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- SAGA members have long been part of the exhibition and print shop programs at the Noble Maritime Collection. The uninitiated might ask, “Why would a maritime museum be committed to the art of printmaking?” The answer is clear upon touring the gracious gallery and printmaking facilities in a former mariner’s dormitory at historic Sailors’ Snug Harbor on Staten Island. The spirit of John A. Noble, both artist and seaman, demands that the two worlds meet, and they do at the Noble Collection. Noble, whose lithographs were printed at the New York firm of George C. Miller & Son, would be pleased to see artists at work next to his Houseboat Studio, where his Bavarian limestone and grease pencils are carefully placed, as if he were going to sit himself down, gaze out Print Studios (con’t) at the harbor, and continue his work.
Past SAGA member connections to the museum include one-person exhibitions featuring Herman Zaage in 1999 and Carol Wax in 2002. Group shows have included Bill Murphy, Diane Castonguay Rosati, Harvery Dinnerstein, William Behnken, and Fran d’atri Roma.
The following article will explain what the Noble print shops have to offer artists....
New Print Studios for Artists
The world inside the printmakers’ studio, where craftsmanship, tradition, and new inventions are shared, is a stimulating environment, particularly for the artist who typically works alone. Printmaking requires special tools, chemicals, and finesse, and in the case of lithography is often unavailable to artists who might benefit from its artistic vocabulary and ability to produce fine multiples.
During the past year the museum invited fourteen artists to publish lithographs at the Noble Stone Studio, located on our main exhibit floor. Many of these artists may be familiar to NMC members, as they are part of the large and generous group of creative people who have contributed to the museum’s annual art auction over the past 15 years. They were offered a chance to “test drive” the large Bavarian limestones which were prepared and levigated by our technician Chris Clarke, and ready to be drawn on for the first time in over 30 years.
Each artist came with a preliminary concept drawing of their image, chose a stone, and met with me to go over the process. Some artists were new to the medium and had to take a crash course in how to handle the drawing materials; others went right to work in our sky-lit drawing room.
When they were ready to go to press, our master printer J. Christian Erickson rolled the stones back to the first floor print shop where he processed and printed the first Artist proofs, which he gave to the artist. Those who wanted more copies of their print contracted to edition the image in order to have plenty of signed original fine prints to exhibit and sell. In the end, as is traditional, the master printer received two printer proofs, the museum kept two collection proofs, and the artist kept two artist proofs in addition to any edition prints they commissioned. Many artists donated another signed prints for our auction so our public will have an opportunity to view and bid for them this fall!
After signing her first lithograph edition Castle Williams, depicting the Govenor’s Island landmark, artist Fran D’Atria Romano remarked “Working at the Noble was a pleasure, and great opportunity to draw directly on the stone. The studio was relaxing, and I already have exhibited the print twice and sold one!”
While most of the fourteen were New York City artists, two traveled long distances to work in the studio, Diane Rosati from her home in
Nova Scotia and David Umholtz from Deer Island, Canada. An experienced printmaker, this was David’s first visit to the Noble Collection--although he had been corresponding and making donations to the auction for years! Other artists included Nancy Brooks Brody, Salvatore Busacca, Elle Finn, Julia Healy, Ann Marie MacDonnell, Patricia Melvin, Bill Murphy, Kristi Pfister, Diane Rosati, Morgan Taylor, and me.
As our family of artists continues to grow, we hope those interested
in publishing an edition will consider the Noble Collection as a
resource. Fees for basic black and white lithography set-up and
editioning are reasonable for anyone who might sell their prints for
$300.00 and up. The investment in prints can broaden an artist’s
portfolio aesthetically and increase their market to collectors who seek fine art at an affordable price.
Studio Two: Adult and Young Printmakers
But wait, there’s more! The second floor of the museum is home to Studio Two, where a 50 x 30 Martek intaglio press can be used for a variety of printing methods, including: intaglio, monotype, and collatype. Painter Mary Fader regularly rents the intaglio press to produce landscape inspired monoprints. She enjoys the museum’s
“serene and gracious environment” every morning as she pulls her watercolor based prints. Artists who have experience using an intaglio press can gain access to Studio Two by contacting me and bringing samples of past work. Fees are by the hour.
Another group of artists who have made Studio Two their home are the 9-13 year-old member’s of the Young Printmaker’s Club, our annual summer camp program. Though the studio is far from “serene” when they are working with artist Nelleke Nix, it is never out of order. This summer camp ran from July 19-23rd. Especially appealing to the kids who love art, enjoy challenging projects, and want to build a substantial portfolio. We focused on two special techniques: pasta machine prints and etching on copper plates. Afternoons were spent exploring the fascinating Snug Harbor Site with sketch books, building artistic skills, and making nets with a real schooner captain from Newfoundland. If you know a blossoming artist, send them our way!
To inquire about the stone lithography editions, Studio Two rentals, or Young Printmaker’s Club, call Diane Matyas, Director of Education, at (718) 447-6490.
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