A Bill Ritchie Artwork in the
Mary Stamper Lynam Gallery
"Miniature I" and "Miniature II"
1966. Intaglio, drypoint. Black-on-white. Miniature I (left)
11/16 X 1 1/8 in. Miniature II (right) 1 1/8 X 11/16 in. Both on Rives BFK. Artists Proof. Signed lwr. Five artists proofs printed.
No edition numbers. Exhibitions and Solo Shows in Istanbul, Adana (Turkey); Henry Gallery "Six".
Others' Collections: Annie Gerber, also anonymous others and the Ritchie Family
Artist statement: "Stamps fascinated me since I had a collection in the 5th grade. What is it about them? Maybe it's the earliest exposure I had to prints and printmaking. They look great to me at any distance, and especially close-up. They are supreme if I make them myself. And so easy to print that even intaglio--usually the most difficult of all printing--is no problem. Stamps and stamp making come from my earliest exposure to the beauty of intaglio printing; money, too, is printed intaglio--but I like stamps better! The miniatures started in San Jose with three tiny, stamp-sized drypoint and engraved prints as part of my tree series. "
1966. Intaglio, printed from etched, engraved metal plate. Black. Image 18 3/4 X 13 3/4 in. on 24 X 18 5/8 in. Rives BFK. Signed lwr. Others' Collections include Auvil, Day, Vesoja, Anderson, Marysville Schools, & Artist's family. Numerous Exhibitions and awards, nationally & regional.
Artist's Comment: Both in images, symbols and technique, I collected these on to one plate as we resolved our stay in San Jose and began our move north to Seattle and the continuation of my chosen career. A dead sparrow hung outside my back-porch studio window of our little house on a hill overlooking the Almaden Valley. Perverse, maybe, but memory of it had meaning for me and I etched it into my plate. Engraving came easier now, as playing an instrument must to a musician, I suppose.
1988. Screenprint, 3 colors. Black, green (inks number more as sheens vary). Image 17 X 25 1/4 in on 22 X 30 in Arches 88. Signed lwr. Collections of over 50 members of CD/I Publisher's Club individuals, museums and corporations and Artist's Family.
Artist's Comment: I selected two images that showcased my use of computer graphics in their creation, and added them to C. T. Chew's brainchild--a four print portfolio of our work to finance the CD/I project launch. The Dreamer came from 36 Views of the Locus of Beauty. Mike Peterson printed this one and gave me the shiny-black-on--dull-black I wanted to make the otherwise static image "live" as I move around the print. The acid green is from the first CRT displays that came with my first Apple II computer.
1988. Screen print. Eight colors: Black, silver, yellow-green, red, green and interference sheen colors. Image 17 X 25 in. on 22 X 30 Arches' 88. Signed lwr. Collections of fifty members of the CD/I Publisher's Club and the Artist's family & Fine Print Studios.
Artist's Comment: C. T. Chew conceived a plan to finance our joint venture into CD-based publishing. Art Student was our vision, a disk to contain "everything an art student needs". We contacted our patrons, friends and corporations. We raised the money we needed to buy equipment and research materials, tuition and some living expenses. Lunar Concerns started out as an Apple II dot-matrix print, and went through several metamorphoses.
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