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9TH BIENNIAL
International Miniature Print Exhibition
EXHIBITION CATALOG 2013
Our mission is to support, preserve, and advance the art of original prints. The Center for Contemporary Printmaking is a nonprofit workshop and gallery recognized by the Internal Revenue Service as a 501(c)(3) organization.
Mathews Park 299 West Avenue Norwalk, CT 06850 203.899.7999 info@contemprints.org www.contemprints.org
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9th Biennial International Miniature Print Exhibition June 2 – September 1, 2013
TABLE OF CONTENTS 4 Acknowledgements 5
Juror’s statement & Bio
6
2013 Prize winners
15
List of Accepted Artists
50
Index of Artists
52
Glossary of Printmaking Terms
56
About CCP
Acknowledgements Even before the 237 accepted entries by 131 artists are installed in the Grace Ross Shanley Gallery of the Center for Contemporary Printmaking (CCP), the 9th Biennial International Miniature Print Competition can be considered a success for the fact that the works on view represent a record submission from artists from 30 countries and 17 states from within the United States. My thanks are extended to the 304 artists from 37 countries and 27 states who were challenged by the miniature format and mailed their small packages and envelopes from around the world for adjudication by Jan Howard, Curator of Prints, Drawings, and Photographs, Museum of Art, Rhode Island School of Design. This biennial print competition continues to be juried from the actual prints submitted and not by electronic submissions. Over the greater part of a day, I frequently observed our juror pick up these tiny impressions and hold them in the palm of her hand for closer scrutiny. I am grateful to her for her thorough deliberation at a task that she clearly enjoyed. The word “miniature” often seems to infer less, and in art, of a ranking of less importance than larger work. I am reminded of a favorite Latin phrase, multum in parvo – much in a small space, which A. Hayatt Mayor, a former curator of prints at the Metropolitan Museum, New York used to head up a chapter in his book, Prints and Print People. He was referring to Old Master woodcuts and engravings whose diminutive engraved and carved narratives of domestic life, landscape, death and salvation could be held and viewed on paper smaller than the palm of one’s hand. They told a huge story on a small scale. This exhibition gives us a chance to view subject matter that contemporary printmakers around the world are preoccupied with, and for several prints that more than caught her attention, Jan Howard has designated purchase awards. In the 18 years of our Center’s existence, strong business relationships have been developed with those companies who provide the raw materials that enable printmaking to flourish. Printmakers here in the USA, and around the world, are inspired by the excellence of their presses, papers, inks and tools. For their generous support of the 9th Biennial Miniature Print Competition by donating purchase awards, I am grateful to the following individuals and companies: Susan Rostow of Akua Waterbased Inks, Joanne Fox of Jerrry’s Artarama; Pavel Repisky of Atlantic Papers, Marvin Bolotsky of fourwindsfineart.com, Susan Clark of Graphic Chemical & Ink, Co, Michael Ginsburg of Legion Paper, Alex Prentiss of McClain’s Printmaking Supplies, Pat Bentivogli of Renaissance Graphic Arts Inc., David Valliere of Speedball Art Products, and David Takach of Takach Press Corporation. Every two years the staff of CCP eagerly await this exhibition for there is always an affordable “gem” to purchase, and I hope that visitors to this exhibition will respond likewise. The entire staff play a role in preparing this exhibition from disseminating the prospectus, unsealing the packages, cataloging the entries, contacting participating artists to the installation of the exhibition and communication with the press. Jackie Akers has always led the team so proficiently and has been supported by Renée Santhouse, Helen Kirk, Christopher Shore and Julyen Norman. Gayle Erickson produced the graphic design accompanying this exhibition. —Anthony Kirk, Artistic Director/ Master Printer
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2013 EXHIBITION CATALOG
Juror’s statement It was an honor to serve as the juror for this year’s International Miniature Print Exhibition and I would like to thank all the artists, but especially those from distant nations, who submitted work to the competition. I was impressed by the range of techniques, styles, and subjects presented within the four square inch limitation of the competition. I came to realize that the small scale was not the limitation it seemed, but, in fact, many of the artists composed printed worlds that felt quite expansive. For example, Laura Kinneberg’s lovely silkscreen depictions of mineral specimens and fossils take much of their power from her placement of the subject on the sheet. Each image seems to command a larger and more contemporary field than many images in the show, even as the letterpress labeling ties them to their historical precedents. They are spare images, much like V. Saravana Ragavan’s delicate line etchings of what seem to be unfolding ribbons or bindings. The distending action of these exquisite images, too, belies their miniature scale. Anne Desmet’s densely carved blocks evoke the structures and sweeping reach of the urban landscape. Her wood engravings are stunning in their ability to suggest a vast space. Each small print in the exhibition reveals a marvelous surprise. I hope visitors will share in the immense pleasure that I had in exploring the rich imagery in each piece. —Jan Howard, Curator of Prints, Drawings, and Photographs, Museum of Art, Rhode Island School of Design.
Jan Howard Jan Howard was appointed curator of prints, drawings, and photographs at the RISD Museum in April 2000, and curatorial chair in 2002. Prior to her position at RISD, she was a curator for fourteen years in the Department of Prints, Drawings and Photographs at the Baltimore Museum of Art, and held an NEA Internship in the Department of Prints, Drawings and Photographs at the Philadelphia Museum of Art, as well as curatorial positions in the Department of Prints and Drawings at the Spencer Museum of Art, University of Kansas. She holds a BA and an MA in art history from the University of Kansas. Exhibitions include Pat Steir: Drawing Out of Line, 2010; Consent to Gravity: Frederick Sommer’s Photographs and Musical Scores, 2005; Interior Drama: Aaron Siskind’s Photographs of the 1940s, 2003; Adrian Piper: Food for the Spirit, 2001-2002; Laurie Simmons: The Music of Regret, 1997 (with catalog); and Roni Horn: Inner Geography, 1994.
2013 EXHIBITION CATALOG
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Laura Kinneberg (260) 1st Prize DISTRICT OF COLUMBIA
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2013 EXHIBITION CATALOG
Corundum (Sapphire), 2013 Silkscreen & letterpress, ed. 2/8 1 5/8 x 1 $80
Quartzite (Pax River stone), 2013 Silkscreen & letterpress, ed. 2/11 1 3/8 x 1 1/2 $80
Fossil (porpoise inner ear bone), 2013 Silkscreen & letterpress, AP. 1 3/4 x 1 7/8 $80
Fluorite, 2013 Silkscreen & letterpress, ed. 2/9. 2 x 2. $80
V. Saravana Ragavan (278) 2nd Prize INDIA
Form I, 2013 Etching, ed. 2/4. 2 x 1 7/8 $50
Form III, 2013 Etching, Ed. 3/4 2 x 1 7/8 $50
Form II, 2013 Etching, ed. 2/4 3 7/8 x 1 $50
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Anne Desmet (137) 3rd Prize ENGLAND
Stadium Glimpsed II, 2010 Wood engraving, ed. 1/20 2x2 $230 Stadium Glimpsed I, 2010 Wood engraving, ed. 12/20 2 5/8 x 1 1/2 $230
East-London-Glimpse, 2013 Wood engraving, ed. 2/30 13/16 x 4 5/8 $230
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2013 EXHIBITION CATALOG
Betty Ball (181) Honorable Mention CONNECTICUT
The Bluff No. I, 2013 Monotype. 1 3/4 x 2 1/4. $85
Vermont Summer No. I, 2013 Monotype. 1 3/4 x 2 1/4. $85
Peak No. I, 2013 Monotype. 1 3/4 x 2 1/4. $85
En Route to Aix No. I, 2013 Monotype. 1 3/4 x 2 1/4. $85 Jerry’s Artarama Purchase Award
Peak No. II, 2013 Monotype. 1 3/4 x 2 1/4. $85
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Kraisak Chira Chaisakul (28) Honorable Mention THAILAND
Long live the King 11, 2012 Mezzotint, ed. 7/25 2 x 2. $99 Renaissance Graphics Purchase Award
Long live the King 9, 2012 Mezzotint, ed. 6/25 2x2 $99
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2013 EXHIBITION CATALOG
Long live the King 10, 2012 Mezzotint, ed. 8/25 2x2 $99
Cindi Ford (188) Honorable Mention MICHIGAN
Purse Series I, 2013 Mezzotint & etching 2x2 $55
Purse Series II, 2013 Mezzotint & etching 2x2 $55 Atlantic Paper Purchase Award
Purse Series III, 2013 Mezzotint & etching 2x2 $55
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Maria Heed (4) Honorable Mention SWEDEN
Tack (Thanks), 2012 Etching, ed. 3/25 2 3/8 x 1 9/16 $72 Renaissance Graphics Purchase Award
Ensam (Lonely), 2012 Etching, ed. 3/25 2 x 1 7/8 $72
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2013 EXHIBITION CATALOG
Magi (Magic), 2012 Etching, ed. 3/25 2 3/8 x 1 9/16 $72
Gerda Muehl (69) Honorable Mention GERMANY
Autumn Dreams I, 2013 Etching, ed. 1/5 2x2 $80
Autumn Dreams II, 2013 Etching, ed. 1/5 2x2 $80
Autumn Dreams III, 2013 Etching, ed. 1/5 2x2 $80 Legion Paper Purchase Award
Autumn Dreams IV, 2013 Etching, ed. 1/5 2x2 $80
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Josef Werner (201) Honorable Mention GERMANY
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2013 EXHIBITION CATALOG
4 Elements - Air, 2013 Etching, ed. 5/75 2 1/2 x 1 3/8 $80
4 Elements - Water, 2013 Etching, ed. 5/75 2 1/2 x 1 3/8 $80 Legion Paper Purchase Award
4 Elements - Fire, 2013 Etching, ed. 5/75 2 1/2 x 1 3/8 $80
4 Elements - Earth, 2013 Etching, ed. 5/75 2 1/2 x 1 3/8 $80
9TH BIENNIAL INTERNATIONAL MINIATURE PRINT EXHIBITION
Accepted Artists
Karen Adrienne (72) MAINE Innocence, 2013 Etching, ed. 1/10. 2 x 2. $150
Michael Arike (248) NEW YORK Near Union Square, 2013 Aquatint, ed. 1/50. 2 x 2. $95
Night Light, 2013 Mezzotint, ed. 1/25. 2 1/2 x 1 1/2. $95
Janet Best Badger (140) TEXAS Untitled (Harrisburg), 2013 Intaglio, ed. 2/10. 2 x 1 7/8. $125 Akua Inks Purchase Award
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Marcelle Benhamou (287) FRANCE Minerals 1, 2013 Digital print w/ silk paper, ed. 1/5 2 x 2. $70
Eugenie Lewalski Berg (123) MASSACHUSETTS Old Ice Skates, 2012 Woodcut, ed. 1/7. 4 x 1. $100 McClain’s Purchase Award
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2013 EXHIBITION CATALOG
Minerals 2, 2013 Digital print w/ silk paper, ed. 1/5 2 x 2. $70
Old Roller Blades, 2012 Woodcut, ed. 4/8. 4 x 1. $100
Minerals 3, 2013 Digital print w/ silk paper, ed. 1/5 2 x 2. $70
Emilia Bonfanti (302) ITALY Woods, 2010 Etching, ed. 2/5. 3/4 x 3 3/8. $80
Elena Bouvier (300) PENNSYLVANIA Looking Ahead, 2013 Photopolymer gravure, ed. 1/3 2 x 2. $100
Peter Boyadjieff (136) CANADA Neaty, 2013 Digital print, ed. 1/5. 2 x 2. $80
Looking Back, 2013 Photopolymer gravure, ed. 1/3 2 x 1 7/8. $100
Over • Under • Between, 2013 Photopolymer gravure, ed. 1/3 2 x 1 7/8. $100 Graphic Chemical & Ink Co. Purchase Award
Sigita Bronickiene (311) LITHUANIA Self Portrait, 2013 Linoleum cut, ed. 2/5. 2 x 1 7/8. $50 Graphic Chemical & Ink Co. Purchase Award 2013 EXHIBITION CATALOG
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Angus Buchanan (166) SOUTH AFRICA Cramping My Style, 2013 Etching, AP I/III. 1 7/8 x 1 7/8. $40 Zdenek Bugan (50) SLOVAKIA Microdrama No. I, 2013 Intaglio, ed. II/X. 2 1/2 x 1 1/2. $100
Erika Buschmann (247) MASSACHUSETTS Brice Creek, 2011 Etching & aquatint, ed. 8/30 1 1/8 x 5/8. $20
Ewa Carlsson (233) SWEDEN Verdure I, 2013 Intaglio, ed. 1/10. 2 x 2. $80 18
2013 EXHIBITION CATALOG
Verdure II, 2013 Intaglio, ed. 1/10. 1 7/8 x 1 7/8. $80
Verdure III, 2013 Intaglio, ed. 1/10. 1 7/8 x 1 7/8. $80
Gene Chu (10) CANADA Fly and Clothespin, 2008 Lithograph, ed. 6/30. 1 3/8 x 3. $60
Summer, 2009 Lithograph, AP, 1 1/2 x 2 5/8. $60
Briar Craig (316) CANADA House Broken, 2013 Screenprint, ed. 2/3. 1 3/4 x 2 1/8. $100
Bo Cronquist (157) SWEDEN The Philosopher’s Home, 2013 Etching & aquatint, ed. 1/150 2 x 2. $75
The Poet’s Home, 2013 Etching & aquatint, ed. 1/150 2 x 2. $75
2013 EXHIBITION CATALOG
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Viviane De Kosinsky (187) VIRGINIA Moose, 2013 Etching and watercolor, ed. 5/35 2 x 1 7/8. $120
Mothers Coq Au Vin, 2013 Etching and watercolor, ed. 31/50 1 7/8 x 1 7/8. $120
Patrick DeCicco (238) NEW YORK Mini Maker, 2013 Drypoint, ed. 2/10. 1 7/8 x 1 7/8. $75
Grainne Dowling (8) IRELAND Hedge at Dawn I, 2012 Aquatint & etching, var. ed. 1 7/8 x 1 7/8. $85 20
2013 EXHIBITION CATALOG
Play Ball, 2013 Etching and watercolor, ed. 17/50 1 7/8 x 1 7/8. $120
Kevin DiMauro (152) CONNECTICUT California Dreamscape, 2013 Digital print. 2 x 1 7/8. $60
Hedge at Dawn II, 2012 Aquatint,& etching var. ed. 1 7/8 x 1 7/8. $85
Hedge at Dawn III, 2012 Aquatint& etching, var. ed. 1 7/8 x 1 7/8. $85
Katharine Dufault (160) NEW YORK Figure III, 2013 Monotype. 2 x 2. $90
Katharine Draper (49) CONNECTICUT Landscape II, 2013 Monotype. 4 x 1. $50
Carol Dunn (197) CONNECTICUT Snowed In, 2013 Solarplate etching, var. ed. 1/50 1 3/4 x 2 1/4. $60 fourwindsfineart.com Purchase Award
Susan Early (98) IRELAND Benbulben III, 2013 Drypoint & aquatint, ed. 2/15 1 1/8 x 3 1/4. $65
Alanna Fagan (231) CONNECTICUT Rouge à Lèvres, 2013 Monotype. 2 1/4 x 1 3/4. $250
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Matthew Forrest (285) PENNSYLVANIA My Dad Hunts, 2013 Intaglio & laser cut collage, ed. 2/2 1 7/8 x 1 7/8. $25
Maxine Feldman-Cohen (128) NEW YORK Passing Through, 2012 Clay print. 1 x 4. $65
Oi Fortin (296) CONNECTICUT Salvador’s Garden, 2012 Monotype. 2 5/8 x 1 1/2. $75
Sally Frank (214) NEW YORK Rain, 2013 Monotype. 2 x 2. $80
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2013 EXHIBITION CATALOG
Liz Lyons Friedman (198) CALIFORNIA Crayons, 2013 Linoleum cut, ed. 1/50. 7/8 x 2 5/8. $45
Donald Furst (59) NORTH CAROLINA Europa, 2010 Mezzotint, AP. 2 x 1 1/2. $80
Acrylic, 2013 Linoleum cut, ed. 1/50. 1 1/8 x 3 1/8. $55
Watercolor, 2013 Linoleum cut, ed. 1/50. 1 x 2 1/2. $45
Amy Geyer (243) MASSACHUSETTS Double Talk, 2013 Gelatin print. 2 x 1 7/8. $75
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Barbara Gray (100) CONNECTICUT Twig 1, 1980 Engraving, ed. 1/2, 4 x 1. $100
Lisa Gribbon (111) SCOTLAND No Wind?, 2013 Collagraph w/ chine collé, AP 2 x 2. $85 24
2013 EXHIBITION CATALOG
Twig 2, 1980 Engraving, ed. 1/2, 4 x 1. $100
This & That, 2013 Collagraph w/ chine collé, AP 2 x 2. $85
Twig 3, 1980 Engraving, ed. 1/2, 4 x 1. $100
Mari Gyorgyey (79) CONNECTICUT TV Tommie, 2013 Intaglio w/ hand coloring, AP1 2 x 2. $70 Theresa Haberkorn (143) COLORADO Winter Pines, 2013 Woodcut, ed. 1/20. 2 1/2 x 1 1/2. $60
Lee Haydock (130) ENGLAND Aquitania 1, 2013 Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65
Aquitania 3, 2013 Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65
Raking Light, 2013 Woodcut, ed. 1/20. 2 1/2 x 1 1/2. $60 McClain’s Purchase Award
Aquitania 2, 2013 Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65
Aquitania 4, 2013 Silkscreen, ed. 1/6. 1 1/2 x 2 5/8. $65
2013 EXHIBITION CATALOG
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Nicci Haynes (295) AUSTRALIA Body Language - 1, 2013 Etching, drypoint & chine collé 2 x 1 7/8. $90
Body Language - 4, 2013 Etching, drypoint & collage 2 x 1 7/8. $90
Body Language, 2013 Rubber stamp and collage 2 x 1 7/8. $90
Carol J. Henry (308) SOUTH CAROLINA Winter Storm, 2013 Silkscreen monotype. 2 x 1 7/8. $30
Amy Lowey Horowitz (91) CONNECTICUT Untitled 2, 2013 Photogravure w/ chine collé, ed. 1/36 1 5/8 x 2 3/8. $50 Untitled 3, 2013 Photogravure w/ chine collé, ed. 1/36 2 3/8 x 1 5/8. $50
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2013 EXHIBITION CATALOG
Untitled 5, 2013 Photogravure w/ chine collé, ed. 1/36 2 3/8 x 1 5/8. $50
Christopher Howe (258) MASSACHUSETTS Almost Architecture - 2, 2013 Linoleum cut, ed. 1/100. 2 x 2. $25
Eugeniya Hristova (313) ITALY Enigmatic Nature I, 2013 Etching, chine collé, ed. 1/50. 1 1/2 x 1 3/8. $25
Sabine Huber (291) SWITZERLAND #1, 2013 Relief print, ed. 2/6. 2 x 1 7/8. $90
Enigmatic Nature II, 2013 Etching, chine collé, ed. 5/50. 1 1/2 x 1 3/8. $25
#2, 2013 Relief print, ed. 2/10. 1 7/8 x 1 7/8. $90
Enigmatic Nature III, 2013 Etching, chine colé, ed. 5/50. 1 7/8 x 1 1/2. $25
#3, 2013 Relief print, ed. 1/6. 2 x 1 7/8. $90
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Ursula Hulsewig (306) GERMANY Adventure, 2013 Intaglio, ed. 2/30. 2 x 1 7/8. $70
Alexandru Jakabhazi (315) ROMANIA Arch, 2013 Digital print, ed. 5/25. 2 x 2. $50
Eva Toker Jawerbaum (301) ARGENTINA Aire, 2013 Intaglio. 2 x 1 7/8. $95 28
2013 EXHIBITION CATALOG
Heather Huston (156) CANADA Frost Adjacent, 2013 Silkscreen, ed. 13/13. 1 5/8 x 2. $40
Structure Change, 2013 Silkscreen, ed. 14/14. 1 1/2 x 1 1/2. $40
Mirrors, 2013 Digital print, ed. 4/25. 1 7/8 x 2. $50
Bonnie Johnson (95) CONNECTICUT Diamond Dust Sun Dog, 2012 Digital ClichĂŠ verre, AP. 2 x 2. $50
Nina Jordan (224) NEW YORK 302 Clyde St., 2013 Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64
Philip Johnson (307) ILLINOIS Battery, 2013 Intaglio w/ Chine collĂŠ, ed. 5/10. 3 7/8 x 1. $80 1612 Crestview Dr., 2013 Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64 CCP Artistic Director Purchase Award
18225 Southwest 102nd, 2013 Woodcut, ed. 1/3. 1 3/4 x 2 1/4. $64
Oksana Judakova (133) LITHUANIA Three Girls Watching TV, 2013 Linoleum cut, ed. 1/20. 2 x 2. $80 2013 EXHIBITION CATALOG
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Pēteris Justovičs (298) LATVIA Two Sides I, 2013 Mixed media, ed. 2/10. 1 3/8 x 2 3/4. $30
Karen Kalkstein (112) CONNECTICUT My Shadow and I, 2013 Lithograph w/ collage. 1 x 4. $85
Selina Karim (246) COLORADO Memory of Costa Rica 3, 2013 Intaglio, AP. 2 x 2. $125
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2013 EXHIBITION CATALOG
Two Sides II, 2013 Mixed media, ed. 3/10. 1 3/8 x 2 7/8. $30
Konstantin Kalynovych (241) UKRAINE Dolce Vita, 2012 Etching, ed. 9/80. 1 x 1 1/4. $65
Ann Kavanagh (254) IRELAND Circle of Life, 2013 Aquatint, AP. 2 x 1 7/8. $40
True Lines, 2013 Aquatint & etching, AP. 2 x 1 7/8. $40
Truth, 2013 Aquatint, AP. 2 x 1 7/8. $40
Ivana Gagic Kičinbači (226) CROATIA Sheriff, 2013 Woodcut & digital print, ed. 2/3 2 x 1 7/8. $80
Baljit Kharey (46) CANADA Myriad, 2012 Intaglio, ed. 2/12. 2 x 2. $60
D-day, 2013 Woodcut & digital print, ed. 1/3 2 x 1 7/8. $80
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Channing Lefebvre (7) NEW YORK Little Snarl 4, 2012 Engraving, ed. 4/7. 1 3/4 x 2 1/4. $75
Little Snarl 6A, 2012 Engraving, ed. 3/7. 1 3/4 x 2 1/4. $75
Little Snarl 8, 2012 Engraving, ed. 3/7. 1 3/4 x 2 1/4. $75
Lenny Librizzi (51) NEW YORK River Edge Reflection, 2013 Mezzotint, ed. 8/30. 2 x 1 7/8. $50
Lisetteh (242) NETHERLANDS Furniture, 2012 Etching, ed. 1/2. 2 3/16 x 1 1/2. $85
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2013 EXHIBITION CATALOG
Going Down Down Down, 2012 Etching, ed. 1/2. 2 1/4 x 1 5/8. $85
Cycling, 2012 Etching, ed. 1/4. 3/4 x 4 1/4. $85
Lukas Jakoc Locker (294) AUSTRIA Houses, 2010 Transfer print. 1 1/2 x 2 1/4. $90
Skyline, 2010 Transfer print. 1 1/2 x 2 1/4. $90
Adriana Lucaciu (314) ROMANIA Point 1, 2013 Digital print, ed. 7/25. 1 7/8 x 1 3/4. $60
Point 2, 2013 Digital print,, ed. 7/25. 1 7/8 x 2. $60
Catherine Lucia (101) CONNECTICUT I, 2013 Monoprint. 2 x 2. $85
II, 2013 Monoprint. 2 x 1 7/8. $85
Point 3, 2013 Digital print,, ed. 7/25. 2 x 1 7/8. $60
2013 EXHIBITION CATALOG
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Eilish McCann (266) IRELAND Taxi, 2013 Woodcut, ed. 1/8. 2 x 1 7/8. $45
Margaret McLoughlin (290) IRELAND Yellow Sky, 2013 Drypoint, ed. 1/10. 2 x 1 3/8. $80
Passage II, 2013 Aquatint, ed. 1/10. 1 1/4 x 3 1/8. $80 Ines Mesquita (318) PORTUGAL Passage I, 2013 Aquatint, ed. 1/10. 1 1/4 x 3 1/8. $80
Guen Montgomery (217) TENNESSEE Southern Sapphic, 2013 Intaglio, ed. 1/20. 1 7/8 x 1 7/8. $300
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2013 EXHIBITION CATALOG
Christopher Moon (173) ENGLAND Leatherface, 2012 Etching & aquatint, ed. 4/50. 2 x 1 7/8. $125
Sigrid Muench-Metzner (252) GERMANY Sèrie Carrèe, Birke 1 Norwegen, 2013 Woodcut. 2 x 1 7/8. $117
James Mullen (55) NEW YORK Sunflower, 2012 Engraving w’hand coloring, AP 2 1/4 x 1 1/2. $50
Bamboo Plant, 2013 Engraving w/ chine colle, AP 2 1/2 x 1 1/2. $50
XB3, 2013 Digital print, ed. 5/10. 1 15/16 x 1 7/8. $40
Orchid, 2012 Linoleum cut, AP. 2 5/8 x 1 3/16. $50
Dakota Clay Nanton (303) COLORADO The Emperor’s New Clothes, 2013 Silkscreen, ed. 6/12. 2 x 2. $12
2013 EXHIBITION CATALOG
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Djavan Nascimento (225) COLORADO A Broader Concept of Imminence, 2013 Engraving monoprint, var. ed. 3/10 1 x 4. $60
Stephanie Navon (228) NEW YORK Shells, 2012 Intaglio, AP. 2 1/4 x 1 3/4. $60
Susan Newbold (132) CONNECTICUT Farewell, 2013 Pronto plate. 2 x 2. $150
Snowy Street, 2013 Photo polymer intaglio, ed. 2/5. 1 1/4 x 3. $80
Marian L. O’Connell (229) RHODE ISLAND Pathway, 2013 Photo polymer intaglio, ed. 2/5. 2 x 2. $70
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2013 EXHIBITION CATALOG
Lamp Post, 2013 Photo polymer intaglio, ed. 2/5. 3 7/8 x 1. $80
Thom O’Connor (47) NEW YORK New Morning Trees #1, 2013 Digital print, ed. 12/40 1 1/4 x 3 1/8. $60 Kirsty Olivier (167) SOUTH AFRICA Diatom I, 2013 Etching, edition of 30 1 7/8 x 1 7/8. $40
Pia Öste-Alexander (107) NEW YORK Guitar, 2013 White line woodcut, ed. of 3 1 1/2 x 2 1/4. $90
Jim Pearson (255) ILLINOIS Wraith QW, 2012 Digital print, AP. 2 1 /8 x 1 7/8. $80
Wraith UZ, 2012 Digital print, AP. 2 1 /8 x 1 7/8. $80
2013 EXHIBITION CATALOG
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Mihael Prečič (269) SLOVENIA Moon Europa 013, 2013 Rubber stamp, EA 1 3/4 x 1 7/8 round. $20
DeAnn Prosia (185) CONNECTICUT City Lines, 2013 Etching, ed. 2/10. 1 3/16 x 1 3/16. $75
Wings, 2013 Etching, ed. 2/13. 1 1/2 x 2 1/2. $75
Half Off, 2013 Etching, ed. 2/10. 1 3/8 x 2 7/16. $75
Rachel Precht (151) MARYLAND The Things She’s Seen, 2012 Linoleum cut, ed. 2/5 2 3/4 x 1 1/2. $60
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2013 EXHIBITION CATALOG
Julianne Ricksecker (293) CALIFORNIA Sea Wall, 2013 Monotype. 1 x 2 1/2. $125 Marianne Riss (68) GERMANY Legend III, 2013 Etching, ed. 1/10. 2 x 2. $80
Michele Rolstone (168) SOUTH AFRICA To The Flame-Specimen 1, 2013 Etching, ed. 1/30. 2 x 1 7/8. $40
Mimi Rosenwald (234) NEW YORK Winter Trees #6, 2013 Drypoint, ed. 1/4. 2 3/8 x 1 1/2. $100
To The Flame-Specimen 2, 2013 Etching, ed. 1/30. 2 x 1 7/8. $40
Winter Trees #3, 2013 Drypoint, ed. 1/4. 2 3/8 x 1 1/2. $100 2013 EXHIBITION CATALOG
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Subho Saha (88) BANGLADESH City 2, 2013 Mezzotint, ed. iii/v. 1 5/8 x 2 1/2. $50
Reti Saks (169) ESTONIA Paper Wear 1, 2012 Etching, ed. 8/50. 1 7/8 x 1 7/8. $90
Renée Santhouse (264) CONNECTICUT Pit 1, Fog, 2013 Digital print & relief, var. ed. 1/5. 2 x 2. $60 40
2013 EXHIBITION CATALOG
Paper Wear 2, 2012 Etching, ed. 8/50. 1 7/8 x 1 7/8. $90
Paper Wear 3, 2012 Etching, ed. 8/50. 1 7/8 x 1 7/8. $90
Madeleine Sauvé (212) CANADA Cascade Moss, 2013 Photopolymer w/ chine collé, AP 2 x 1 7/8. $42
Roberto Martinéz Schütt (262) MEXICO Toro, 2013 Digital print, Ed. of 5. 2 x 2. $99
Caballo, 2013 Digital print, Ed. of 5. 2 x 2. $99
Rayfield Scott (180) CONNECTICUT Birthday, 2013 Solar polymer intaglio. 1 3/4 x 12 1/8. $75
Lynn Shaler (261) FRANCE The Woman in White, 1985 Etching & aquatint, ed. 10/100 2 3/16 x 1 3/4. $350
Le Séjour, 1988 Etching & aquatint, ed. 28/30 2 1/4 x 1 1/2. $425
La Fleur au Chapeau, 1994 Etching & aquatint, ed. V/XX 2 1/8 x 1 5/8. $425
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Robin Sherin (250) NEW YORK Building Silhouette/Horizontal #9, 2012 Linoleum cut, ed. 4/10 1 1/2 x 2 5/8. $75
Carolyn Sheehan (200) NEW YORK Untitled 1, 2013 Etching & collagraph w/ hand coloring, var.ed. 1/4 2 3/4 x 1 1/2. $85
Building Silhouette/Horizontal #10, 2012 Linoleum cut, ed. 4/10 1 1/2 x 2 5/8. $75
Building Silhouette/Horizontal #11, 2012 Linoleum cut, ed. 7/10 1 1/2 x 2 5/8. $75
Aaron Smyth (289) IRELAND Untitled 1, 2013 Mezzotint, ed. 1/5. 2 x 1 7/8. $45
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Akari Sugimoto (74) JAPAN A Children’s Room, 2013 Etching & aquatint, ed. 2/30. 2 x 2. $40
Carlotta Superti (284) ITALY Toscana, 2003 Etching & aquatint, ed. 1/15 1 3/8 x 2. $40
Valerie Syposz (1) CANADA Breakfast, 2012 Linoleum cut & lithograph, ed. 2/12 2 x 2. $75
At The Seashore, 2013 Etching & aquatint, ed. 2/30. 2 x 2. $40
Leggerezza, 2003 Etching & aquatint, ed. 2/15 1 1/2 x 2. $40
Lunch, 2012 Linoleum cut & lithograph, ed. 2/12 2 x 2. $75
La Nevicata, 2003 Etching & aquatint, ed. 8/15 2 3/4 x 1 3/8. $40
Dinner, 2012 Linoleum cut & lithograph, ed. 2/12 2 x 2. $75
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Eileen Tavolacci (182) CONNECTICUT You Are Here, 2013 Drypoint w/ chine collĂŠ, AP 1 3/4 x 2. $75
Ann Tanksley (141) NEW YORK Conflict, 2013 Photopolymer intaglio, AP. 2 x 2. $50
Lili Tayefi (44) CANADA Moonlight Dancers, 2013 Intaglio, ed. 1/5. 1 x 4. $55
Yanko Hristo Terziev (324) BULGARIA Jaunt, 2013 Drypoint, ed. 3/4. 1 5/8 x 2 3/8. $70
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Yoga Teachings, 2013 Drypoint, ed. 2/3. 1 5/8 x 2 3/8. $70
Shigeki Tomura (240) JAPAN 2012, 2012 Etching. 1 7/8 x 1 7/8. $75 Takach Press Corporation Purchase Award
1993, 1993 Etching. 1 7/8 x 1 7/8. $75
2009, 2009 Etching. 1 7/8 x 1 7/8. $75
December 12, 2012 Etching. 1 7/8 x 1 7/8. $75
Maliya Travers-Crumb (118) NEW YORK On the Beach, 2013 Intaglio. 2 x 2. $75
Emily Trueblood (199) NEW YORK Snowy View 2, 2013 Linoleum cut, AP. 2 1/2 x 1 9/16. $80 Speedball Purchase Award 2013 EXHIBITION CATALOG
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Chikako Usui (210) JAPAN Heart, 2011 Etching, ed. 9/17. 1 3/4 x 1 7/8. $50
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Tracy Van Buskirk (215) CONNECTICUT Dad, 2013 Monotype. 1 7/8 x 1 7/8. $25
Jan Vanderburg (116) NEW MEXICO Cerrillos, 2013 Linoleum cut, ed. 1/16. 2 x 2. $80
Tijeras, 2013 Linoleum cut, ed. 5/15. 2 x 2. $80
Heather N. Varco (263) CONNECTICUT Untitled 1, 2013 Monoprint. 2 x 2. $55
Untitled 2, 2013 Monoprint. 2 x 2. $55
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Untitled 3, 2013 Monoprint. 2 x 2. $55
Vladimir Veljasevic (42) SERBIA Untitled 1, 2013 Woodcut & chine applique, var. ed. 1 5/8 x 2 1/2. $50
Mark White (244) ENGLAND Untitled A, 2013 Etching & aquatint, ed.8/10 1 7/8 x 1 7/8. $50
Untitled B, 2013 Etching & aquatint, ed.8/10 1 7/8 x 1 7/8. $50
Untitled C, 2013 Aquatint w/ chine collĂŠ, ed. 8/10 2 x 2. $50
Cleo Wilkinson (6) AUSTRALIA Then, 2008 Mezzotint, ed. 27/40 1 7/8 x 1 1/2. $120 2013 EXHIBITION CATALOG
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Hildegard Winkler (5) GERMANY Need You I, 2012 Mezzotint, var. ed. 2 x 1 7/8. $200
Brian Wilson (147) MARYLAND Bramble, 2013 Digital print. 3 7/8 x 1/8. $60
Need You II, 2012 Mezzotint, var. ed. 1 7/8 x 1 7/8. $200
Need You III, 2012 Mezzotint, var. ed. 2 x 1 7/8. $200
Katrina Zaric (317) SERBIA The Honeymoon, 2013 Intaglio, ed. 1/100 1 7/8 x 1 7/8. $65
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Xiaohong Zhang (192) WISCONSIN Green Blue Mountain, 2013 Digital print, ed. 1/8. 2 x 2. $88 Daniela Zekina (135) CANADA Mots 2, 2013 Drypoint, ed. 1/10. 1 7/8 x 1 7/8. $90
Jana Zimmer (129) CALIFORNIA Yellow Studebaker before Patronado, 2013 Digital print. 2 x 2. $100
Nele Zirnite (62) LATVIA Print Wings, 2001 Etching, ed. 5/30. 2 x 1 3/4. $90
Sergey Zlotnikov (220) PENNSYLVANIA Meditation, 2013 Photogravure w/ chine collé, ed. 2/8 2 x 2. $80
Fibonacci Curve, 2013 Photogravure w/ chine collé, ed. 2/8 2 x 2. $80
At The Exhibit, 2013 Photogravure w/ chine collé, ed. 2/8 2 x 2. $80
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INDEX OF EXHIBITING ARTISTS BY COUNTRY ARGENTINA
ENGLAND
Eva Toker Jawerbaum (301) Buenos Aires
Anne Desmet (137) London Lee Haydock (130) Preston Christopher Moon (173) Newmalden Mark White (244) Liverpool
AUSTRALIA Nicci Haynes (295) Canberra Cleo Wilkinson (6) Indooroopilly AUSTRIA Lukas Jakoc Locker (294) Linz BANGLADESH Subho Saha (88) Dhaka BULGARIA Yanko Hristo Terziev (324) Sandanski CANADA Peter Boyadjieff (136) Montreal, QC Gene Chu (10) Markham, ON Briar Craig (316) Kelowna, BC Heather Huston (156) Calgary, AB Baljit Kharey (46) Calgary, AB Madeline Sauvé (212) Vancouver, BC Valerie Syposz (1) Ottowa, ON Lili Tayefi (44) Calgary, AB Daniela Zekina (135) Montreal, QC CROATIA Ivana Gagic Kičinbači (226)
Zagreb
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ESTONIA Reti Saks (169) Tallinn
Margaret McLoughlin (290) Dublin Aaron Smyth (289) Dublin
Marcelle Benhamou (287) Lyon Lynn Shaler (261) Paris GERMANY Ursula Hulsewig (306) Landscheid Gerda Muehl (69) Senden Sigrid Muench-Metzner (252) Lilm Marianne Riss (68) Krumbach Josef Werner (201) Prien Hildegard Winkler (5) Königsbrunn
Alexandru Jakabhazi (315) Timisoara Adriana Lucaciu Timisoara
ITALY Emilia Bonfanti (302) Busto Arsizio Eugeniya Hristova (313) Viterbo Carlotta Superti (284) Firenze JAPAN
FRANCE
ROMANIA
Akari Sugimoto (74) Tokyo Shigeki Tomura (240) Morioka Chikako Usui (210) Hiroshima
SCOTLAND Lisa Gribbon (111) Inverurie SERBIA Vladimir Veljasevic (42) Beograd Katrina Zaric (317) Belgrade SLOVAKIA Zdenek Bugan (50) Ruzomberok
LATVIA
SLOVENIA
Pēteris Justovičs 298)
Mihael Prečič (269)
Ogre Nele Zirnite (62) Riga
Kranj
SOUTH AFRICA
Sigita Bronickiene (311) Kaunas Oksana Judakova (133) Ukmergesraj
Angus Buchanan (166) Cape Town Kirsty Olivier (167) Cape Town Michele Rolstone (168) Cape Town
INDIA
MEXICO
SWEDEN
V. Saravana Ragavan (278) Chennai, Tamil Nadu
Roberto Martinéz Schütt (262) Monterrey, Nuevo León
IRELAND
NETHERLANDS
Grainne Dowling (8) Dublin Susan Early (98) Dublin Ann Kavanaugh (254) Dublin Eilish McCann (266) Dublin
Lisetteh (242) Cita de Laan
Ewa Carlsson (233) Östersund Bo Cronquist (157) Luno Maria Heed (4) Mölndal
LITHUANIA
PORTUGAL
SWITZERLAND
Ines Mesquita (318) Lisboa
Sabine Huber (291) Movelier
THAILAND Kraisak Chira Chaisakul (28) Bangkok UKRAINE Konstantin Kalynovych (241) Lugansk UNITED STATES OF AMERICA CALIFORNIA Liz Lyons Friedman (198) Aptos Julianne Ricksecker (293) San Diego Jana Zimmer (129) Santa Barbara
Karen Kalkstein (112) Stamford Catherine Lucia (101) West Redding Susan Newbold (132) Fairfield DeAnn Prosia (185) Newtown Renée Santhouse (264) Wilton Rayfield Scott (180) Hartford Eileen Tavolacci (182) Redding Tracy Van Buskirk (215) Newtown Heather N. Varco (263) Norwalk
COLORADO Theresa Haberkorn (143) Boulder Selina Karim (246) Fort Collins Dakota Clay Nanton (303) Longmont Djavan Nascimento (225) Boulder
DISTRICT OF COLUMBIA Laura Kinneberg (260) Washington D.C.
CONNECTICUT Betty Ball (181) Rowayton Kevin DiMauro (152) Norwalk Katharine Draper (49) Norwalk Carol Dunn (197) Baltic Alanna Fagan (231) Milford Oi Fortin (296) New Haven Barbara Gray (100) Westport Mari Gyorgyey (79) Stamford Amy Lowey Horowitz (91) Westport Bonnie Johnson (95) New Fairfield
MAINE Karen Adrienne (72) Gardineri
ILLINOIS Philip Johnson (307) Chinoa Jim Pearson (255) Lawrenceville
MARYLAND Rachel Precht (151) Frostburg Brian Wilson (147) Cumberland MASSACHUSETTS Eugenie Lewalski Berg (123) Shrewsbury Erika Buschmann (247) Beverly Amy Geyer (243) Cohasset Christopher Howe (258) Somerville
MICHIGAN Cindi Ford (188) Byron Center
NORTH CAROLINA Donald Furst (59) Wilmington
NEW MEXICO Jan Vanderburg (116) Cedar Crest
PENNSYLVANIA Elena Bouvier (300) Philadelphia Matthew Forrest (285) Pittsburgh Sergey Zlotnikov (220) Pittsburgh
NEW YORK Michael Arike (248) Mamaroneck Patrick DeCicco (238) Staten Island Katharine Dufault (160) Mamaroneck Maxine Feldman-Cohen (128) Bronx Sally Frank (214) North Salem Nina Jordan (224) New York Channing Lefebvre (7) Latham Lenny Librizzi (51) Staten Island James Mullen (55) Endwell Stephanie Navon (228) Bellmore Thom O’Connor (47) Voorheesville Pia Öste-Alexander (107) Bearsville Mimi Rosenwald (234) Ossining Carolyn Sheehan (200) New York Robin Sherin (250) New York Ann Tanksley (141) Great Neck Maliya Travers-Crumb (118) Avon Emily Trueblood (199) New York
RHODE ISLAND Marian L. O’Connell (229) Middletown SOUTH CAROLINA Carol J. Henry (308) Beaufort TENNESSEE Guen Montgomery (217) Knoxville TEXAS Janet Best Badger (140) Houston VIRGINIA Viviane De Kosinsky (187) Falls Church WISCONSIN Xiaohong Zhang (192) Fort Atkinson
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G L O S S A RY O F P R I N T M A K I N G T E R M S A N D T E C H N I Q U E S WHAT IS A HAND MADE PRINT? A hand-made print is created by the artist who prepares the plate from which the print is printed using a variety of methods depending on the type of print involved. It is not a finished piece of artwork that is copied and printed by mechanical means. A digital print is made on a computer using the computer to create a piece of artwork. Many purchasers of art work buy what they think is a hand-made print when what they really buy is a photocopy of a watercolor or oil painting frequently numbered and signed by the artist. Sometimes the signature is a printed one and is valueless as such. Most prints are printed on dampened paper. The paper is soaked from fifteen minutes to several hours. When ready to print the artist dries the paper between blotters or towels until any wet areas are blotted away. This softens the sizing and makes the paper more receptive to the ink and in the case of intaglio or embossing allows the paper to be actually pressed into the plate. These papers are heavy rag papers like Arches or BFK. Light Japanese rice papers are not dampened usually. While oil based ink is necessary for lithographs other prints can be done with either oil or water based ink. Water based ink will dry quickly which gives the artist less time to ink the plate, especially in a monotype or any plate using several colors. However the finished print will dry within a day. Oil based ink can be worked with for several hours before printing but the finished print will take several days to dry completely. In any case the plate must be cleaned thoroughly before storing as dried ink will distort future prints.
INTAGLIO: The image is cut into the material. Intaglio methods include: ETCHING: A copper or zinc plate, well polished, is coated on all surfaces with an acid resistant ground (a type of varnish). A sharp tool is used to scratch through the ground in the manner of a pen and ink drawing. The plate is then immersed in the acid bath (usually diluted nitric acid) and watched while the acid eats the metal wherever the scratched lines have been made. If some areas are meant to be lighter than others the plate is removed, rinsed and dried and the area painted with an acid-resistant coating, called “stopping-out varnish�, and the plate is returned to the acid as soon as the varnish is dry. This can be done several times, as the deepest lines will hold the most ink. The plate is then rinsed, dried and the varnish removed. Etching ink is then pressed onto the plated until all areas are covered. Then the ink is wiped off the plate with tarlatan - a stiff gauze fabric, which while cleaning the plate leaves the ink in the etched lines. Wiping the plate is an art in itself; too much wiping creates a pale print and too little a dark muddy print. Further polishing of light areas can be done with a page from an old phone book or unprinted newsprint. The plate is then placed on the bed of the press and the dampened paper over it. The paper picks up the ink from the acid bitten crevices and the finished product is an etching. DRYPOINT ETCHING: The bare plate is scratched with a sharp tool straight into the plate, which can be copper, zinc or plastic. This is hard work as even a plastic plate is hard to scratch very deeply. Today electric tools are often used to aid in the incising of lines. In doing this a burr is formed which gives a slightly different quality to the finished print. As the burr wears off in printing the prints will vary a little. The plate is inked and printed in the same way as an etching. SOFT GROUND ETCHING: The varnish ground is softened with Vaseline and then mesh, fabric, string, etc. can be put on the plate and run through the press, creating an impression of the items in the ground. The ground can also be marked with a pencil, toothpicks, etc. The plate is placed into an acid bath like an etching and stopping out varnish can be used. The plate is cleaned, inked and printed as is an etching and the result is a soft ground etching. The resulting images are softer rather than the linear crispness of an etching. AQUATINT ETCHING: Powdered rosin is sifted evenly onto a clean polished metal plate and is then heated on a hot plate to melt the varnish enough so that it adheres to the plate. Too much heat and it will melt the particles into each other. The plate is put in the acid bath and removed each time that stop-out varnish is needed to create the image from light to dark areas. There is no line drawing, just wash areas, somewhat like a watercolor painting. The edges of the areas are burnished by rubbing with a metal tool to blend them. The cleaning, inking, wiping and printing are the same as an etching.
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COLOR and COLORED ETCHINGS: A color etching has the color inked into the plate with colored etching inks. It can be done by applying each color separately to the plate and carefully wiping or with a separate plate for each color requiring very careful registration for printing each plate on to one piece of prepared paper. Either method is time consuming and requires endless patience. A colored etching is an etching printed in the usual way that later has color added to it with paint or perhaps pastel. It’s a quick and easy way to color an etching but is not an integral part of the print. ENGRAVING: An engraving tool is used to cut a line into a plate. The cut is very cleanly made without any burr and without the slight roughness of acid biting. It is difficult and nerve-wracking work that requires precision and patience and the tools must be constantly sharpened. The deeper cuts are darker as they hold more ink and as the tools are apt to slip many an error has to be burnished out (rubbed with a metal tool) before proceeding. MEZZOTINT: Special expensive tools are used in “rocking” across the plate vertically, horizontally, and both diagonals. When the surface is completely scored, which may take a day or so, and then the design image is carefully burnished erasing the scored surface. The plate is inked, wiped and printed as in an etching. The result is a rich velvety black with soft edges to the light image areas. PHOTOGRAVURE: A general term for any metal plate process in which an image has been transferred to a metal surface by photographic means. A corrosive bath is used to incise the image into the plate before inking and printing. Photo-etching is a term alternatively used. Any of the above ways of making an etching can be used in combinations to achieve very unique and interesting handmade intaglio prints.
SOLARPLATE: is a simple approach and safer alternative to traditional etching and relief printing. Since Dan Welden’s development of the process in the 1970s, printmakers, painters, photographers, and art teachers interested in multiple impressions have utilized printmaking with Solarplates. Solar plates are steel-backed, light sensitive, photopolymer printmaking plates. After exposing with U. V. light, the plate is developed with water. Solar Plate may be exposed using sunlight, but an exposure system and vacuum frame gives more consistent results.Both positives and negatives can be utilized; intaglio and relief printing techniques can be applied.
RELIEF PRINTS: The design remains on the surface and the unnecessary parts are cut away. Relief prints include: WOOD CUTS: A piece of wood is carved with wood carving tools (gouges) and the remaining surface is inked with an ink roller (brayer). Often the grain of the wood is incorporated into the pattern. It can be printed on a press or by hand rubbing with a baren or wooden spoon, etc. More than one color can be used, but more often a separate wood block is used for each color. Either oil based or water based ink can be used and a variety of different papers. WOOD ENGRAVING: The wood used has no grain as the blocks are made with the grain on the vertical. The end of the block is carved and fine detail can be achieved. Separate blocks are usually used for more than one color. REDUCTION WOOD ENGRAVING: All the colors of a design are left on the block and the whole block is inked in the lightest color. More than the required number of prints a are made of that first color. Then the part of the block that bears only the first color is cut away and the next color is printed. This is repeated for each color cutting the color away after each set of prints. Precise registration is very important. In the end the block is destroyed and if fifty prints were made to begin with, perhaps thirty-five or forty might be successfully carry all the colors in registration.. LINOLEUM and SOFT PLASTIC: These plates are carved with special tools and are softer and easier to work with and have no grain. More than one color can be inked on one block or separate blocks can be carved for each color. The printing can be done with a press or by rubbing. Various papers can be used. COLLOGRAPH: Similar to a relief print, but instead of carving into the plate, the image is built up on the surface of the plate. The base plate can be cardboard, plastic, metal, wood or anything available. Then the design is made up of cut out paper, card stock, fabric, string, netting, lace, feathers, drizzled and dried glue, etc. When everything is glued down and dried the whole plate is sprayed with spray paint or varnish so that the plate can later be cleaned. Then the plate is inked with one or more colors, either water base or oil, and printed as a woodcut. The plate can be inked in various ways many times and cleaned for storage.
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EMBOSSING: A plate with a raised design somewhat like a collograph is printed on heavy prepared paper using no ink. Displayed with good lighting the embossed design can be very effective. LETTERPRESS: A relief technique for printing movable type (though blocks with images may also be used). Metal, wood, or polymer forms of a standard height are set in place in the bed of a press. Since ink is transferred from the surface of the blocks by the application of pressure, letterpress prints are recognizable for their embossed printed forms. LITHOGRAPHY: Since oil and water do not mix, if the plate is kept wet and the design has been done in oil, the wet plate can be inked in oil ink and printed on prepared paper. The oil base ink adheres only to the design area and is rejected by the wet areas and is printed on a special press. Lithography encompasses: STONE LITHOGRAPH: Lithograph translates to “Stone print” and all were originally done on specially prepared stones. The stones are heavy and expensive. The design is drawn on a stone with a grease crayon or painted with a grease base ink (called tusche). When finished it is treated and cleaned and in appearance looks like a blank stone once again. However the design is there and while the stone is kept wet the ink is applied with a brayer. The oil base ink adheres only to the design area and is printed on a lithography press. Separate stones are used for separate colors. ZINC PLATE LITHOGRAPHY: A specially treated zinc plate is used much as a stone, but is cheaper and easier to handle. The fine shading achieved on a stone is not quite as attainable on zinc. PAPER LITHOGRAPHY: A paper printed from a copy machine has an oil base toner (computer ink is water based and will not work). Since wet paper is fragile the paper is sprayed with water and flattened onto a plastic plate. In order to keep the paper wet it is coated with liquid gum Arabic. A small amount is spread on the wet paper and allowed to rest about five or ten minutes. Then more water is sprayed on the paper and the ink is applied. Ordinary oil paint works well as the ink must be soft since the wet paper is fragile. A few drops of linseed oil helps. Paint that is too stiff will tear the paper and if too soft will result in a pale print. The color is applied with a brayer and washed off. This step is repeated two or three times and then excess water is gently blotted off and the plate is ready to print on prepared dampened paper. An etching press works well. Any color or combination of colors can be used, but only applied with a brayer on very wet paper. The photocopied print can be constructed from anything - pen and ink drawing, a photo, cut outs, feathers, just about anything you can copy. The size is limited by the copy machine paper. POLYESTER PLATE LITHOGRAPHY: (PRONTO plate printing), a new and nontoxic form of lithographic printing was developed by George Roberts while he was Professor of Printmaking at Boise State University. Polyester Plate Printing started as a low cost yet professional form of commercial offset lithography. The medium is capable of reproducing the full spectrum of lithographic marks such as: hand drawn brush strokes, ink wash, texture, crayon and pencil marks, and is equally well suited for digital imaging. Plates can be also imaged directly with a laser printer or a photocopier. The process is more straightforward than conventional lithography as the plate does not require chemical processing in the form of etching with acid. CHINE COLLÉ: The process of adhering one piece of paper to another by using a liquid adhesive and running them together through the printing press. Chine is French for “China,” which refers to the thin Asian paper originally used with this technique, and collé means “glued.”
SCREEN PRINTING: In essence this comprises a hand-cut or photographic stencil with the silk mesh of the screen holding the stencils parts in place. A piece of silk mesh fabric is stretched onto a wooden frame. The frame is hinged on one side to a base. A drawing is placed under the silk and any part of the silk that is not the color to be printed is stopped out with a glue or lacquer or a photo process can also be used. The bare silk that is not painted out will allow the ink to be squeezed through the silk. After the prepared screen is dry the paper to be printed is put in place. If more than one color will be used in the print the placement of the paper is critical. The paint is placed on one end of the screen and dragged across the silk with a rubber squeegee. The frame is lifted enough to remove the paper and replace it with the next piece and the paint is dragged back again and so on until the full number of prints are made. The printing is very fast - a minute or so per print. The set up of the image on the screen takes a good bit of careful planning. The screen is then cleaned of the paint and the stencil removed and the stencil for the next color is put on the screen. Many different colors can be combined on one print and the stencil can be done in a painterly way or a crisp cut out stencil or with photography. Either water base or oil base paint can be used.
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MONOTYPES: a one of a kind print. A second print, called a “ghost” can be made but will look very much lighter. MONOTYPE: A plastic plate has ink applied to it with brush, sponge, brayer, etc. Any color or design can be used. Feathers, lace, string, etc. can be placed on the plate; ink on the plate can be manipulated with fingers, Q-tips, brushes, etc. Thick paint will slide off in printing and too thin paint will dry out and not print. The plate is placed on an etching press and the dampened paper on top. After the print is made a second print can be made from the same plate, but they will look very different. Before cleaning the plate the design can be manipulated with added paint, etc., but the result is still a one of a kind impression. The CLAYPRINT MONOPRINT is an innovative process created by Mitch Lyons in the 1960’s and continually developed by him even today. The “plate” for the print is a leather hard slab of stoneware clay. The media is white slip mixed with house paint colorants and ceramic stains to produce a rainbow of colors. The colored clays in the form of slip, moist clay, and powdered chalks are applied to the slab using a full range of painterly, printmaking, and ceramic techniques. Once the image on the slab is complete, a slightly dampened sheet of Reemay interfacing canvas is carefully laid on the slab, and light pressure is applied by hand to lift a thin layer of colored clay from the surface. The colored clays bond to the interfacing to produce an archival monoprint. STENCILS: Cut out pieces of card stock can be inked, arranged on prepared paper and printed either on a press or by hand. The CLICHÉ VERRE Process is a cross between art and photography. It Is a method created using photography equipment but can be done on pieces of art, not just photographs. The method consists of etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. This process originated in France in the early 19th century. Contemporary cliché verre artists also utilize scanners and editing software to produce the images on acetate or as digital prints.
WHAT ARE THE INSCRIPTIONS ON THE BOTTOM OF THE PRINT? Traditionally, signifying inscriptions are written in pencil at the bottom of a print. Reading from left to right, the inscriptions indicate the edition number, the title of the artwork, and the artist’s name (and sometimes the date), e.g. 2/30 Untitled #1 A. Smith, 2012 Artist’s Proof (A.P.) A print reserved for the artist and not included in the numbered edition. An artist’s proof can be identified by the inscription “A.P.” found in the lower left-hand margin instead of a number. Printer’s proofs are reserved for the printer and are inscribed “P.P.” Bon à Tirer (B.A.T.) A print that is not included in the edition, but which indicates the standard a printer tried to duplicate for the edition. A print which is bon à tirer (translated from French as “ready to pull”) can be identified by the inscription “B.A.T.” found in the lower left-hand margin. What is an Edition? A set of identical prints made from the same matrix (or set of matrices). Often a number of other prints – artist’s proofs, printer’s proofs, bon à tirer, and hors commerce (“not for trade”) prints – are made at the same time but are not considered to be part of the numbered edition. Each print in a limited edition is usually numbered in the lower left-hand margin. The form of this inscription is as follows: number in the edition/size of the edition (i.e. 15/50). To guarantee a limited edition, the artist or printer can “strike” or cancel the plate by incising an X on the printing face after completion.
ATTRIBUTION The majority of the descriptions above are attributed to Elizabeth MacDonald, with additional material by Julyen Norman.
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About CCP The Center for Contemporary Printmaking is a nonprofit multimedia studio and gallery dedicated to the art of the print. At CCP artists can work independently, collaborate with master printers, or enroll in workshops conducted by nationally recognized artists. We provide studios, equipment, and technical expertise. Exhibitions of original prints are held regularly in the gallery, and diverse educational programs are offered for experienced and emerging artists.
The Exhibition Program at CCP Each year, the Center for Contemporary Printmaking (CCP) hosts a series of exhibitions in the Grace Ross Shanley Gallery, including works by established professional artist/printmakers, the Biennial Footprint International Print Exhibition (on even numbered years), the Biennial International Miniature Print Exhibition (on odd numbered years), and an Annual Members’ Exhibition.
We wish to acknowledge and thank the following foundations and organizations for their help and support in enabling the Center to service the local community: City of Norwalk, CT Connecticut Art Trail Frederic R. Coudert Foundation The Daphne Seybolt Culpeper Memorial Foundation Fairfield County Community Foundation Helen Frankenthaler Foundation Wolf Kahn & Emily Mason Foundation Mr. & Mrs. Charles P. Kontulis Fund Norwalk Advisory Commission on the Arts & Culture TD Bank Wescustogo Foundation Xerox Foundation
PURCHASE AWARDS SPONSORS
Fourwindsfinearts.com
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Legion Paper Inc.