PRINT PORTFOLIO: A Virtual Exhibition

ACME Fine Art’s upcoming virtual exhibition Print Portfolio will feature a selection of etchings, lithographs, woodblock prints and silkscreens by artists Seong Moy, Charles Littler, Grace Martin Taylor, Edwin Dickinson, George McNeil, Lillian Burk Meeser and Agnes Weinrich. Although these artists are from different generations and work in different styles, they all have a Provincetown, Massachusetts connection in common. This will be ACME Fine Art’s first exclusively online exhibition. The exhibition will open on 1 April 2010 and will be accessible at

Edwin Dickinson was one of the first artists to rent at studio at Days Lumberyard, which would later become Provincetown’s most vital studio complex. Dickinson made etchings for a short period of time, primarily during the year 1916, which “may have been motivated by the idea that prints were easier to sell than paintings.*” Although Dickinson did find etching to be profitable, by 1924 his preference for painting had prevailed. As a result of his short time as a printmaker and his small editions, Dickinson’s etchings are thus very rare. His etchings from this period and on view in Print Portfolio are primarily Provincetown scenes, including Cape Cod Birds and Montello Street, both from 1916. Dickinson used fine, delicate lines to produce detailed, yet powerful compositions. A number of Dickinson’s etchings were included in Edwin Dickinson in Provincetown, 1912-1937, an exhibition at the Provincetown Art Association and Museum in 2007.

Grace Martin Taylor is best known for her white-line woodblock prints, otherwise known as Provincetown prints, which are made using the first printmaking technique unique to the United States. The white-line woodblock technique is derivative of Japanese woodblock printmaking, a link that Taylor must have considered when composing her colorful Japanese influenced images. To produce white-line woodblock prints, colored inks were individually painted onto a section of a single carved woodblock and printed, a painstaking process that required much planning and drying time. White-line woodblock prints by Lillian Burk Meeser and Agnes Weinrich will also be featured in the exhibition.

Seong Moy, Charles Littler and George McNeil were all associated with Hans Hofmann early in their careers. Seong Moy, who emigrated from China at the age of ten, learned printmaking as part of a WPA project at the Walker Art Center in Minneapolis. His dynamic abstract woodcut prints are an amalgamation of his Chinese artistic heritage and the teachings of Hofmann. Moy taught painting and printmaking at many institutions, most notably the Art Students League and Pratt Graphic Center, in addition to forming his own school in Provincetown. Charles Littler incorporated the wood grain texture into his graphic woodblock prints. Using a limited palette of black and white, greens and browns, Littler composed abstracts of thick, sinuous lines evocative of the human form.

George McNeil’s use of brilliant colors and varying textures in his silkscreens and lithographs parallels his painting style. McNeil produced only a few color silkscreens in small editions during his abstract expressionist period. In 1971 McNeil began a residency at the Tamarind Institute at the University of New Mexico, where he learned the technical skills of lithography. McNeil’s lithographs from the 1970s and 80s utilize these complex skills, while maintaining the spontaneity of his paintings. McNeil’s prints are included in the permanent collection of the Smithsonian Institute Print Collection.

Please contact the gallery at 617.585.9551 or for more information about these artists or the exhibition. These works are available for viewing at the gallery by appointment.
*Ward, John L. Edwin Dickinson: A Critical History of His Paintings. Rosemount Publishing and Printing Corp., 2003.

Artist Biography: Fritz Bultman


EDUCATION:Private study with Morris Graves, 1931
New Orleans Arts and Crafts School, 1937-38
New Bauhaus, Chicago
Hans Hoffman School, NYC & Provincetown, MA, 1938-41


Pratt Institute, 1958-63
Hunter College, NY, 1968-72
Fine Arts Work Center, Provincetown, MA, 1968-72


Exchange Fellowship, Italian Government Grant, Florence, 1950-51
Art Institute of Chicago, American Show Sculpture Award, 1964
Fulbright Fellowship, 1964-65
Solomon R. Guggenheim Grant, 1975


Hugo Gallery, 1947, 1950
The Kootz Gallery, 1952
The Stable Gallery, 1958
Martha Jackson Gallery, 1959, 1973, 1976, 1977
Issac Delgado Museum of Art, New Orleans, 1960
Gallery Stadler, Paris, 1960
Michael Warren Gallery, 1960
Gallery Mayer, New York, 1960
Weatherspoon Gallery, University of North Carolina at Greensboro, 1963
Tibor de Nagy Gallery, 1963, 1964
The Arts Club of Chicago, 1965
Oklahoma Art Center, 1974
Newport Art Association, 1974
New Orleans Museum of Art, 1974,1993 (retrospective)
Cherry Stone Gallery, Wellfleet, MA, 1977, 1986
Long Point Gallery, Provincetown, MA, 1977, 1978, 1979, 1984
University of North Carolina at Chapel Hill, 1978
Andre Zarre, New York, 1978
Landmark Gallery Inc., NYC, 1979, 1982
Galerie Schlesinger-Boisanté, NYC, 1982, 1986, 1987
Fine Arts Work Center, Provincetown, MA, 1986
Portland Museum of Art, 1987
Hunter College, NY, 1987
William Benton Museum of Art, University of Connecticut at Storrs, 1989
University of Connecticut, 1989 (retrospective)
Tilden-Foley Gallery, New Orleans, 1989, 1991, 1993
Galerie Schlesinger, NY, 1989-2004
Kouros Gallery, NY, 1991
Gallery Schlesinger, 1997, 1998, 2003, 2004, 2005
Kendall Campus Art Gallery, Miami-Dade Community College, FL, 1998, 1999
Gallery of the College of Staten Island, CUNY, NY, 1999
Albert Merola Gallery, Provincetown, MA, 1999-2004
Galerie Simonne Stern, New Orleans, LA, 1999
Shannon Foley Fine Art, New Orleans, LA, 2003


Whitney Museum of American Art, 1950, 1952, 1955
Stable Gallery, 1953, 1954, 1955, 1956
Art Institute of Chicago, 1964
Museum of Modern Art, 1964
International Institute of Education, 1975
New York University, 1981
City University of New York, 1985
Provincetown Art Association and Museum, 1994


Whitney Museum of American Art, New York
Metropolitan Museum of Art, New York
Solomon R. Guggenheim Museum of Art, New York
Museum of American Art, Washington, DC
Museum of Fine Arts, Boston
Corcoran Museum of Art, Washington, DC
Ogden Museum of Southern Art, New Orleans
University of California, Berkeley
McCrory Corporation, New York
Ciba-Geigy Collection, Ardsley, New York
Williams College, Williamstown, MA
Montclair Museum of Art, Montclair, NJ
Reynolds Aluminum Collection, Richmond, VA
Prudential Life Insurance Collection, NJ
Provincetown Art Association and Museum, Provincetown, MA
Kalamazoo College Collection, Kalamazoo, MI


For ACME Fine Art’s second solo exhibition of artwork by George Lloyd, gallery director David Cowan has assembled a fine group of rare works from what the artist refers to as his Figurative Period. The exhibition will open with a reception from 6:00 to 8:00 p.m. on Friday 15 January 2010, and it will be on view through Saturday 6 March 2010.

George Lloyd received his BFA from the Rhode Island School of Design in 1967, and went on to earn his MFA in 1969 from the Yale University School of Art, where he studied with Lester Johnson and Jack Tworkov. Following the completion of his graduate studies, Lloyd accepted a teaching position at the University of California, Berkeley. The artwork that was created during this fertile period while living and working in the San Francisco Bay Area –the early 1970s- is what constitutes the Figurative Period of Lloyd’s work. It was also during that time that he participated in a weekly drawing group with renowned Bay Area artists, Elmer Bischoff, Joan Brown, and Gordon Cook. Together the four artists participated in a group exhibition of the work created in the drawing group sessions that was titled New Drawings. The exhibition was first mounted at the Charles Campbell Gallery (San Francisco), and later at the Crocker Art Museum (Sacramento) in 1973.

The importance of the drawing group and of “drawing” itself in Lloyd’s early work cannot be overstated. In an interview in 2000, he was quoted saying that “In retrospect, it is clear that drawing was the dominant concern in my paintings during this early Berkeley period.” When viewing the paintings; however, one is more struck by the effusive spirit that the work conveys. While we may see peripheral flashes of Henri Matisse, Stuart Davis, Robert de Niro Sr. and/ or Hans Hofmann, what we are left with in the end is an original, individual, eloquent voice. These paintings are brilliantly chromatic. They are also concisely edited, elegantly composed, and freshly and sensually expressed in a modern idiom that speaks an abstract visual language that is nonetheless readily understood.

Lloyd moved back to the east coast in 1982, settling more or less permanently in Portland Maine in 1985. He continues to teach and to paint, and his contemporary work is exhibited regularly in museum and gallery exhibitions throughout the U.S. Lloyd’s contemporary work appears to be a natural outgrowth of the interests demonstrated in the work created during his formative years in California. In addition to teaching at U.C. Berkeley, Lloyd has held teaching positions at Cornell University, the University of Southern Maine and at Wesleyan University. He was awarded Pollock Krasner Foundation grants in both 1994 and 2006. Lloyd’s work is in the permanent collections of the Oakland Museum of Art, the Portland Museum of Art, the University of Maine Museum of Art, the Ogunquit Museum of American Art, and the University Art Museum of the University of California, Santa Barbara. In addition to those institutions already listed George Lloyd’s work has been exhibited at the National Academy of Design, the Johnson Museum, Cornell University, the Center for Maine Contemporary Art, and the Center for the Visual Arts (Oakland CA).

ACME Fine Art’s exhibition of paintings and drawings from George Lloyd’s figurative period will be on view from 15 January to 6 March 2010. Gallery hours are 11:00 to 5:30 Tuesday through Saturday. Please contact the gallery at 617.585.9551 or for more information about the artist or the exhibition. The entire exhibition will be viewable on-line at