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The History of Printmaking: The Last Printmaker

Warrington%20Colescott%2C%20%3Cb%3E%3Ci%3E%20The%20History%20of%20Printmaking%3A%20The%20Last%20Printmaker%3C%2Fi%3E%3C%2Fb%3E%2C%201978%2C%20soft-ground%20etching%20and%20aquatint%2C%20with%20%26%23224%3B%20la%20poup%26%23233%3Be%20inking%2C%20and%20relief%20rolls%20through%20stencils%2C%20printed%20in%20color%20on%20white%20Arches%20paper%2C%20Museum%20Purchase%3A%20Caroline%20Ladd%20Pratt%20Fund%2C%20%26%23169%3B%20Warrington%20Colescott%2C%2080.47.1k
Warrington Colescott, The History of Printmaking: The Last Printmaker, 1978, soft-ground etching and aquatint, with à la poupée inking, and relief rolls through stencils, printed in color on white Arches paper, Museum Purchase: Caroline Ladd Pratt Fund, © Warrington Colescott, 80.47.1k

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Details
Title

The History of Printmaking: The Last Printmaker

Related Titles

series (original language): The History of Printmaking

Artist

Warrington Colescott (American, born 1921)

Date

1978

Medium

soft-ground etching and aquatint, with à la poupée inking, and relief rolls through stencils, printed in color on white Arches paper

Edition

19/25

Catalogue Raisonné

Chapin 228

Dimensions (H x W x D)

plate: 21 15/16 in x 27 5/8 in; sheet: 24 7/8 in x 35 1/2 in

Inscriptions & Markings

watermark: Arches France, watermark, lower right

signature; date: Warrington Colescott 1978, graphite, lower right

title: History of Printmaking: The Last Printmaker, graphite, lower center

edition: 19/75, graphite, lower left

Collection Area

Graphic Arts

Category

Prints

Object Type

intaglio print

Culture

American

Credit Line

Museum Purchase: Caroline Ladd Pratt Fund

Accession Number

80.47.1k

Copyright

© Warrington Colescott

Terms

etching

intaglio printing

intaglio prints

paper

studios

à la poupée

Description

The History of Printmaking concludes with an apocalyptic scene from the future. At the bottom right, the final printmaker on earth returns to the first technique used for recording one's presence, blowing pigment through a straw to make a stencil of his hand. It is, as Colescott has written, a mixture of optimism and pessimism, suggesting the havoc humankind could wreak on the planet, and, at the same time, the abiding courage of the artist-printmaker, recording the experience.

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