GENERAL DESCRIPTION
In 1930 Edward G. Eisenlohr, an accomplished painter and draftsman, produced his first lithograph. Lithography provided him with yet another medium in which to experiment with depth and texture. Eisenlohr's prints translate the exquisite draftsmanship and precise observation of nature that characterize his drawings. In his lithographs he continued to explore the expressive possibilities of landscapes in North Texas and New Mexico.
Adapted from
Heather MacDonald, DMA gallery text, February 2009
NOTES
Same general description used for all Eisenlohr lithographs. (1940.5, 1960.31, 1986.88, 1986.89, 1986.90, 1986.91, 1991.360.1, 1991.360.2, 1991.360.3, 1991.360.4, 1991.360.5, 1991.360.6)
1930- Year Eisenlohr begins making lithographs. His printer was Thomas Cuno of Philadelphia. His first lithograph edition was 35 impressions, after that he made editions of 50.
- This basic information on Eisenlohr's printmaking career comes from Sara Woodbury research notes (2011, in object file). Woodbury's citation- Diana Church, Accommodation in Dallas: Edward G. Eisenlohr (1872-1961), master's Thesis (University of Texas at Dallas, December 1987), 45.
- I did a quick search for "Thomas Cuno" related to lithography, printmaking, or Philadelphia. I believe the correct attribution for Eisenlohr's printer would more likely be Theodore Cuno, a printer active 1891-1991 (as listed in the Smithsonian American Art Museum online collection). Other online gallery records mention Cuno prints having a blind stamp on the lower edge of the work.
I added the following information to the exhibition history field:
1933: Joseph Sartor Gallery, Dallas, TX, October 8-20, 1933 [1]
1940: National Arts Club [2]
[1] This exhibition is listed in Sara Woodbury's research notes (2011, copy in Collections Records Object File).
[2] This was not an exhibition, but the print was displayed so that it could be judged for Eisenlohr's admission as a member of the National Arts Club. This information is listed in Sara Woodbury's research notes (2011, copy in Collections Records Object File).
Changed object name from print to lithograph. Medium remains as lithograph, but should be considered as an example of how works on paper-prints cataloguing procedures could change to list ink on paper as the medium and the type of print as the object name.
Catalogue essays
Artist/designers
Cultures
Geography
Origin- Dallas, Texas
Depiction- Dallas, Texas
Process/materials
Historical periods
Individuals
Subject terms
gate
landscape
trees
rural areas
foreground
RELATED OBJECTS
PROVENANCE
Before 1940: Allie V. Tennant, Dallas, Texas
From 1940: Dallas Museum of Fine Arts, gift from the above [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Arts in 1983.
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VIDEO ASSETS
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WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1940.5
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General Description
In 1930 Edward G. Eisenlohr, an accomplished painter and draftsman, produced his first lithograph. Lithography provided him with yet another medium in which to experiment with depth and texture. Eisenlohr's prints translate the exquisite draftsmanship and precise observation of nature that characterize his drawings. In his lithographs he continued to explore the expressive possibilities of landscapes in North Texas and New Mexico.
Adapted from
Heather MacDonald, DMA gallery text, February 2009
Fun Facts
Archival Resources
Web Resources
Notes
Same general description used for all Eisenlohr lithographs. (1940.5, 1960.31, 1986.88, 1986.89, 1986.90, 1986.91, 1991.360.1, 1991.360.2, 1991.360.3, 1991.360.4, 1991.360.5, 1991.360.6)
1930- Year Eisenlohr begins making lithographs. His printer was Thomas Cuno of Philadelphia. His first lithograph edition was 35 impressions, after that he made editions of 50.
- This basic information on Eisenlohr's printmaking career comes from Sara Woodbury research notes (2011, in object file). Woodbury's citation- Diana Church, Accommodation in Dallas: Edward G. Eisenlohr (1872-1961), master's Thesis (University of Texas at Dallas, December 1987), 45.
- I did a quick search for "Thomas Cuno" related to lithography, printmaking, or Philadelphia. I believe the correct attribution for Eisenlohr's printer would more likely be Theodore Cuno, a printer active 1891-1991 (as listed in the Smithsonian American Art Museum online collection). Other online gallery records mention Cuno prints having a blind stamp on the lower edge of the work.
I added the following information to the exhibition history field:
1933: Joseph Sartor Gallery, Dallas, TX, October 8-20, 1933 [1]
1940: National Arts Club [2]
[1] This exhibition is listed in Sara Woodbury's research notes (2011, copy in Collections Records Object File).
[2] This was not an exhibition, but the print was displayed so that it could be judged for Eisenlohr's admission as a member of the National Arts Club. This information is listed in Sara Woodbury's research notes (2011, copy in Collections Records Object File).
Changed object name from print to lithograph. Medium remains as lithograph, but should be considered as an example of how works on paper-prints cataloguing procedures could change to list ink on paper as the medium and the type of print as the object name.
Catalogue essays
Artist/designers
Cultures
Geography
Origin- Dallas, Texas
Depiction- Dallas, Texas
Process/materials
Historical periods
Individuals
Subject terms
gate
landscape
trees
rural areas
foreground
RELATED OBJECTS
PROVENANCE
Before 1940: Allie V. Tennant, Dallas, Texas
From 1940: Dallas Museum of Fine Arts, gift from the above [1]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Arts in 1983.
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1940.5
source file
object_notes_4_c-0022.xml.nores