This work demonstrates Leonard Lehrer’s primacy as a print-maker. Marrying together bold lines with subtle shading, he creates a remarkable three-dimensionality. This beautiful rendition of The McNay Art Museum, commissioned by the Friends of the McNay, simultaneously has the character of a line drawing with the aliveness of the hyperrealists. This technique, a Lehrer hallmark, is difficult to achieve successfully in the challenging arena of lithography.
Perhaps more important to Lehrer’s legacy is his interweaving of classical balance and extreme order, on the one hand, with a romantic vision on the other. He was deeply interested in structure and balance and harmony, with the result of great but restrained beauty.
Lehrer is among the country’s leading print-makers, with works at The Museum of Modern Art, The Metropolitan Museum of Art, The Corcoran Gallery of Art, The National Gallery of Art, and The Bibliotheque Nationale de France.
Relief print from stone engraving lithograph in black ink
White Crisbook Waterleaf
Printed at Tamarind Institute by the artist in collaboration with Master Printer Ben Q. Adams.
Hand-signed in Pencil by the artist en recto lower right. Titled in pencil by the artist en recto center. Numbered in pencil by the artist en recto lower left. Bearing the blindstamp of Tamarind Institute.
The sixth impression from the edition of 25.
Custom matted and framed in a black-painted heavy wood frame behind 99% UV-filtering Plexiglass.
25 in. (h) × 33 in. (w) x 1.25 in. (d)
22 in. (h) x 29.75 in. (w)
20 in. (h) x 27 in. (w)
Exhibited at Grant Jacks Incorporated, New York
EA Quenson, The Art of Leonard Lehrer (West Germany, 1986), p. ___. Tamarind Number 73-706.
Formerly part of the corporate art collection of AT&T, purchased from the artist through the Marian Locks Gallery then by sale to Washington Color.