Davidson Galleries

Signature: Signed verso
Artist details: American, Pacific Northwest, 1903 - 1985

Medium: Collagraph
Dimensions: 22 1/4 x 33 1/4 inches (Plate) 25 1/4 x 36 inches (Sheet)
Signature: Signed
Artist details: American, 1914 - 1996
Date finished: 1958
Edition: #2 of 8

Recommended by Rebecca (Gallery Manager):
“Three Shadows by Glen Alps illustrates some of my favorite effects one can achieve with Collagraphs, a term the artist coined to describe a mixed media plate. The different heights of the elements give a sculptural feeling when printed. The ink has been lovingly rubbed into all the nooks and crannies and then removed sparingly to maintain the multi dimensionality during the ink transfer from plate to paper. The use of a simple, commercial, paint additive of ground walnut shells instead of carborundum to Elmers glue gives a solid, yet sumptuous, weight to the solid forms. This is an early collagraph from the late ‘50s and shows that his later works did not stray too far from the principals and richness of these early pieces. It is reassuring to see his works re-emerging from long held collections, giving us another chance to make their acquaintance."

Medium: Drypoint
Dimensions: 7 x 5 1/2 inches
Signature: Signed
Artist details: Norweigian , 1941
Date finished: 2004
Edition: of 8

"Arne Bendik Sjur’s Unknown Series is particularly exciting since the artist used only a single etching plate to create ten different images by altering the plate little by little. Sjur focuses on relationships and neurodivergent states of mind - diving right into the stranger side of humanity. The artist pushes printmaking beyond any simple one-liner destined for a frame. Instead, he hooks viewers and keeps them lingering beyond any single view."

Medium: Woodcut with hand-coloring
Dimensions: 15 1/2 x 11 3/4 inches
Signature: Stamped signature
Artist details: French, 1868 - 1941
Date finished: 1892
Condition: Faded; mounted

Also identified as Le Depart Du Chevalier.

Recommended by Paige (Collections Manager):
"Émile Bernard was an important and well-connected artist of the late 1800s, though his name is not as well-known. Bernard worked closely with Paul Cézanne, Vincent van Gogh, Paul Gauguin, Henri Toulouse-Lautrec and others and is considered a pioneer of several modern art movements. Later in life, he made an interesting turn away from such innovative and experimental modern styles back to earlier imagery, like the High Renaissance. La Mort Du Chevalier has a classical feeling, but with some modern elements, like the coloring and facial expressions. I appreciate Bernard's choice to combine a more traditional style and figures with a newer palette and details – the flowers seem to droop in sympathy with the maiden and she lifts her head to the heavens but keeps her eyes closed."

Medium: Monotype
Dimensions: 13 x 38 inches
Signature: Signed
Artist details: American, 1962
Date finished: 2018
Edition: 1/1

Available framed at an additional cost.

Recommended by Emma (Marketing & Communications Manager):
"This piece masterfully embodies three compelling elements; the satisfying contrast between the day and night sky, the mysterious appeal of light portrayed on paper, and mankind's deep fascination with the spiritual implications of our massive universe. Orville has neatly packaged time and space into a comprehensible experience contained on the paper, allowing the viewer to experience the marvel of staring at the heavens without the anxiety of how miniscule and fleeting we are. Her flawless monotype technique is photo-realistic, yet the soft quality of the ink is far more soothing than looking at the real thing."

Medium: Charcoal on paper on panel
Dimensions: 48 x 36 inches
Artist details: 1946
Date finished: 2011

Recommended by Sam (Owner & Director):
"Then And Now is a charcoal on paper drawing of the West Seattle Bridge, part of a series of Seattle views, by Pittsburgh professor of architecture Douglas Cooper. He lends dramatic perspective to a familiar view. His drawing effectively captures river traffic on the Duwamish waterway, the motion implied by the exaggerated curve of the bridge, the cranes, the drawbridges, the over and underpasses, and lighted billboard all contribute to the activity found in this view. Cooper is willing to alter his respect for the static structures involved just enough to make the whole scene dynamic."