Stow Wengenroth, Willow Lane, Lithograph
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Description
Title: Willow Lane. [Wiscasset, Maine.]
Stow Wengenroth (1906-1978)
Medium: Lithograph, 1953.
Edition 50.
Signed and inscribed "Ed/50" in pencil.
Images size 8 7/8 x 13 13/16" (22.6 x 35.1 cm).
The Lithographs of Stow Wengenroth by Ronald and Joan Stuckey #206.
Stow Wengenroth (1906-1978) was born in Brooklyn, New York, on July 25, 1906. He studied at the Art Students League in 1923 with George Bridgman, then at the Grand Central School of Art with Wyman Adams. During the summers in the 1920's, he would go to Woodstock, New York, to work with John Carlson or to Eastport, Maine, and work with George Ennis. It was Ennis in 1929 who recommended that Wengenroth should consider working in lithography. Wengenroth used lithography as his primary form of artistic expression. His drawings at this time were almost all in the drybrush technique. This is because drybrush drawings closely resemble how a lithograph will look when printed. When he found a drawing pleasing, he would walk from Brooklyn to George Miller's studio and pick up a lithographic stone and carry it to his studio. There he would interpret his drybrush drawings, which were always larger than the finished lithographs.
Stow Wengenroth (1906-1978)
Medium: Lithograph, 1953.
Edition 50.
Signed and inscribed "Ed/50" in pencil.
Images size 8 7/8 x 13 13/16" (22.6 x 35.1 cm).
The Lithographs of Stow Wengenroth by Ronald and Joan Stuckey #206.
Stow Wengenroth (1906-1978) was born in Brooklyn, New York, on July 25, 1906. He studied at the Art Students League in 1923 with George Bridgman, then at the Grand Central School of Art with Wyman Adams. During the summers in the 1920's, he would go to Woodstock, New York, to work with John Carlson or to Eastport, Maine, and work with George Ennis. It was Ennis in 1929 who recommended that Wengenroth should consider working in lithography. Wengenroth used lithography as his primary form of artistic expression. His drawings at this time were almost all in the drybrush technique. This is because drybrush drawings closely resemble how a lithograph will look when printed. When he found a drawing pleasing, he would walk from Brooklyn to George Miller's studio and pick up a lithographic stone and carry it to his studio. There he would interpret his drybrush drawings, which were always larger than the finished lithographs.
Condition
Very good condition.
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- 10%
Stow Wengenroth, Willow Lane, Lithograph
Estimate $300 - $400
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