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Crown Point Press is excited to participate in Fraenkel Gallery’s summer group exhibition, ‘Slice of the Pie,’ opening tomorrow, Thursday, May 28th. There will be a public reception on Saturday, May 30th, from 3-5pm.

“Fraenkel Gallery presents ‘Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different,’ a group exhibition that brings together a vibrant cross-section of some of the Bay Area’s most influential and idiosyncratic art galleries. Featuring work by more than 40 artists, the exhibition illuminates the diverse perspectives and practices that define the region’s rich gallery ecosystem.

The exhibition will be on view through August 15, 2026.

1. Rupy C. Tut, ‘While the Night hides and the Shadow seeks’ 2024
2. Robert Bechtle, ‘Three Houses on Pennsylvania Ave’ 2011
3. Wayne Thiebaud, ‘Pie Case’ 2002

@fraenkelgallery @sfartdealers @ifpda #bayareagalleries #sanfrancisco

Crown Point Press is excited to participate in Fraenkel Gallery’s summer group exhibition, ‘Slice of the Pie,’ opening tomorrow, Thursday, May 28th. There will be a public reception on Saturday, May 30th, from 3-5pm.

“Fraenkel Gallery presents ‘Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different,’ a group exhibition that brings together a vibrant cross-section of some of the Bay Area’s most influential and idiosyncratic art galleries. Featuring work by more than 40 artists, the exhibition illuminates the diverse perspectives and practices that define the region’s rich gallery ecosystem.

The exhibition will be on view through August 15, 2026.

1. Rupy C. Tut, ‘While the Night hides and the Shadow seeks’ 2024
2. Robert Bechtle, ‘Three Houses on Pennsylvania Ave’ 2011
3. Wayne Thiebaud, ‘Pie Case’ 2002

@fraenkelgallery @sfartdealers @ifpda #bayareagalleries #sanfrancisco

Crown Point Press is excited to participate in Fraenkel Gallery’s summer group exhibition, ‘Slice of the Pie,’ opening tomorrow, Thursday, May 28th. There will be a public reception on Saturday, May 30th, from 3-5pm.

“Fraenkel Gallery presents ‘Slice of the Pie: Fourteen Bay Area Galleries & What Makes Them Different,’ a group exhibition that brings together a vibrant cross-section of some of the Bay Area’s most influential and idiosyncratic art galleries. Featuring work by more than 40 artists, the exhibition illuminates the diverse perspectives and practices that define the region’s rich gallery ecosystem.

The exhibition will be on view through August 15, 2026.

1. Rupy C. Tut, ‘While the Night hides and the Shadow seeks’ 2024
2. Robert Bechtle, ‘Three Houses on Pennsylvania Ave’ 2011
3. Wayne Thiebaud, ‘Pie Case’ 2002

@fraenkelgallery @sfartdealers @ifpda #bayareagalleries #sanfrancisco

Crown Point Press is pleased to announce the relocation of its gallery to a new street-level space in its historic building. The move marks a new chapter in the gallery’s history while keeping it rooted in the creative community and continuing its acclaimed exhibition program.

The gallery space is now open to the public and is located at 657 Howard Street next door to neighbors Goethe-Institut SF and Berggruen Gallery. The new location offers greater visibility and a more focused, flexible format for presenting work while maintaining Crown Point’s longstanding engagement with collectors, curators, artists, and visitors.

We invite you to come see our first exhibition in the new space and view our most recent publications with Laura Owens, Ed Ruscha, Hilary Pecis, and Rupy C. Tut.

For more information, visit crownpoint.com or contact Valerie Wade or Gabi Sarussi at info@crownpoint.com

#crownpointpress #sanfrancisco #etching #printmaking @sfartdealers @ifpda @the_adaa

1. Image of the new gallery space featuring Laura Owens, Ed Ruscha, and Hilary Pecis’s prints
2. The new lobby entrance off of Howard Street

Image copyright Laura Owens, courtesy of the artist.

Crown Point Press is pleased to announce the relocation of its gallery to a new street-level space in its historic building. The move marks a new chapter in the gallery’s history while keeping it rooted in the creative community and continuing its acclaimed exhibition program.

The gallery space is now open to the public and is located at 657 Howard Street next door to neighbors Goethe-Institut SF and Berggruen Gallery. The new location offers greater visibility and a more focused, flexible format for presenting work while maintaining Crown Point’s longstanding engagement with collectors, curators, artists, and visitors.

We invite you to come see our first exhibition in the new space and view our most recent publications with Laura Owens, Ed Ruscha, Hilary Pecis, and Rupy C. Tut.

For more information, visit crownpoint.com or contact Valerie Wade or Gabi Sarussi at info@crownpoint.com

#crownpointpress #sanfrancisco #etching #printmaking @sfartdealers @ifpda @the_adaa

1. Image of the new gallery space featuring Laura Owens, Ed Ruscha, and Hilary Pecis’s prints
2. The new lobby entrance off of Howard Street

Image copyright Laura Owens, courtesy of the artist.

Laura Owens layers world upon world in her five new etchings with Crown Point Press.

“Untitled (LO 1190)” begins with a simple aquatint background in purpley-pink, then builds; direct-to-plate etching shifting green to orange, spit bite wine brushstrokes carefully blocked around fuchsia spit bite circles and squares, and muted mauve sugar lift circles with soap ground. What reads as effortless is anything but.

The bright palettes and references from her paintings and past Crown Point projects carry through the entire series—decorative motifs drawn from Japanese prints, embroideries like those she photographed at Fondazione Antonio Ratti in Como, Italy, and her own earlier paintings and artist’s books. Textures like the “embroidery” created with seven silkscreen layers blur the line between handmade and mechanical; a tension at the heart of everything Owens makes.

Nothing here is accidental. Every color, placement, and object, whether lifted from a vintage wallpaper pattern or a past project revisited, was carefully, deliberately considered.

#lauraowens #etching #printmaking #crownpointpress

@ifpda @the_adaa @sfartdealers

1. Laura Owens, “Untitled (LO 1190,” 2026
2. Detail from “Untitled (LO 1190)”

Images copyright Laura Owens/courtesy of the artist.

Laura Owens layers world upon world in her five new etchings with Crown Point Press.

“Untitled (LO 1190)” begins with a simple aquatint background in purpley-pink, then builds; direct-to-plate etching shifting green to orange, spit bite wine brushstrokes carefully blocked around fuchsia spit bite circles and squares, and muted mauve sugar lift circles with soap ground. What reads as effortless is anything but.

The bright palettes and references from her paintings and past Crown Point projects carry through the entire series—decorative motifs drawn from Japanese prints, embroideries like those she photographed at Fondazione Antonio Ratti in Como, Italy, and her own earlier paintings and artist’s books. Textures like the “embroidery” created with seven silkscreen layers blur the line between handmade and mechanical; a tension at the heart of everything Owens makes.

Nothing here is accidental. Every color, placement, and object, whether lifted from a vintage wallpaper pattern or a past project revisited, was carefully, deliberately considered.

#lauraowens #etching #printmaking #crownpointpress

@ifpda @the_adaa @sfartdealers

1. Laura Owens, “Untitled (LO 1190,” 2026
2. Detail from “Untitled (LO 1190)”

Images copyright Laura Owens/courtesy of the artist.

Today we remember our founder, Kathan Brown, on what would have been her 91st birthday.

As the visionary behind Crown Point Press, Kathan shaped generations of artists and advanced the art of printmaking. Her legacy lives on in every work, artist she championed, and each idea she helped bring to life.

We remain deeply grateful for her enduring influence and the path she created.

#crownpointpress #kathanbrown #printmaking @ifpda @agac_sf @the_adaa

Ed Ruscha’s new series of four etchings, “All Fall Down,” is presented in a portfolio that reflects his signature style—simple, deliberate, and quietly elegant. Designed by the artist himself, the case and colophon page carry a refined sensibility that frames the work without competing with it, allowing each image to unfold on its own terms.

“All Fall Down” depicts the gradual decay of the iconic sign in Beverly Hills, California. The imagery speaks for itself and is characteristic of Ruscha’s longstanding engagement with the use of language as a way to elevate the written word to its own substantive subject.

1. Video of all four “All Fall Down” images by Ed Ruscha in sequence
2. Portfolio case for “All Fall Down” by Ed Ruscha
3. Detail of the portfolio case
4. Colophon page from the portfolio

#edruscha #etching #printmaking #sanfrancisco

Ed Ruscha’s new series of four etchings, “All Fall Down,” is presented in a portfolio that reflects his signature style—simple, deliberate, and quietly elegant. Designed by the artist himself, the case and colophon page carry a refined sensibility that frames the work without competing with it, allowing each image to unfold on its own terms.

“All Fall Down” depicts the gradual decay of the iconic sign in Beverly Hills, California. The imagery speaks for itself and is characteristic of Ruscha’s longstanding engagement with the use of language as a way to elevate the written word to its own substantive subject.

1. Video of all four “All Fall Down” images by Ed Ruscha in sequence
2. Portfolio case for “All Fall Down” by Ed Ruscha
3. Detail of the portfolio case
4. Colophon page from the portfolio

#edruscha #etching #printmaking #sanfrancisco

Ed Ruscha’s new series of four etchings, “All Fall Down,” is presented in a portfolio that reflects his signature style—simple, deliberate, and quietly elegant. Designed by the artist himself, the case and colophon page carry a refined sensibility that frames the work without competing with it, allowing each image to unfold on its own terms.

“All Fall Down” depicts the gradual decay of the iconic sign in Beverly Hills, California. The imagery speaks for itself and is characteristic of Ruscha’s longstanding engagement with the use of language as a way to elevate the written word to its own substantive subject.

1. Video of all four “All Fall Down” images by Ed Ruscha in sequence
2. Portfolio case for “All Fall Down” by Ed Ruscha
3. Detail of the portfolio case
4. Colophon page from the portfolio

#edruscha #etching #printmaking #sanfrancisco

Ed Ruscha’s new series of four etchings, “All Fall Down,” is presented in a portfolio that reflects his signature style—simple, deliberate, and quietly elegant. Designed by the artist himself, the case and colophon page carry a refined sensibility that frames the work without competing with it, allowing each image to unfold on its own terms.

“All Fall Down” depicts the gradual decay of the iconic sign in Beverly Hills, California. The imagery speaks for itself and is characteristic of Ruscha’s longstanding engagement with the use of language as a way to elevate the written word to its own substantive subject.

1. Video of all four “All Fall Down” images by Ed Ruscha in sequence
2. Portfolio case for “All Fall Down” by Ed Ruscha
3. Detail of the portfolio case
4. Colophon page from the portfolio

#edruscha #etching #printmaking #sanfrancisco

Crown Point Press is thrilled to be showing these five new etchings by Laura Owens at the IFPDA Print Fair in New York. The fair is open today until 7pm and tomorrow, Sunday, April 12th from 11 - 6pm. If you are in New York, don’t miss the opportunity to see these incredibly complex prints in person!

1. Installation of Laura Owens’ five new etchings at the IFPDA Print Fair.
Image copyright Laura Owens. Courtesy of the artist.

#ifpda #etching #lauraowens #matthewmarksgallery @ifpda @the_adaa

Day 2 of the IFPDA Print Fair at the Park Avenue Armory; we’ll be at Booth C23 until 7pm tonight and through the weekend!

1. Hilary Pecis, “Geraniums and Camellias” 2025

#ifpdaprintfair #etchings #prints @ifpda @the_adaa @hilary_pecis

We are so excited to be here at the 2026 edition of The IFPDA Print Fair! Thank you to the IFPDA for spotlighting Hilary Pecis’ etching “Lemons and Camellias” at the fair.

Come visit us at Booth C23 at the Park Avenue Armory in NY. The fair opens today and will go through Sunday, April 12th.

#crownpointpress #etching #ifdpa #hilarypecis @ifpda @the_adaa @hilary_pecis

Crown Point Press is happy to announce a new project with LA artist Laura Owens. This is her third project at the press and the most complex and engaging to date—the five new etchings will make their debut at the IFPDA Print Fair in April.

Featured here is a behind the scenes peek at the making of “Untitled (LO 1187).”Senior master printer Emily York skillfully led the project through all its multiple layers. Completed this March, “Untitled (LO 1187)” combines color spit bite, sugar lift, and soap ground aquatints with aquatint, direct-to-plate aquatint, and a five-color screenprint to achieve the final image.

1. Laura Owens, “Untitled (LO 1187)” 2026. Image copyright Laura Owens/courtesy of the artist.
2. Printing the direct-to-plate grid with masking
3. Printing the sugar lift with soap ground brushstrokes
4. Peeling back the chine collé paper from masked areas after printing the direct-to-plate netting image.

#etching #lauraowens #printmaking
@emilyyork.print @ifpda @matthewmarksgallery @the_adaa

Crown Point Press is happy to announce a new project with LA artist Laura Owens. This is her third project at the press and the most complex and engaging to date—the five new etchings will make their debut at the IFPDA Print Fair in April.

Featured here is a behind the scenes peek at the making of “Untitled (LO 1187).”Senior master printer Emily York skillfully led the project through all its multiple layers. Completed this March, “Untitled (LO 1187)” combines color spit bite, sugar lift, and soap ground aquatints with aquatint, direct-to-plate aquatint, and a five-color screenprint to achieve the final image.

1. Laura Owens, “Untitled (LO 1187)” 2026. Image copyright Laura Owens/courtesy of the artist.
2. Printing the direct-to-plate grid with masking
3. Printing the sugar lift with soap ground brushstrokes
4. Peeling back the chine collé paper from masked areas after printing the direct-to-plate netting image.

#etching #lauraowens #printmaking
@emilyyork.print @ifpda @matthewmarksgallery @the_adaa

Crown Point Press is happy to announce a new project with LA artist Laura Owens. This is her third project at the press and the most complex and engaging to date—the five new etchings will make their debut at the IFPDA Print Fair in April.

Featured here is a behind the scenes peek at the making of “Untitled (LO 1187).”Senior master printer Emily York skillfully led the project through all its multiple layers. Completed this March, “Untitled (LO 1187)” combines color spit bite, sugar lift, and soap ground aquatints with aquatint, direct-to-plate aquatint, and a five-color screenprint to achieve the final image.

1. Laura Owens, “Untitled (LO 1187)” 2026. Image copyright Laura Owens/courtesy of the artist.
2. Printing the direct-to-plate grid with masking
3. Printing the sugar lift with soap ground brushstrokes
4. Peeling back the chine collé paper from masked areas after printing the direct-to-plate netting image.

#etching #lauraowens #printmaking
@emilyyork.print @ifpda @matthewmarksgallery @the_adaa

Crown Point Press is happy to announce a new project with LA artist Laura Owens. This is her third project at the press and the most complex and engaging to date—the five new etchings will make their debut at the IFPDA Print Fair in April.

Featured here is a behind the scenes peek at the making of “Untitled (LO 1187).”Senior master printer Emily York skillfully led the project through all its multiple layers. Completed this March, “Untitled (LO 1187)” combines color spit bite, sugar lift, and soap ground aquatints with aquatint, direct-to-plate aquatint, and a five-color screenprint to achieve the final image.

1. Laura Owens, “Untitled (LO 1187)” 2026. Image copyright Laura Owens/courtesy of the artist.
2. Printing the direct-to-plate grid with masking
3. Printing the sugar lift with soap ground brushstrokes
4. Peeling back the chine collé paper from masked areas after printing the direct-to-plate netting image.

#etching #lauraowens #printmaking
@emilyyork.print @ifpda @matthewmarksgallery @the_adaa

Less than two weeks until the IFPDA Print Fair in New York!

Many thanks to the IFPDA for featuring Hilary Pecis’, “Lemons and Camellias” in the @nytimes Weekend Arts section. Pick up a copy and turn to page C9 to see us in print.

1–2. Images from today’s “New York Times” Weekend Arts section 3. Hilary Pecis, “Lemons and Camellias” 2025

#IFPDAFair #TheNewYorkTimes #IFPDA #etching @ifpda @the_adaa @hilary_pecis

Less than two weeks until the IFPDA Print Fair in New York!

Many thanks to the IFPDA for featuring Hilary Pecis’, “Lemons and Camellias” in the @nytimes Weekend Arts section. Pick up a copy and turn to page C9 to see us in print.

1–2. Images from today’s “New York Times” Weekend Arts section 3. Hilary Pecis, “Lemons and Camellias” 2025

#IFPDAFair #TheNewYorkTimes #IFPDA #etching @ifpda @the_adaa @hilary_pecis

Less than two weeks until the IFPDA Print Fair in New York!

Many thanks to the IFPDA for featuring Hilary Pecis’, “Lemons and Camellias” in the @nytimes Weekend Arts section. Pick up a copy and turn to page C9 to see us in print.

1–2. Images from today’s “New York Times” Weekend Arts section 3. Hilary Pecis, “Lemons and Camellias” 2025

#IFPDAFair #TheNewYorkTimes #IFPDA #etching @ifpda @the_adaa @hilary_pecis

Crown Point Press is saddened to learn of Pat Steir’s passing today.

Steir was a large part of Crown Point’s history. She made her first etching at the Press in 1977, and her last in 2012.Crown Point’s founder Kathan Brown first met Steir through an introduction from Sol LeWitt in the early 1970s. They remained lifelong friends, working and traveling together, including their first trip to Japan and China for Pat to make woodblock prints.

We send our heartfelt condolences to Pat Steir’s family, and to the entire art community.

1. Pat Steir in the Crown Point studio in 1985
2. Pat Steir and her husband, Joost Elffers, with Kathan Brown and Tom Marioni in China in the late 1980s
3. Pat Steir, “Kyoto Chrysanthemum” 1982
4. Pat Steir, “Seascape” 1988
5. Pat Steir, “Small Vertical Falls” 1991

Crown Point Press is saddened to learn of Pat Steir’s passing today.

Steir was a large part of Crown Point’s history. She made her first etching at the Press in 1977, and her last in 2012.Crown Point’s founder Kathan Brown first met Steir through an introduction from Sol LeWitt in the early 1970s. They remained lifelong friends, working and traveling together, including their first trip to Japan and China for Pat to make woodblock prints.

We send our heartfelt condolences to Pat Steir’s family, and to the entire art community.

1. Pat Steir in the Crown Point studio in 1985
2. Pat Steir and her husband, Joost Elffers, with Kathan Brown and Tom Marioni in China in the late 1980s
3. Pat Steir, “Kyoto Chrysanthemum” 1982
4. Pat Steir, “Seascape” 1988
5. Pat Steir, “Small Vertical Falls” 1991

Crown Point Press is saddened to learn of Pat Steir’s passing today.

Steir was a large part of Crown Point’s history. She made her first etching at the Press in 1977, and her last in 2012.Crown Point’s founder Kathan Brown first met Steir through an introduction from Sol LeWitt in the early 1970s. They remained lifelong friends, working and traveling together, including their first trip to Japan and China for Pat to make woodblock prints.

We send our heartfelt condolences to Pat Steir’s family, and to the entire art community.

1. Pat Steir in the Crown Point studio in 1985
2. Pat Steir and her husband, Joost Elffers, with Kathan Brown and Tom Marioni in China in the late 1980s
3. Pat Steir, “Kyoto Chrysanthemum” 1982
4. Pat Steir, “Seascape” 1988
5. Pat Steir, “Small Vertical Falls” 1991

Crown Point Press is saddened to learn of Pat Steir’s passing today.

Steir was a large part of Crown Point’s history. She made her first etching at the Press in 1977, and her last in 2012.Crown Point’s founder Kathan Brown first met Steir through an introduction from Sol LeWitt in the early 1970s. They remained lifelong friends, working and traveling together, including their first trip to Japan and China for Pat to make woodblock prints.

We send our heartfelt condolences to Pat Steir’s family, and to the entire art community.

1. Pat Steir in the Crown Point studio in 1985
2. Pat Steir and her husband, Joost Elffers, with Kathan Brown and Tom Marioni in China in the late 1980s
3. Pat Steir, “Kyoto Chrysanthemum” 1982
4. Pat Steir, “Seascape” 1988
5. Pat Steir, “Small Vertical Falls” 1991

Crown Point Press is saddened to learn of Pat Steir’s passing today.

Steir was a large part of Crown Point’s history. She made her first etching at the Press in 1977, and her last in 2012.Crown Point’s founder Kathan Brown first met Steir through an introduction from Sol LeWitt in the early 1970s. They remained lifelong friends, working and traveling together, including their first trip to Japan and China for Pat to make woodblock prints.

We send our heartfelt condolences to Pat Steir’s family, and to the entire art community.

1. Pat Steir in the Crown Point studio in 1985
2. Pat Steir and her husband, Joost Elffers, with Kathan Brown and Tom Marioni in China in the late 1980s
3. Pat Steir, “Kyoto Chrysanthemum” 1982
4. Pat Steir, “Seascape” 1988
5. Pat Steir, “Small Vertical Falls” 1991

The Crown Point Press gallery and bookstore are temporarily closed while we complete renovations of our new street-level gallery space. Starting May 1st, the gallery entrance will be located around the corner at the main entrance to our historic building - 657 Howard Street. We look forward to this next iteration, and we are excited to join our neighbors on the block, the Goethe-Institut San Francisco and the Berggruen Gallery.

In the meantime, please contact the staff by email, info@crownpoint.com, or call us at 415.974.6273.

Image: Robert Bechtle, “Potrero Intersection—Blue Sky”, 2002