Bill Ritchie's art in Washington State
  
in the

Donnie Wilburn Collection

"Bridge's Heart 7"

Provenance: 1973. Print. Mixed media. Blue, yellow, black, red. Printed on Van Gelder Zonen natural with Japanese etching chine colle. 18 X 24 image. ?/40. Signed lower right: Bill H. Ritchie, Jr. pr731013rit. Also in the collections of Robert Adams, Lee Altman, Billie Bryan, Spence Guerin, Spike Henderson, Henry Art Gallery, Philadelphia Art Museum, Rainier Bank, Lynda Ritchie, Carolyn Scheve, Anne Schwendiman, Nellie Sunderland

Exhibitions and Awards: Puyallup Art Exhibition, "Best in Show," juried by Gervais Reid, et. al., September, 1973. Puyallup WA; Lubbock Invitational, Purchase Prize (State Proof), 1973. Lubbock, TX; Philadelphia Print Club Open Competition. Stewart M. Egnal Prize Purchase Award. Sylvan Cole, Andrew Stasik, Janet Flint, jurors. 1973. Philadelphia PA; Jane Haslem Gallery, 1974. Washington, DC.; National Print Invitational , Georgia Southern College, 1973, Statesboro, GA; 20th Annual Print Exhibition, 1973, Brooklyn Museum of Art, Brooklyn, NY; 1st Annual Images on Paper, Purchase Award. Feb-Mar, 1973. Springfield Art Association, Springfield, IL

About Donnie Wilburn

About Donnie Wilburn: (Excerpt from KUOW broadcast by Marcie Sillman) "Donnie Wilburn, [Suzanne] Ragen’s friend and longtime fellow docent, is also part of the tour. Wilburn lost her sight several years ago, a rare side effect after she underwent a major surgery. Even though she couldn’t see anymore, Wilburn didn’t want to lose her ties to the museum, or to the art she loves so she helped create the first ACCESS tours. [In the photo] Docent laureate Suzanne Ragen sits between docent Donnie Wilburn and patron Camille Jassny, who are both visually impared, at the Seattle Art Musuem (along withi Jassny's guide dog, Brietta)."
Bill Ritchie: "I think I spoke to Donnie Wilburn on the telephone, and I have a handwritten address for her in Bellevue. This was before she lost her sight."

Bill Ritchie 's Comment: "The Henry Gallery Association wanted new members and, as an incentive to join, offered a print. Commissioned to produce the print, I was excited and worked hard, eager to please. It went badly. The harder I worked the uglier the print became. I made plates and pulled many states. Finally I threw out the design entirely. Then it came all at once! A lithograph, from a different series, and using corduroy and soft ground to get the effect of raster lines (from my video work) made for an entirely new direction. Things fell into place and “Bridges Heart” was one of my most successful prints. It’s the only print of mine that the Henry Gallery has in its permanent collection."


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Email: ritchie@emeralda.com