JANE BANQUER studied at the DeCordova Museum, the Boston Museum School and at Smith College with Leonard Baskin and Amy Namowitz Worthen.  She was a state juried member of the League of New Hampshire Craftsmen, where she served to set fine art print and photography standards and to review the work of new artist applicants for exhibition and sales throughout the state.  She is represented by Addison Woolley Gallery in Portland, Maine and formerly by Wenniger Graphics, Newbury Street, Boston, among other regional galleries.  She has worked as a master printer, illustrator, graphic designer, arts educator and program manager in the visual and performing arts.  

Jane Banquer ‘Woodland Storm Grove’ Multiple Reduction Linocut 33″ x 25″ Framed $1680

Jane Banquer ‘Woodland Storm Rupture’ Multiple Reduction Linocut 25″ x 33″Framed $1680

Jane Banquer ‘Solstice Shadows Sunrise’ Multiple Reduction Print 20”x17” $1000

Jane Banquer ‘Solstice Shadows Sunset’ Multiple Reduction Print 20”x17” $1000

Jane Banquer ‘Rocky Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1680

Jane Banquer ‘Sandy Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1680

Jane Banquer ‘Downeast Cove’ Multiple Reduction Linocut 34″x26″ Framed $1680⁠

Jane Banquer ‘Downeast Spruce’ Multiple Reduction Linocut 34″x26″ Framed $1680

Jane Banquer ‘Headland View North’ Multiple Reduction Linocut 26×34″ Framed $1680⁠

Jane Banquer ‘Headland View South’ Multiple Reduction Linocut 34″x26″ $1680

Jane Banquer ‘Islands Early’ Color Reduction Woodcut 14″x11″ Framed $655

Jane Banquer ‘Islands Late’ Color Reduction Woodcut 14″x11″ Framed $655

Jane Banquer ‘Upward Mobility’ Woodcut 25″x21′ $465

Etching is an “intaglio” process, creating a transfer image from a metal plate to paper under intense pressure.  The plate is first coated with a waxy acid resistant material which is then incised with a drawing tool or manipulated to create tonal areas.  When the metal sheet is immersed in acid, a line is bitten everywhere the resist has been pushed aside. In the solar plate technique, a metal-backed layer of polymer is impregnated with a light sensitive emulsion.  When exposed to ultraviolet light through artwork, the material masked from hardening by the light washes away with water creating similar grooves or stippling to an acid bite.  Dense ink is then spread over the entire sheet, worked into the etched depressions, and wiped clean leaving ink only in the grooved, or intaglio, surfaces.

Collagraph is printmaking from plates that are collages: a word derived from the French verb “to glue together.”  Almost any materials are appropriate for collagraph that can withstand the printing pressure to produce an edition.  These plates are often made on a base of mat board or masonite and then built up with layers that will hold ink and impart color and texture to the printed sheet.  

To print the image, dampened rag paper is laid over the plate on the flat bed of an intaglio press and rolled between steel rollers, pulling ink out of the etched areas and depositing it on the paper.  Prints with multiple colors and layered images are created with numerous plates in separate passes of the press.  A fine intaglio print which is hand-wiped and pulled will always reveal the plate contour as a physical depression in the paper.  Occasionally, an impression is created exclusively from a heavily textured plate that is printed without any ink.  This low-relief process is known as embossing. 

In contrast to the intaglio method, woodcut and linocut are relief prints where areas that are not intended to print are cut away with gouges and knives.  The remaining surface is rolled with ink and printed under hand pressure or in the press.  Relief prints can also be created with solar plates.  Color prints consist of either individual registered plates for each shade or the reduction method where the same board is progressively cut away to layer colors one over the other until little is left of the original board, with each printing moving from lightest to darkest color.

A signed numbered edition indicates the size of the entire run and the position of each individual print in a fraction written at the left-hand edge of the paper.  The total edition number is stated as the fraction denominator and each print as the numerator.  A label of A/P indicates a limited “artist’s proof,” pulled outside the full edition.  The hand-written edition numbers and artist’s signature should be separately penciled at the base each print, not reproduced into the image.  Because hand printed limited edition fine art prints are produced in multiples, they can be affordably priced for display or investment.

Jane Banquer ‘Springtime Gold’ Etching and Collagraph 23″x15 SOLD

Jane Banquer ‘Tulip Riot’ Solar Plate Etching 17″x15″ Framed SOLD

EDUCATION 

Haystack Mountain School of Crafts, painting, woodcut

MS, Organization & Management, Antioch New England

University of New Hampshire, printmaking, graphic design courses

BA, Art History, Smith College; minors in Studio Art, French 

Boston Museum School, Decordova and Dana Museum of Art

JURIED/SMALL INVITATIONAL, AND SOLO EXHIBITIONS/COMMISSIONS

2020, Maine Jewish Museum Pop-up, Portland, ME, curated by Nancy Davidson. 

2020, “Pickwick Independent Press 10th Anniversary,” Lewis Galler, Portland Public Library, Portland, ME. 

2019, “Framing Maine: The Artist’s Perspective on Place,” University of Maine, Orono, ME, curated by Carl Little.

2019, “Habitats, Inhabitants,” Maine Jewish Museum, Portland, ME, curated by Nancy Davidson, reviewed Maine Sunday Telegram.

2018, Maine-Aomori Printmaking Society, Aomori Japan and Maine

2017, “The Menorah Show,” Maine Jewish Museum, Portland, ME, curated by Nancy Davidson.

2016, “Art of the Hand-Pulled Print; The Peregrine Press at 25,” Portland, ME

2016, 2015, 2014, 2013, 2012, 2011, 2010, “Prints of the Year,” curated by Parker Potter

2015, The Boston Printmakers Biennial, Lesley University, Cambridge, MA

2015, “The Synagogue Show”, Maine Jewish Museum, Portland, ME, curated by Nancy Davidson.

2015, “Graphic Realities”, Maine Jewish Museum, Portland, ME, curated by Nancy Davidson.

2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, Addison Woolley Gallery, Portland, ME

2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006, 2005, Solo, Small Group, GEM Gallery, Peaks Is., ME

2014, “Prints and Oils”, solo exhbit, Yarmouth History Center Gallery, Yarmouth, ME

2013, “Take Two: Reimagining a Print from the Past,” Plymout State College, Plymouth, NH, curated by Parker Potter

2012, ’10, ‘09, ’08, ‘07, ’06, ’05, ’04, Various shows, New Hampshire Art Assoc., Portsmouth, NH

2012, “Pressing On,” Landing Gallery, Rockland, ME, curated by Bruce Brown

2012, Solo exhibit, Hopkinton Town Library, Hopkinton, NH

2009/2010, “Ink and Light,” Two Person Show, Archipelago Fine Arts, Rockland, ME

2008, Art of the Archipelago, Archipelago Fine Arts, Rockland, ME

2007, 2005, The Figure Revealed, Atrium Gallery, University of Southern Maine, Lewiston-Auburn College

2007, Celebrating 200 Years of Printmaking in Maine, Center for Maine Contemporary Art, Rockport, ME 

2006, “Interiors/Exteriors:” Phillip Frey Jane Banquer, Shaw Contemporary Jewelry, Northeast Harbor, ME

2006, 57th Annual Art of the Northeast USA, Silvermine Guild Arts Center, New Canaan, CT

2006, Strike a Pose: Figurative and Nudes, Millbrook Gallery and Sculpture Garden, Concord, NH

2006, Prelude to Spring, River Tree Center for the Arts, Kennebunk, ME

2005 – 1990’s, Select 2-person and group shows in Maine gallery venues. 

1983, “Graphics New Hampshire” venues at League of New Hampshire Craftsmen, Concord, NH; St. Anselm College, Manchester, NH; Plymouth State College, Plymouth, NH: reviewed in Art New England

1980’s, Annual Juried Shows, Living with Crafts at the Annual Sunappee Fair, League of NH Craftsmen

PRIZES/RECOGNITION

2019, Daniel Kany review, Maine Sunday Telegram, January 2019

2016, Haystack Mountain School of Crafts, Open Residency Fellowshiup, Deer Isle, ME

2008, Honorable Mention, Annual J Parfitt Memorial Exhibition, N. H. Art Assoc., Portsmouth, NH

1980’s, League of New Hampshire Craftsmen, Terrance Gallery, Palenville, NY, Holly Daly Herman Galleries, New Orleans, LA

JURIED MEMBERSHIPS/COLLECTIONS

Ogunquit Art Association, Barn Gallery, Ogunquit, ME

Collection of Bruce Brown, Portland, ME

League of New Hampshire Craftsmen

New Hampshire Art Association

GALLERY REPRESENTATION

Casco Bay Artisans, former: Addison Woolley Gallery, Portland, ME; Archipelago Fine Arts, Rockland, ME; Wenniger Gra[hics, Bosston, Rocport, MA

OTHER/ PUBLICATIONS

Coordinator, bi-weekly life drawing, Co-Coordinator, seasonal open studios, Peaks Island, ME

 “Parent Activists and Corporate Allies: The Portland Partnership,” FLYING TOGETHER, 1997, Education Newsletter of Chamber Music America

 “Four Artists Talk About Artists-in-the-Schools,” New Hampshire State Council on the Arts.  Program document slide-tape: youngest, only woman artist profiled.

State Juror in Printmaking, League of New Hampshire Craftsmen

Exhibition reviews, New Hampshire Times