Bill Ritchie art and design work in Washington State
  
in the

John & Laurie Fairman Collection

   
Passive and active sides for John & Laurie Fairman's Galleon Halfwood Press

Galleon Halfwood Press No. 18

Ritchie's comment : John and Laurie returned from Hong Kong in July, 2017, and with friends paid a visit to our Mini Art Gallery and made a deposit on the press. John reminded me that he had been a student in my course at the UW, exactlty describing the art I was making those years. This is the second work the couple purchased - the first being a print from the Loci and the Sea Squares series of 1982.

Galleon Halfwood Press specifications: Serial No. 90018. Roller diameter 2 1/4" x 9" long, top and bottom. Bed is 5/16" polycarbonate, 9" x 26". The overall length is 27"; overall width is 13 3/4"; overall height is 15". Weight is 50 lbs.; Drive wheel is 12" diameter stainless steel and drives gears (concealed) and with rack-driven bed, approximates a 6:1 mechanical reduction. Styled in solid black walnut wood with wenge interlayer on the base' foots. The pressure screws are linked and synchronized. The press included three etching felts, user's manual, 5-piece Allen wrench set, and the designer's paperback semi-fiction book, "A Printmaker's Tale."

About Laurie and John: They recently closed their antique stores, Honeychurch, in Seattle and Hong Kong.

Other owners of a Galleon Halfwood Press are: Pat Austin, Josef Beery, Carol Brozman, Wendy Anne Crittenden, Ava Everett, Harold Foster, B. H. Giza, Chris Groves, Kirsten Horning, Cathy Immordino, China Kay, Joo Hee Kim, Gene Laughter (d) , Eva Mastandrea, Kristy Melgoza, Lyle Miller, George Otsuka, Scott Skinner,  Tom Smith, Jo Tyler, and Ann Van Oppen.



(Placeholder only - color image unavailable)

Locus and the Sea Squares #75

1982. Intaglio, and relief print. Various colors and black  on 21 1/2 X 15 in. papers, 29 X 20 1/2 in. No.75, from variable edition of 141 prints. Signed lower right.

Artist's Statement: This print is from a series of 141 trial proofs and artist's proofs in "cycles" of around 15 each, and each in a different color combination. I made them in the processes of cyanotype, woodcut, and intaglio techniques. The images are from three sources: A map of the Colorado River, at the Crossing of the Fathers; the leaf shape I call locus--the path of a moving point (drawn to establish data in a computer program);  Finally, The Great Wave was drawn from the famous print by Hokusai."

A video, "Printing the Locus and the Sea Squares" is available on Youtube:

 


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Email: ritchie@seanet.com