed to platemark): 11 1/8 × 15 5/8 in. (282 × 397 mm.). Metropolitan Museum of Art, New York.

Marco Dente da Ravenna (Italian, active 1515–1527). Laocoön and his two sons being attacked by serpents, c. 1520. Engraving. Sheet (trimmed to platemark): 17 7/16 × 12 15/16 in. (443 × 329 mm.). Metropolitan Museum of Art, New York.

Nicolas Beatrizet (French, 1515–c. 1566). Laocoön, 16th century. Engraving. Sheet (trimmed to platemark): 17 1/2 x 12 3/16 in. (44.5 x 31 cm.). Metropolitan Museum of Art, New York.

William Blake (British, 1757–1827). Laocoön, c. 1826–27. Engraving.

Félix Bracquemond (French, 1833–1914). Portrait of Edmond de Goncourt, 1881–82. Etching and drypoint (eighth state of eight). Plate: 510 x 339 mm (20 1/16 x 13 3/8 in.). Minneapolis Institute of Arts, Minneapolis, MN.

Félix Bracquemond (French, 1833–1914). Portrait of Edmond de Goncourt, 1881–82. Etching and drypoint (first state of eight). Plate: 510 x 339 mm (20 1/16 x 13 3/8 in.). Metropolitan Museum of Art, New York.

Michelangelo (Italian, 1475–1564). David, 1504. Marble. Height: 16.9 ft. Galleriea dell'Accademia, Florence.

Michelangelo (Italian, 1475–1564). Awakening Slave, c. 1520–23. Marble. Height : 267 cm. Galleriea dell'Accademia, Florence.

Michelangelo (Italian, 1475–1564). The Atlas, c. 1530–34. Marble. Height : 277 cm. Galleriea dell'Accademia, Florence.

Giorgio Ghisi (Italian, 1520–1582) after Raphael (Italian, 1483–1520). The School of Athens, 1550. Engraving. Sheet (trimmed within platemark): 513 x 810 mm. (20 3/8 x 31 7/8 in.). British Museum, London.

Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City.

Giulio Bonasone (Italian, 1531–after 1576) after Michelangelo (Italian, 1475–1564). The Last Judgment, 1546–50. Engraving. Sheet: 22 13/16 × 17 3/8 in. (58 × 44.2 cm). Metropolitan Museum of Art, New York.

Martin Rota (Italian, c. 1520–1583) after Michelangelo (Italian, 1475–1564). The Last Judgment, 1569. Engraving. Sheet : 318 x 233 mm.). British Museum, London.

Giorgio Ghisi (Italian, 1520–1582) after Michelangelo (Italian, 1475–1564). The Last Judgment, c. 1545–1565. Engraving. Sheet: 1202 x 1055 mm. (47 3/8 x 41 ½ in.). Museum of Fine Arts, Budapest, Hungary.

Domenico del Barbiere (Italian, 1506–1565) after Michelangelo (Italian, 1475–1564). Group from Last Judgment, St. Bartholomew, St. Peter, and other Apostles, n.d. Engraving. Sheet: 14 3/4 x 8 7/8 in. (37.5 x 22.5 cm.). Metropolitan Museum of Art, New York.

Giorgio Ghisi (Italian, c. 1520–1852) after Michelangelo (Italian, 1475–1564). The Delphic Sibyl, from the series of Prophets and Sibyls in the Sistine Chapel, 1570–75. Engraving. Sheet (trimmed to platemark): 22 1/4 × 16 9/16 in. (56.5 × 42 cm.). Metropolitan Museum of Art, New York.

Leonardo da Vinci (Italian, 1452–1519). Madonna and Child with St. Anne and the Young St. John, 1507–08. Charcoal heightened with white chalk. 141.5 x 106 cm. National Gallery, London.

Michelangelo (Italian, 1475–1564). Pietà, 1498–99. Marble. 174 × 195 cm (68.5 × 76.8 in). St. Peter's Basilica, Vatican City.

Raphael (Italian, 1483–1520). Madonna of the Goldfinch, 1506. Oil on wood. 107 x 77.2 cm. Uffizi Gallery, Florence.

Pontormo (Italian, 1494–1557). Descent from the Cross, c. 1528. Oil on panel. 313 x 192 cm. (85 x 75 in.). Capponi Chapel, Santa Felicita, Florence.

Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence.

Tru Ludwig with garden statuary.

Domenico Beccafumi (Italian, 1486–1551). Apostle Holding a Tablet, 1500–52. Chiaroscuro woodcut. 40.9 x 21.4 cm. Library of Congress, Washington, D.C.

Michelangelo (Italian, 1475–1564). Moses from the Tomb of Pope Julius II, c. 1513–15. Marble. 235 x 210 cm. (92 ½ x 82 5/8 in.). San Pietro in Vincoli, Rome.

Ugo da Carpi (Italian, c. 1470–1532) after Parmigianino (Italian, 1503–1540). Diogenes, c. 1527–30. Chiaroscuro woodcut printed from four blocks in gray-green. Image: 18 11/16 x 13 5/8 in. (475 x 346 mm.). Metropolitan Museum of Art, New York.

Giovanni Jacopo Caraglio (Italian, c. 1500/05–1565). Diogenes, c. 1526–27. Engraving. Sheet: 286 x 217 mm. (11 ¼ x 8 9/16 in.). Metropolitan Museum of Art, New York.

Antonio da Trento (Italian, c. 1508–1550) after Parmigianino (Italian, 1503–1540). The Martyrdom of Saints Peter and Paul, c. 1530. Chiaroscuro woodcut printed from three blocks in dark green (line block), gray-green, and light gray-brown. Sheet: 28.5 x 46 cm (11 1/4 x 18 1/8 in.). National Gallery of Art, Washington, D.C.

Giovanni Jacopo Caraglio (Italian, c. 1500/05–1565) after Parmigianino (Italian, 1503–1540). The Martyrdom of Saints Peter and Paul, 1524–27. Engraving. Metropolitan Museum of Art, New York.

Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican.

Giorgio Ghisi (Italian, 1520–1582), after Raphael (Italian, 1483–1520). The School of Athens, 1550. Engraving. Sheet (trimmed within platemark): 513 x 810 mm. (20 3/8 x 31 7/8 in.). British Museum, London.

Giorgio Ghisi (Italian, 1520–1582), after Giovanni Battista Bertani (Italian, 1516–1576). Hercules Victorious Over the Hydra, c. 1558. Engraving. Plate: 35 x 20.8 cm. (13 3/4 x 8 3/16 in.). Museum of Fine Arts, Boston.

Selected Bibliography

Linda Hults. The Print in the Western World: An Introductory History. Madison, WI: University of Wisconsin Press, 1996.

Rebecca Zorach and Elizabeth Rodini, editors. Paper Museums: The Reproductive Print in Europe, 1500–1800. Chicago: Smart Museum of Art, University of Chicago, 2005.

Antony Griffiths. The Print Before Photography: An Introduction to European Printmaking 1550–1820. London: British Museum, 2016.

In s3e17, Platemark host Ann Shafer talks with print dealer Jeannot Barr, who organized the first (and many subsequent) New York Print Fair in 1984. They touch on pricing, buying at auction, fair organization, and a host of other business-of-art topics. They delve into the Ferdinand Roten Gallery (based in Baltimore) and his traveling mini print fairs set up in various schools and universities in the second half of the twentieth century. They also touch upon the Associated American Artists, whose tag line was Art in Every Home, as well as the proliferation of regional print collectors' clubs.

Episode image: selfie by Ann Shafer with Jeannot Barr and Tru Ludwig, Satellite Print Fair, New York, October 2022.

Jeannot Barr's collection of early New York Print Fair brochures, including the first iteration from 1984, which was staged at Lillie Deveraux Blake School (P.S. 6), 45 East 81st Street, NY. Collection of Jeannot Barr.

Partial list of exhibitors from the first New York Print Fair brochure, 1984, which was staged at Lillie Deveraux Blake School (P.S. 6), 45 East 81st Street, NY. Collection of Jeannot Barr.

Second annual New York Print Fair, 1985. The first time in the Park Avenue Armory. Collection of Jeannot Barr. Photo by Rick Jackofsky.

Directory and floor plan of second New York Print Fair, 1985. Collection of Jeannot Barr.

Lecture series offered during second New York Print Fair, 1985. Collection of Jeannot Barr.

Floor plan from the New York Print Fair, 1987. Collection of Jeannot Barr.

Catalogue for the 1987 New York Print Fair. Collection of Jeannot Barr.

Floor plan for the 1988 New York Print Fair. Collection of Jeannot Barr.

Lecture series and directory of the New York Print Fair, 1989. Collection of Jeannot Barr.

Print dealers William Carl and Daniel Lienau, New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Bin lookers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Bin lookers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Jeannot Barr (with crossed arms) in the Print Fair management office at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Print Dealer James Bergquist talks with a client at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Shoppers at the New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

The New York Print Fair, 1989. Collection of Jeannot Barr. Photo by Michael Komoto.

Paul-Alex Deschmacker (French, 1889–1973). Seated Old Woman. Graphite. Collection of Jeannot Barr.

Elizabeth Seaton, Jane Myers, and Gail Windisch, eds. Art for Every Home: Associated American Artists, 1934–2000. New Haven: Yale University Press, 2015.

Jeannot Barr's website http://www.jrbarrprintsanddrawings.com/

Jeannot Barr's Facebook account https://www.facebook.com/search/top?q=jeannot%20r.%20barr%2C%20drawings%20%26%20prints

Print Fair links

IFPDA Print Fair https://www.fineartprintfair.org/

Satellite Print Fair https://onpaper.art/ny-satellite-print-fair-2022

Cleveland Fine Print Fair https://www.printclubcleveland.org/fine-print-fair/

Portland Fine Print Fair https://portlandartmuseum.org/printfair/

Los Angeles Fine Print Fair https://losangeles-printfair.com/

Bay Area Fine Print Fair http://www.kala.org/exhibition/west-coast-print-fair/

McNay Print Fair https://www.mcnayart.org/print-fair/

Print Clubs (collector groups, not printmaker groups)

Print Club of New York http://printclubofnewyork.org/

Washington Print Club https://washingtonprintclub.org/

Print Club of Cleveland https://www.printclubcleveland.org/

Print Club of Albany http://pcaprint.org/

Print Club of Rochester https://printclubofrochester.org/

American Historical Print Collectors Society https://ahpcs.org/

Buffalo Print Club http://buffaloprintclub.org/

Association of Print Scholars https://printscholars.org/

In s3e16, host Ann Shafer speaks with Hope Saska, chief curator and director of academic engagement at the CU Art Museum, that's the museum at the University of Colorado Boulder. Hope's specialty is in 18th-century British graphic satire and caricature. But like so many curators of works on paper, she can talk to you about Albrecht Dürer through tomorrow.

CU Art Museum recently become the repository of the archive of the print publisher Shark's Ink, Lyons, CO. The Sharkive contains prints and related materials—all printed by Bud and Barbara Shark in the last 40 years—of collaborative work in lithography, monotype and woodcut. According to CU's website: "It contains the final print from each of more than 700 limited editions and a rich assortment of preparatory materials—drawings, reference materials, color trial proofs, proofs with paper alternatives and artist and printer notes, and color separation proofs—that reveal the artistic and the printmaking processes." You can read more here: https://www.colorado.edu/cuartmuseum/collection/sharkive. In addition, the Art Museum has an exhibition on view through July 2023 featuring highlights from the Sharkive.

Hope and Ann geek out over how in the world does one wrangle such a gift, down to the numbering system used to track all the various bits. It's always fun to think about the nitty gritty of managing a sizeable collection. Some of the ins and outs may surprise Platemark listeners.

Episode image: Photo by Patrick Campbell, CU Senior Staff Photographer, © CU Art Museum

William Hogarth (British, 1697–1764). The Five Orders of Periwigs, 1761. Etching. Sheet: 11 7/8 x 8 5/8 in. (30.2 x 21.9 cm.). Metropolitan Museum of Art, New York.

Romeyn de Hooghe (Dutch 1645–1708). The Epiphany of the New Antichrist, 1689. Etching and letterpress. Sheet: 22 9/16 x 15 7/16 in. (57.3 x 39.2 cm.). Metropolitan Museum of Art, New York.

Betty Woodman assembles Vases and Windows prints at Shark's Ink, Lyons, CO.

Curator Hope Saska (right) and Registrar Maggie Mazzullo (left) with a sliver of the Sharkive, CU Art Museum, Boulder, CO. Photo: CU Art Museum Sharkive Collection. Photo by Patrick Campbell, CU Sr. Staff Photographer, © CU Art Museum.

Bud Shark prints Convergence in his studio Shark's Ink in Lyons, CO, 2014. Photo: Shark's Ink.

Bud Shark looks on as Enrique Chagoya signs work at Shark's Ink, Lyons, CO, 2005. Photo: Shark's Ink.

Installation view of Onward and Upward: Shark's Ink, CU Art Museum, September 6, 2022–July 2023. Photo by Wes Magyar, © CU Art Museum.

In s3e15, Platemark host Ann Shafer talks with printer Julia D'Amario, who has been the printer at the Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology in Otis, OR, since 2002. Formerly she printed for Pace Prints in New York from 1989–2008. In between all that, since 2008 she has spent summers printing for Jim Dine in his Walla Walla, WA, studio. In fact, Dine lists Julia among his favorite printers—and he has worked with many, many printers across the world. If that weren't enough, Julia is set to open her home shop to artists in the near future.

In this episode, Julia, whose specialty is intaglio prints, relates her early experience at the Robert Blackburn Printmaking Studio, where she met future Pace Prints colleague and Platemark guest Bill Hall. She tells us about favorite projects at Pace and Sitka, working with Jim Dine, and her love of prints and printmaking.

Episode image: Lainie Koch.

Sitka Center for Art and Ecology, Otis, Oregon.

Nearby is the incredible view at Cascade Head, Oregon.

At Jim Dine's studio in Walla Walla, WA, 2007. Top: Ruth Lingen, Jim Dine, Bill Lagatutta. Bottom: Kathy Kuehn, Nina Dine, Julia D'Amario.

Julia D'Amario's home in Surprise Valley, CA.

Julia D'Amario's home studio in Surprise Valley, CA.

Robert Blackburn with (left-right): Bill Hall, Agnes Murray, Julia D'Amario, Marjorie Van Dyke, Suzanne Gaffney, Lyn Rogan, and Jennifer Lynch, c. 1984.

Making monoprints with Ellsworth Ausby at Robert Blackburn Printmaking Workshop, New York, 1983. Photo: Lynn Rogan.

Entrance to Robert Blackburn Printmaking Workshop, 114 West 17th Street, 1983. Photo: Lynn Rogan.

Sandy Gellis (American, born 1940), printed by Julia D'Amario. Great Bird Series, 1997. Diptych: two softground etchings with aquatint. Plate (each): 12 3/4 × 6 1/4 in. (32.4 × 15.9 cm.).

Jim Dine with Julia D'Amario and Kathy Kuehn signing editions for the portfolio A History of Communism, 2014, at Dine's Walla Walla, WA, studio.

April Gornik (American, born 1953), published by the Print Club of New York, printed by Julia D'Amario. Loire, 1995. Etching and aquatint. Plate: 16 13/16 x 19 7/8 in. (42.7 x 50.5 cm.).

Mary Heilmann (American, born 1940), published by Pace Prints, printed by Julia D'Amario. Hip Hop, 2002. Aquatint in colors. Plate: 39 × 30 in, (99.1 × 76.2 cm.).

Sandy Gellis (American, born 1940). NYC Rainfall: 1987, 1987. 124 etchings.

Sandy Gellis (American, born 1940). Spring in the Northern Hemisphere, 1987-88. Portfolio of 12 etchings. Each plate: 12 x 12 in. (30.5 x 30.5 cm.); overall: 35 1/2 × 48 in. (90.2 × 121.9 cm.). Whitney Museum of American Art, New York.

Marie Watt working at Sitka Center for Art and Ecology during her Jordan Schnitzer Printmaking Residency, 2022, Sitka Center for Art and Ecology, Otis, OR.

Julia D'Amario's aquatint from Little Hat Mountain series.

Drying tarlatans at Julia D'Amario's home studio, Surprise Valley, CA.

Jim Dine (American, born 1935), published by Pace Prints, printed by Julia D'Amario and Ruth Lingen. Raven on Lebanese Border, 2000. Softground etching and woodcut with white paint (hand coloring). Sheet: 781 × 864 mm. (30 3/4 × 34 in.); image: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore.

Jim Dine and Julia D'Amario beginning work on spitbite etchings for Electrolyte in Blue and Astonishing, Health and Sunshine (60 litho-etching combination prints incorporated into a book of poems titled, Electrolyte in Blue and also mounted together on three separate sheets for Astonishing, Health and Sunshine, 2021, at Dine's Walla Walla, WA, studio.

Jim Dine (American, born 1935), printed by Julia D'Amario. Astonishing, Health and Sunshine, 2021. Spitbite aquatint, drypoint and lithograph with hand-coloring on Shiramibe paper, mounted onto three sheets of Hahnemuhle Copperplate White paper. Sheet (each): 142.7 x 83.1 cm.; image (each): 125.7 x 68 cm. Cristea Roberts Gallery.

Jennifer Bartlett (American, 1941-2022), published by Pace Prints, printed by Julia D'Amario and Aldo Crommelynck. Boat, 1999. Color aquatint. Plate: 22 x 29 3/4 in. (55.9 x 75.6 cm.).

In Platemark s3e14, host Ann Shafer speaks with James Ehlers, professor and chair of the studio art department at Emporia State University in Emporia, Kansas. It turns out, Emporia State offers the only BFA in engraving arts in the United States. Platemark listeners will know Ann has a soft spot for intaglio prints with an abiding love of engraving due to her studies of Stanley William Hayter. With so few artists working in engraving these days, the chance to speak with the professor of that discipline at the only US college to offer it was too good to pass up.

The most surprising thing was the popularity of engraving courses as it applies to objects rather than prints. Beautiful, intricate swirling designs adorn jewelry, rifles, and knives. No ink or press necessary.

Episode image: Dave Leiker

James Ehlers (American, born 1976). Octopus ring.

James Ehlers (American, born 1976). Tick Tick Boom, 2020. Engraving.

Gerry Wubben (American, born 1963?). Landscape. Engraving. Plate: 12 x 36 inches. Collection of James Ehlers.

Jack Orman (American, 1930–2020). The Little Fish. Engraving. Collection of James Ehlers.

Hayter prints in Ann Shafer's dining room, Baltimore.

Stanley William Hayter (British, 1901–1988). Warriors (Guerriers), 1953. Color engraving, softground etching, and scorper. Plate: 18 3/4 x 13 3/16 in. Annex Galleries.

Stanley William Hayter (British, 1901–1988). Combat, 1936. Engraving, softground etching, and scorper. Plate: 15 3/4 × 19 1/4 in. (40 × 48.9 cm.); sheet: 21 in. × 23 1/2 in. (53.3 × 59.7 cm.). Metropolitan Museum of Art, New York.

Stanley William Hayter (British, 1901–1988). Amazon, 1945. Engraving, softground etching, and scorper. Plate: 24 1/2 x 15 7/8 in. (62.2 x 40.3 cm.); sheet: 29 15/16 x 20 ¼ in. (76 x 51.4 cm.). Museum of Modern Art, New York.

Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 245 x 189 mm (9 5/8 x 7 7/16 in.). Spencer Museum of Art, University of Kansas, Lawrence.

John Decker (American). Knight Death and the Devil after Durer, 2022. Engraving. 6 x 4 in.

James Stroud (American, born 1958). Burin Studies (state 1-14 and final), 1980. Engraving. Sheet (each): 250 × 205 mm. (9 13/16 × 8 1/16 in.); plate (each): 184 × 138 mm. (7 1/4 × 5 7/16 in.). Baltimore Museum of Art. Baltimore.

Oscar Gillespie (American, born 1952). Red Dog Fetish, 1982. Engraving. Plate: 30 x 20 in.

Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Metropolitan Museum of Art, New York.

James Ehlers (American, born 1976). Be Strong Be Resilient Be Utterly Terrified, 2020. Engraving. Plate: 12 x 9 inches.

David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Childs Gallery.

James Ehlers (American, born 1976). Forgiveness and Redemption, 2021. Engraving. Plate: 12 x 18 inches.

Andrew Raftery (American, born 1962). Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Set of twelve earthenware dinner plates with transferred engravings (recto and verso). Each plate: 12 1/2 × 12 1/2 in. (31.8 × 31.8 cm.). Baltimore Museum of Art, Baltimore.

James Ehlers (American, born 1976). Race the Sun, 2022. Engraving. Plate: 6 x 4 in.

James Ehlers (American, born 1976). Artifice, 2017. Engraving. Plate: 7 ¼ x 9 inches.

James Ehlers (American, born 1976). Pin Cushion, 2020. Engraving. Plate: 6 x 4 inches.

James Ehlers (American, born 1976). Coming and Going Empty Handed (state ii), 2022. Engraving. Plate: 15 x 20 inches.

USEFUL LINKS

James Ehlers' Instagram page: https://www.instagram.com/jehlers928/

James Ehlers' website: https://jamesehlers.wordpress.com/

James Ehlers' Facebook page: https://www.facebook.com/james.ehlers.75

James Ehlers' YouTube channel: https://www.youtube.com/channel/UC728Eoe2ReUrhC7zx21f64g

Engraving degree at Emporia State University: https://www.emporia.edu/department-liberal-arts-sciences/art-department/academics-programs/bachelor-fine-arts/bachelor-fine-arts-engraving-arts-concentration/

Makers of pneumatic engraving tools, Glendo LLC: www.glendo.com

Available prints by Hayter are at Galerie Michelle Champetier: www.MChampetier.com and at www.dolanmaxwell.com

Ann Shafer's talk on Hayter: https://youtu.be/q0QOuDdoVts

Film of Stanley William Hayter creating the print Angels Wrestling, 1950: https://www.youtube.com/watch?v=wUIM9ZiMqzw

Society of American Graphic Artists: www.sagaprints.com

More on reproductive prints, the backbone of the history of prints

In a Platemark first we speak with a previous guest for a special update. Artist Tom Hück agreed to talk to hosts Ann Shafer and Tru Ludwig at his Evil Prints studio in Park Hills, Missouri, in August 2022. Hück is releasing his latest print edition on Thanksgiving Day, a rumination on American gluttony called Monkey Mountain Kronikle. Created over a number of years, Monkey Mountain Kronikle is a large-scale, double-sided woodcut triptych that opens and closes like a traditional altarpiece. It stars Lord Aporkalyptus and his bevy of brides. Dubbed a "devotional woodcut for the ages," the triptych is full of details about gluttony in terms of sports, politics, and of course, fast food.

Co-published by Evil Prints and Peacock Visual Arts in Aberdeen, Scotland, Monkey Mountain Kronikle is epic, biting, sarcastic, funny, and would make Hück's hero Albrecht Dürer proud. Hück has had a seriously busy fall. In addition to finishing the edition, his work was featured in last summer's Saint Louis Art Museum's exhibition Catching the Moment, and a lavish book on Hück's output (1995-2020) has just been published by Fine Print Small Press (fineprintsmallpress.com).

In our interview, Hück talks about the new project and a host of other things. Ann knew very well that the first face-to-face meeting of Tru and Hück would be monumental. Platemark listeners can imagine that they would have lots to talk about. Ann simply wound them up and let them go.

Here are some useful links:

www.lordaporkalyptus.com

https://www.youtube.com/watch?v=ZOnISzYOniY

https://www.youtube.com/watch?v=8x5jmAQEXb4

http://www.evilprints.com/about

https://www.instagram.com/evilprints/

Episode image: selfie by Ann Shafer with Tru Ludwig, and Tom Hück, Blueberry Hill, St. Louis, August 2022.

Critical to any studio visit: coffee. Tru Ludwig gratefully accepts a cuppa from Tom Hück, Evil Prints, Park Hills, MO, August 2022.

Tom Hück in his studio, Park Hills, MO, August 2022.

Tru Ludwig and Tom Hück at Evil Prints, Park Hills, MO, August 2022.

Albrecht Dürer (German, 1471–1528). Rhinoceros, 1515. Woodcut. 23.3 x 29.2 cm. (9 3/16 x 11 1/2 in). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint Catherine, c. 1498. Black ink on carved pearwood. 15 1/2 × 11 1/8 × 1 in. (39.4 × 28.3 × 2.6 cm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). The Martyrdom of Saint Catherine, c. 1498. Woodcut. Sheet (trimmed near platemark): 15 9/16 x 11 5/16 in. (39.6 x 28.8 cm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Death of the Virgin, from the series Life of the Virgin, 1510. Woodcut. Sheet: 11 9/16 x 8 3/16 in. (294 x 208 mm.). Metropolitan Museum of Art, New York.

Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut. Baltimore Museum of Art, Baltimore.

Albrecht Dürer (German, 1471–1528). Ecce Homo, from the series Large Woodcut Passion, c. 1498. Woodcut with hand coloring. Baltimore Museum of Art, Baltimore.

Albrecht Dürer (German, 1471–1528). Four Female Nudes (The Four Witches), 1497. Engraving. 19.2 x 13.6 cm (7 5/8 x 5 3/8 in). Albertina, Vienna.

Hans Baldung (called Hans Baldung Grien) (German, 1484/85–1545). The Witches, 1510. Chiaroscuro woodcut in two blocks, printed in gray and black; second of two states. Sheet: 15 5/16 × 10 5/8 in. (38.9 × 27 cm.). Metropolitan Museum of Art, New York.

Boris Vallejo (Peruvian-American, born 1941). Artwork for Ozzie Osborne's album, Ultimate Sin, 1986.

Albrecht Dürer (German, 1471–1528). The Four Horsemen of the Apocalypse, from the series The Apocalypse, 1498. Woodcut. 39.3 x 28.5 cm (15 1/2 x 11 1/4 in). Baltimore Museum of Art, Baltimore.

William Hogarth (British, 1697–1764). Strolling Actresses Dressing in a Barn, 1738. Etching and engraving. Sheet (trimmed near platemark): 17 15/16 x 22 7/16 in. (45.5 x 57 cm.). Metropolitan Museum of Art, New York.

Hück's prize acquisition, an engraving by William Hogarth (British, 1697–1764). Strolling Actresses Dressing in a Barn, 1738. Etching and engraving. Plate: 17 15/16 x 22 7/16 in. (45.5 x 57 cm.).

Tom Hück (American, born 1971), published by Evil Prints and Peacock Visual Arts Ltd. A Monkey Mountain Kronikle, 2018–22. Woodcut printed recto and verso on four sheets of Torinoko Japanese paper; the three leaves of the triptych joined. Open with bottom predella: 60 × 94 in. (152.4 × 238.8 cm.); closed: 48 × 48 in. (121.9 × 121.9 cm.).

Albrecht Dürer (German, 1471–1528). Triumphal Arch of Maximilian I, 1515. Woodcut, 195 woodblocks printed on 36 sheets of large folio paper. Overall size: 354 x 298.5 cm (139 3/8 x 117 1/2 in.). Metropolitan Museum of Art, New York.

Tom Hück (American, born 1971), published by Evil Prints. The Transformation of Brandy Baghead, 2009. Woodcut, right panel. 96 x 24 inches.

[DETAIL] Tom Hück (American, born 1971), published by Evil Prints and Peacock Visual Arts Ltd. A Monkey Mountain Kronikle, 2018–22. Woodcut printed recto and verso on four sheets of Torinoko Japanese paper; the three leaves of the triptych joined. Open with bottom predella: 60 × 94 in. (152.4 × 238.8 cm.); closed: 48 × 48 in. (121.9 × 121.9 cm.).

[DETAIL] Tom Hück (American, born 1971), published by Evil Prints and Peacock Visual Arts Ltd. A Monkey Mountain Kronikle, 2018–22. Woodcut printed recto and verso on four sheets of Torinoko Japanese paper; the three leaves of the triptych joined. Open with bottom predella: 60 × 94 in. (152.4 × 238.8 cm.); closed: 48 × 48 in. (121.9 × 121.9 cm.).

Greg Kessler, Tom Hück: The Devil Is In The Details: Prints 1995–2020, a 300+ page, career to date spanning book being published by Fine Print Small Press, 2022.

Various artists including Dan Graham, Mel Bochner, and Ed Ruscha; published by Multiples, Inc., New York. Artists and Photographs, 1970. Cardboard box with various publications and objects. Box: 33.7 × 33.7 × 9.6 cm (13 1/4 × 13 1/4 × 3 3/4 in.). Art Institute of Chicago, Chicago.

Michelle Grabner (American, born 1962). Gingham Soccer Ball, Issue 27 of The Thing Quarterly, 2015. http://thethingquarterly.com/blog/backstory

Tru Ludwig and Tom Hück at Evil Prints, Park Hills, MO, August 2022.

Hück shares one of many sketchbooks, August 2022.

Hück's sketchbook.

Tom Hück's works, including the prints and wood blocks for Snacktime Marcy, 1999, installed in the St. Louis Art Museum's exhibition Catching the Moment: Contemporary Art from the Ted L. and Maryanne Ellison Simmons Collection, August 2022.

[DETAIL] Tom Hück (American, born 1971), published by Evil Prints. Snacktime Marcy, 1999. Blocks and prints in Catching the Moment, Saint Louis Art Museum, 2022.

[DETAIL] Tom Hück (American, born 1971), published by Evil Prints. Snacktime Marcy, 1999. Blocks and prints in Catching the Moment, Saint Louis Art Museum, 2022.

Platemark host selfie: Tru Ludwig and Ann Shafer with Tom Hück's wood blocks, St. Louis Art Museum, August 2022.

Tom Hück working on a block for Monkey Mountain Kronikle.

Tom Hück working on a block for Monkey Mountain Kronikle.

Peacock Press' David McCracken and Michael Waite rolling a block for Monkey Mountain Kronikle in Aberdeen, Scotland.

Peacock Press' David McCracken and James Vass rolling a block for Monkey Mountain Kronikle in Aberdeen, Scotland.

Tom Hück (American, born 1971), published by Evil Prints. American Tickler, 2022. Woodcut. 10 x 12 in.

Platemark series two, A History of Western Prints, returns with an episode about reproductive prints. In s2e21, Tru Ludwig takes listeners back to a time when lives were lived with no images save for maybe what one saw in church. Prints were the way the first images were widely consumed; they were that era's internet. A reproductive print is one in which an artist's creation (a drawing, painting, or sculpture) is recreated by another artist as a print after that original design. These can be sanctioned by the first artist or not. They can occur long after the first artist's death. It is customary to acknowledge all the artists in the strip of lettering at the bottom of the print (called the address). This way credit is given where due.

Over time, reproductive prints became quite formulaic and staid. When photography was developed in the 1830s, it wasn't long before there was little need for the reproductive print. Those interpretations of an artwork were replaced with actual photographic reproductions of the images. In addition, arbiters of taste have created false hierarchies of subject matter and techniques and have designed an entire framework around originality and uniqueness. Prints can keep up with subject matter but have generally gotten the short stick on these other counts. There is also the matter of property rights, copyright, etc. Keep in mind these are concepts that developed over time and were not matters of law until rather recently.

All of these issues are wrapped up in Tru's tale about reproductive prints. Enjoy the ride.

Episode images: (LEFT) Martin Schongauer (German, 1445–1491). Baptism of Christ, 1481 or before. Engraving. Sheet (trimmed within platemark): 158 x 159 mm. (6 1/4 x 6 1/4 in.). Baltimore Museum of Art, Baltimore. (AND RIGHT) Urs Graf (Swiss, c. 1485–1527/29). Baptism of Christ, 1505. Engraving. Sheet (trimmed near platemark): 213 x 143 mm. (8 3/8 x 5 5/8 in.). Baltimore Museum of Art, Baltimore.

[DETAIL] Gilbert Stuart (American, 1755–1828). George Washington (Athenaeum Portrait), 1796. Oil on canvas. 121.9 x 94 cm. (48 x 37 in.). Jointly owned by the National Portrait Gallery, Washington, D.C. and the Museum of Fine Arts, Boston.

Johann Gutenberg (German, c. 1400–1468) and Johann Fust (German, 1400–1466). Biblia Latina, c. 1455. Bound volume with letterpress text. Morgan Library and Museum, New York.

Andreas Vesalius (Italian, 1514–1564). De humani corporis fabrica (On the Fabric of the Human Body). Padua: School of Medicine, 1543.

Sir Joshua Reynolds (British, 1723–1792). The Infant Samuel, 1776. Oil on canvas. 80 x 70 cm. Musée Fabre, Montpellier.

John Sartain (British, 1808–1897) after Sir Joshua Reynolds (British, 1723–1792). The Infant Samuel, c. 1825. Mezzotint. Private Collection.

Rosa Bonheur (French, 1822–1899). The Horse Fair, 1852–55. Oil on canvas. 96 ¼ x 199 ½ in. (244.5 x 506.7 cm.). Metropolitan Museum of Art, New York.

Currier & Ives, after Rosa Bonheur (French, 1822–1899). The Horse Fair, c. 1900-20. Chromolithograph. Image: 15 7/8 x 25 1/16 in.

Paul Revere (American, 1734–1818) after Henry Pelham (American, 1749–1806). The Boston Massacre, 1770. Engraving and etching with hand coloring. Plate: 10 ¼ x 9 1/8 in. (26 x 23.2 cm.); sheet: 11 x 9 9/16 in. (27.9 x 24.3 cm.). Metropolitan Museum of Art, New York.

Four states of Rembrandt's Three Crosses and quotation from Ernst Ludwig Kirchner.

Erin Womack after Jacques Callot (French,1592–1635). Le Buveur vu de Face, plate 6 from Les Gobbi, 1622. Etching and engraving. Achenbach Foundation, Fine Arts Museum of San Francisco.

Adrienne Figus after Giovanni Battista Piranesi (Italian, 1720–1778). The Drawbridge, plate 7 from the series Carceri, 1761. Etching and engraving. Plate: 556 x 411 mm. British Museum, London.

Abby Uhteg after Honoré Daumier (French, 1808–1879). Nadar élevant la Photographie à la hauteur de l'Art, 1862. Lithograph. Sheet: 44.8 × 30.9 cm. (17 5/8 × 12 3/16 in.). National Gallery of Art, Washington, D.C.

Shane Darwent after Vasily Kandinsky (French, born Russia, 1866–1944). Lyrical (Lyrisches) (plate, folio 9) from Klänge (Sounds), 1913. Woodcut. Image: 5 13/16 x 8 9/16 in. (14.8 x 21.7 cm.); sheet: 11 1/16 x 10 7/8 in. (28.1 x 27.7 cm.). Museum of Modern Art, New York.

Kelsey Beyer after Max Klinger (German, 1587–1920). The Seduction, plate 4 from the portfolio A Life, 1884–98. Etching. Plate 41.5 x 21.5 cm. (16 5/16 x 8 7/16 in.). Metropolitan Museum of Art, New York.

Lissandra DelCampo after Lovis Corinth (German, 1858–1925). Death and the Artist, from the series Dance of Death, 1921. Etching and drypoint. Sheet: 14 3/16 in. × 10 in. (36 × 25.4 cm.); plate: 9 7/16 × 7 1/16 in. (23.9 × 17.9 cm.). Metropolitan Museum of Art, New York.

Lovis Corinth (German, 1858–1925). Death and the Artist, from the series Dance of Death, 1921. Etching and drypoint. Sheet: 14 3/16 in. × 10 in. (36 × 25.4 cm.); plate: 9 7/16 × 7 1/16 in. (23.9 × 17.9 cm.). Metropolitan Museum of Art, New York.

Eileen Shigagawa after Käthe Kollwitz (German, 1867–1945). The Widow I, from the portfolio War, 1921–22. Woodcut. Image: 370 x 240 mm. Tate, London.

Käthe Kollwitz (German, 1867–1945). The Widow I, from the portfolio War, 1921–22. Woodcut. Image: 370 x 240 mm. Tate, London.

Hubert van Eyck (Netherlandish, 1370–1426) and Jan van Eyck (Netherlandish, 1390–1441). Adoration of the Mystic Lamb or The Ghent Altarpiece, 1432. Oil and tempera on wood. 138 x 181 in. St. Bavo's Cathedral, Ghent, Belgium.

Masaccio (Italian, 1401–1428). The Holy Trinity with the Virgin and St. John and donors, 1425–27. Fresco painting in chapel. 236 x 125 in. in Santa Maria Novella, Florence, Italy.

Martin Schongauer (German, c. 1435/50–1491). Christ Carrying the Cross, c. 1475–80. Engraving. Sheet: 11 3/8 × 16 7/8 in. (289 × 429 mm.). Metropolitan Museum of Art, New York.

Antonio Pollaiuolo (Florentine, 1429 or 1433–1498). Battle of the Nudes or Battle of the Naked Men, c. 1470–90. Engraving. 39.3 x 57.9 cm (15 ½ x 22 3/4 in). Cincinnati Art Museum.

Hartmann Schedel (author; German, 1440-1514), Michael Wolgemut and Wilhelm Pleydenwurff (artists). Liber Chronicarum. Nuremberg: Anton Koberger, 1493. Collection of Otis College, Millard Sheets Library.

Francesco Colonna (author; Italian, c. 1453–1517) and Benedetto Bordone (illustrator; Italian, c. 1455/60–1530). Hypnerotomachia Poliphili. Bound volume with text and woodcut illustrations. Venice: Aldo Manuzio (Italian, 1449/50–1515), 1499.

Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm.

Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm.

Andrea Mantegna (Italian, c. 1431–1506). Camera degli Sposi, Gonzaga Ducal Palace, Mantua, Italy.

Selected Bibliography

Linda Hults. The Print in the Western World: An Introductory History. Madison, WI: University of Wisconsin Press, 1996.

Rebecca Zorach and Elizabeth Rodini, editors. Paper Museums: The Reproductive Print in Europe, 1500–1800. Chicago: Smart Museum of Art, University of Chicago, 2005.

Antony Griffiths. The Print Before Photography: An Introduction to European Printmaking 1550–1820. London: British Museum, 2016.