Medium: Intaglio with chine-collé
Dimensions: 7 3/4 x 7 3/4 inches (image) 14 1/8 x 14 inches (sheet)
Signature: Signed
Artist details: Ecuadorian, 1963
Edition: EV of 50

Recommended by Paige (Collections Manager / Marketing Coordinator):

'Plaza Grande' delivers the warmth that I'm seeking and missing from Latin America. The piece has a natural richness, an earthly heat like terracotta, clay, or red soil, almost soaked into the different reds of the paper and emanating from within. Although I can't make out specific people or buildings in this plaza, I feel the density of the hub, the community and structures mixing together and transferring energy.

Medium: Woodcut
Dimensions: 15 x 12 inches (image) 23 3/4 x 20 inches (frame)
Signature: Signed
Artist details: American, 1937 - 2012
Date finished: 1995
Edition: of 49
Reference: LD 256

Recommended by Rebecca (Gallery Associate):

Lockwood Dennis has always been a favorite artist of mine. He was a wonderful, lovely, full-of-mischief kind of person, with a twinkle in his eye. He was also one of the most hardworking artists I have ever met. I was very sad to hear of his passing in 2012, just before I rejoined Davidson Galleries in 2013. '1st Ave S. Bridge' is a testament to his ability to work within the confines of his medium and space. It’s dramatic and comforting at the same time. His use of burnt orange for the roof of the boat is genius. When I lived in Arizona for two years, I hung my Lockwood Dennis prints where I could see them every day. They brought me comfort, memories of home, and sometimes a hearty chuckle.  

Medium: Color mezzotint, aquatint, watercolor
Dimensions: 12 x 18 inches (image)
Signature: Signed
Artist details: American, 1958
Date finished: 2011
Edition: of 120

Recommended by Sunny (Collections Assistant):

Across the Floor is so nostalgic of my time growing up on the East Coast. I have visited Grand Central Station many times and remember it being one of the most magical moments. The train gets quiet and everything goes dark as you enter the underground tunnel. As you exit, passengers push against each other through the hot, humid platforms and then you emerge to find yourself under the constellations. Being surrounded by so many people who don't seem to keep still long enough to enjoy it, but I could always take a deep breath in this moment. This print captures the bustle and beauty of this iconic New York City experience.

Medium: Mezzotint
Dimensions: 7 3/4 x 7 7/8 inches (Image) 13 x 12 5/8 inches (Sheet)
Signature: Signed
Artist details: Japanese, 1967
Edition: of 40

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

In Tsuritani’s ‘Journey of the Rabbit Entertainer’, the person juggling and riding a unicycle is wearing a rabbit mask as they balance overtop lunar cycles underneath a wide sky. They seem to defy time, gravity, and basic human restrictions in their precarious act. It is humorous and a reminder of the intensity of a fast-paced lifestyle. Juggling everything on a razor’s edge has limitations (even if you feel closer to the sun) and comes with a great need for rest and a slower pace.

Medium: Hand-colored etching with chine collé
Dimensions: 4 x 3 inches (image) 8 3/4 x 9 1/2 inches (sheet)
Signature: Signed
Artist details: Japanese, 1969
Date finished: 2012
Edition: of 25

Recommended by Nikki: 
(Art Photographer / Marketing and Exhibitions Specialist) 

I have been craving playful lightheartedness lately, and Ando’s etchings provide just that with a nod to Lewis Carol’s ‘Through the Looking Glass’. In this piece, the white rabbit seems to be slowly falling out of the tree and into springtime. Wintertime has passed and new adventures await.

Medium: Mezzotint and chine-collé
Dimensions: 13 1/2 x 11 inches (image)
Signature: Signed
Artist details: Japanese, 1985
Edition: of 15

Recommended by Paige: 
(Collections Manager / Marketing Coordinator)

This piece merges impeccable technique with expression of a feeling. The hands are beautifully detailed and blur upward to ambiguous peaks where the peoples' faces and bodies should be. I can see it is as reminder to not be too still, too settled, or risk becoming a bystander that forms the background of life.

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 Associate)

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. 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: Intaglio
Dimensions: 9 x 10 inches
Artist details: American, 1984
Date finished: 2010
Edition: of 20

Recommended by Sunny: 
(Collections Assistant)

Carrie Lingscheit's Memento series, the artist is very deliberate in deciding what information is left out and what draws attention into the scene. In Momento No. 5821, there is a large emphasis on body language. It is as if the artist has captured a private moment in time and has allowed us to witness it.

Medium: Drypoint with chine-collé
Dimensions: 5 3/4 x 11 1/2 inches
Signature: Signed
Artist details: Japanese, 1951
Date finished: 1987
Edition: of 50
Reference: #138

Recommended by Rebecca: 
(Gallery Associate)

Tomura's simple, beautiful drypoint is reminiscent of Rembrandt's depiction of leaves and trees. Tomura captures lively nature with minimal details. The image is barely there. Just a few light strokes for the grass, gentle texture in the leaves and clean lines for the trunks. Tomura leaves most of the sheet blank to focus on the thing you can't see: the wind.

Medium: Aquatint
Dimensions: 15 7/8 x 22 inches
Signature: Signed
Artist details: Mexican, 1955 - 2013
Date finished: 2000
Edition: AP

Recommended by Paige: 
(Collections Manager / Marketing Coordinator)

For me, 'El Camino de la Vaca' (The Cow's Path/Trail) is a 'why not'? type of piece. It has a simple joy for joy's sake. Of course, there is intention and artistry, like the beautiful ink textures, patterns, and perspective. But at this moment I appreciate his choice to create an uncomplicated, sweet scene. The grass forms a sort of red carpet for the underappreciated cow. We can smile just because.

Medium: Wood engraving
Dimensions: 4 3/4 x 6 7/8 inches
Artist details: Canadian, 1939
Edition: of 40

Recommended by Nikki: 
(Art Photographer / Marketing and Exhibitions Specialist) 

The sweet, playful smile of the squirrel invites a warm and calm feeling that is quickly subverted once the intense and menacing cougar eyes come into focus. Waiting. I love the artist’s intensity mixed with playfulness in his storytelling that comes through in narration and skillful engraving techniques.

Medium: Hand carved Kimono mulberry paper stencil
Dimensions: 14 3/4 x 6 1/4 inches
Artist details: Japanese
Date finished: Meiji period c. 1890 - 1900

Recommended by Sunny: 
(Collections Assistant)

This piece is a hand-carved, mulberry paper stencil that was once used in the Japanese fabric dying process, known as Katagami. The mulberry paper is handmade and naturally waterproofed with persimmon juice. The pattern was carved and reinforced with silk threads. While there is a clearly recognizable pattern, I find beauty in the creators intentional, asymmetrical abstraction. Not only is the piece itself a work of art, but understanding its function and history ignites imagination. Producing a new found appreciation.

Medium: Woodcut
Dimensions: 19 1/2 x 26 inches
Signature: Signed
Artist details: American, 1966
Date finished: 2008
Edition: of 9

Recommended by Paige: 
(Collections Manager / Marketing Coordinator)

Chris Papa's work is explosive and emotive. It's full of symbols and references that we can almost decipher, but they're stuck on the tip of our tongues. Maybe a tree? Maybe a cloud? Every color looks so unique, but we can't say why. I connect so much to 'Tokyo Tokyo' because this is also how I feel about describing a new place. We describe something new by referencing something we know, but all of our references don't relate, don't capture it right. How do we explain something that comes from somewhere that we don't know?

Medium: Color etching
Dimensions: 5 1/4 x 7 3/4 inches
Signature: Signed
Artist details: American, 1969
Edition: of 25

Recommended by Nikki: 
(Art Photographer / Marketing and Exhibitions Specialist) 

We humans consume, use, and abuse the power we feel entitled to with nature. ‘In the Deep Dark Woods’ we are reminded that there is more to this world than our ease and comfort. Trees, plants, the land, and creatures all bear witness to what we are doing. The woods are wild, but so are we. Sometimes it takes a healthy dose of fear and discomfort to reconnect to the larger web of life we often ignore behind our screens.

Medium: Mezzotint
Dimensions: 5 x 7 1/2 inches
Signature: Signed
Artist details: Japanese, 1954
Date finished: 2010
Edition: of 90
Reference: 298

Recommended by Sunny: 
(Collections Assistant)

Mikio Watanabe's work is extremely delicate and intriguing. The themes are simple, but his execution of form and technique are quite complex. Fossile catches my eye and reminds me of an Italian marble sculpture. The lighting is beautifully balanced between cool and warm tones and the figure's pose is expressive. Both filled with emotion and purpose.

Medium: Mezzotint, drypoint
Dimensions: 5 1/2 x 14 inches (image)
Artist details: American, 1950
Date finished: 2010
Edition: of 45

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

The volatility and energy behind Farrell’s sepia-inked piece is palpable. The figure’s neck, jugular veins, the collarbones, and jawline read as both vulnerable and strong, simultaneously. The chaos of the branches that cut across her neck break up three-quarters of the image, carrying the intense feelings across the entire scene with its visual movement.

Medium: Marbled monoprint
Dimensions: 15 x 11 1/4 inches (image/sheet)
Signature: Signed verso
Artist details: Pacific Northwest, American, 1976
Date finished: 2022
Edition: 1/1

Recommended by Catherine (Collections Specialist / Gallery Associate):

When things fall apart, it's easy to point fingers, dive into analysis, and urgently piece together the reasons why events unfolded the way they did. Ben Beres' marbled monoprint 'There Is No Why' is a beautifully straightforward reminder to give ourselves a moment to let go of our need to find answers and explanations, and allow our minds to rest so our broken hearts can heal. Only with clear minds and strong hearts can we take action together and accomplish the necessary work of repair and growth.

Series: 13 Ways of Looking at a Blackbird
Medium: Oil based woodblock print on cream paper
Dimensions: 15 x 15 inches
Signature: Signed
Artist details: American, 1935 - 2022
Date finished: 2018
Date of plate: 1986
Edition: of 10
Printer: Sidereal Fine Art Press
Condition: SFAP Chop in the lower right hand corner.

Recommended by Rebecca (Gallery Associate):

This series, '13 Ways of Looking at a Blackbird' by Michael Spafford, is the artist's interpretation of a poem by Wallace Stevens. For this piece, the poem reads: "I was of three minds / Like a tree / In which there are three blackbirds." Spafford was a beloved Northwest artist and a teacher at the University of Washington for more than 30 years. His work focused on abstracting mythology into compressed, black and white forms. 'I Was of Three Minds' showcases Spafford's powerful simplicity, where the blackbirds intersect in the figure's mind at the point of a triangle, visible only because of the white grid crossing the black face. It is clear yet complex, perfectly echoing the poem.

Series: The Alchemy of Love
Medium: Drypoint
Dimensions: 7 1/4 x 6 inches (Image/Sheet)
Signature: Signed on reverse
Artist details: American / Pacific Northwest, 1968
Date finished: 2023
Edition: of 7 E.V.

Recommended by Paige (Collections Manager / Marketing Coordinator):

The 'Alchemy of Love' series is captivating, and this piece in particular can lock me in an endless loop. There's a little contradiction – using text and words to tell us 'There are no words here'. My mind can go over that detail again and again. In the end, I love it because this simple contradiction reveals how hard it is to express ourselves or our experiences. We have only words to describe the indescribable. Landsaat also offers twisted vines, knotted branches, and eccentric demons to help us visualize our predicament, but the rest is left to us.

Medium: Linocut
Dimensions: 6 1/2 x 5 inches (image)
Signature: Signed
Artist details: Mexican, 1972
Date finished: 2002
Edition: of 60

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

Rodriguez’s graphic depictions of difficult-to-swallow topics feel tangible. The bold lines of the background draw attention to the small figures above the scene. One figure is shouting from a helicopter and pointing a gun, while the other also shouts and gestures frantically from a high-rise building. Both frame the central two figures who bare horns and tails to mark them as evil. Interestingly, the largest figure, assumed to be the artist dressed as a businessman, is hunched over with his hand in his pocket, tired. Even his pointed ears and large wings droop. The artist reminds us there’s no peace for those who choose evil from their positions of power.

Medium: Intaglio
Dimensions: 4 1/2 x 3 inches
Signature: Signed
Artist details: Slovak, 1964
Edition: of 100

Recommended by Paige (Collections Manager / Marketing Coordinator):

This piece is a quiet favorite of mine. Originally, I was drawn to the amazing textures: the flowing hillside, fabrics, and barely visible hair adornments. But I think the true value is in how Vavrova captures traditional Japanese style through an Eastern European lens, embracing another culture through her own practices. You can see the care she takes as a woman portraying other women. Through her travel experiences, Vavrova understands and shares a culture that is not her own, and in particular women, without distancing herself, without acting as an outsider or an intruder.

Medium: Hand-colored etching with chine-collé
Dimensions: 4 x 4 inches (image)
Signature: Signed
Artist details: Japanese, 1969
Date of impression: 2019
Edition: of 20

Recommended by Catherine (Collections Specialist / Gallery Associate):

The symbolism within Mariko Ando's illustrative etchings reveals deeply unifying and poignant narratives, told through her animal subjects. Surrounded by thorny roses, the rabbit is attentively watching a gently floating feather, ready to catch it with their nimble fingers before it falls into the thorns. I see this as a reminder to seek softness and tenderness in my life, even when faced with the threat of pain, while the blood red roses call to my mind the often beautiful and life-affirming nature of painful experiences.

Medium: Mezzotint
Dimensions: 15 5/8 x 15 5/8 inches (Image) 20 3/4 x 20 3/8 inches (Sheet)
Signature: Signed
Artist details: Japanese, 1967
Date finished: 2020
Edition: of 40

Recommended by Paige:

(Collections Manager / Marketing Coordinator)

This piece expresses how I often feel when I am out of place in a new place. Traveling far from home or starting over somewhere new can be a surreal experience; sometimes you pause and wonder, how did I get here? Or why am I here? Leaving can feel like stepping off a cliff into the unknown, represented here by total black. But she hasn't fallen, she might even be floating, elevating to something greater: ascending.

Medium: Color woodcut
Dimensions: 30 x 38 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1997
Edition: of 50
Reference: Summers, 223

Recommended by Rebecca:

(Gallery Associate):

This sublime example shows Carol's inventive woodblock printing technique that achieved a wonderful watercolor effect. To ensure that there were no hard edges, he loosely carved out shapes and used a rasp (file) to soften any sharp lines. He would then lay Japanese paper on the blocks and roll on the color following the relief area on the block. In conventional printing, the artist reverses the image on the blocks so that the resulting image is facing the correct direction. By using his special technique, Carol printed the blocks directly and did not have to reverse the image, so it was clear to him how the end product would look. After rolling on the inks, Carol blew solvent over the paper to further soften the edges and encourage the ink to stain or dye the paper. Sometimes he would print on the back of the paper first to lessen the absorbency of the paper and to give the solid color fields more variation. This is illustrated in the comet and the waterfalls in the hills.Davidson Galleries has been showing Carol’s work since the early eighties. We miss him.

Medium: Linocut
Dimensions: 3 x 2 inches (Image), 7 3/4 x 6 1/2 inches (Sheet)
Signature: Signed
Artist details: Mexican, 1972
Date finished: 2017
Edition: of 20

Recommended by Catherine:

(Collections Specialist / Gallery Associate)

With mid-September's Harvest Moon and partial lunar eclipse, I've been thinking about the moon a lot lately. This linocut by Artemio Rodriguez simply and beautifully captures the whimsical serenity of admiring the moon in the deep night sky. The crescent's lovely face makes her feel like a dear friend, enjoying a quiet rest above Earth's rocky terrain.

Medium: Wood engraving
Dimensions: 4 3/4 x 3 3/4 inches (Image) 9 x 7 inches (Sheet)
Signature: Signed
Artist details: American, 1949
Edition: of 25

Recommended by Nikki:

(Art Photographer / Marketing and Exhibitions Specialist)

Rorer gave extra care and attention to this portrait of Toni Morrison - highlighting this literary giantess’s importance. Toni Morrison’s words carried great weight and power. This small relief engraving of her face immortalizes a heavy reminder that resistance to what is unjust in our history and our present is the most sincere form of love and hope.

Medium: Etching and aquatint
Dimensions: 18 1/4 x 6 5/8 inches
Artist details: British, 1970
Edition: of 100

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

As summer winds down, I am reminded of all the house chores I’ve left piled up, including washing the duvet. I love Langford’s humor around this chore. I sympathize laughingly with the person in the etching struggling in each scene to make the duvet fit inside the cover. This piece gives me a welcome lighthearted feeling as I look forward to the fall season.

Medium: Color relief print
Dimensions: 4 x 4 inches (block) 6 3/4 x 4 3/4 inches (sheet)
Signature: Signed
Artist details: Japanese, 1924 - 2000
Date: 1972
Edition: 151
Reference: HM  #399

Recommended by Rebecca (Gallery Associate):

Haku Maki was an incredibly innovative printmaker, adding cement to the foundation of the printing matrix after cutting his woodblocks. This unique craft puts his work in conversation with contemporary printmakers such as Carol Summers (American, 1925 - 2016), or in tandem with Hiroyuki Tajima (Japanese, 1911 - 1984) who also used cement, or Glen Alps (American, 1914 - 1996) who used household paint additives such as ground walnut shells and Durham's Rock Hard Putty. Haku Maki's small prints from around 1960, like this one, were abstractions of Kanji characters. Using a thicker paper in 1963, helped captured the deeper embossing and accentuated the sculptural and textural qualities. His small prints are gems with dashes of color.

Medium: Mezzotint with hand coloring
Dimensions: 5 7/8 x 7 3/4 inches (image) 11 1/8 x 15 inches (sheet)
Signature: Signed
Artist details: American, 1983
Date finished: 2009/2019
Edition: of 12, Second state

Recommended by Catherine (Collections Specialist / Gallery Associate):

Driven by a nuanced play between light and dark, Julie Niskanen's 'Refuge' portrays depths of meaning within this simple image of two eggs in a nest. Niskanen's use of the mezzotint technique softly tempers the contrast between the abyssal black background and the gently glowing nest, inviting us to consider a close relationship between foreboding mystery and peaceful clarity. The dangers residing in the blackness below this nest are completely unknown, yet the coupled eggs are safe and serenely cradled side by side.

Medium: Moku hanga woodcut
Dimensions: 9 1/2 x 26 1/2 inches
Signature: Signed
Artist details: German, 1966
Date finished: 2019
Date of plate: 2011
Edition: of 30

Noted "In memory of Beth Cullom" verso

Recommended by Catherine (Collections Specialist / Gallery Associate

'The heat and frenetic energy of summertime always spark a desire in me to escape to scenic and remote areas, where shady forests and bodies of water are plentiful. Viewing Eva Pietzcker's moku hanga woodcut 'Cape Flattery' transports me to such a place, inspiring a feeling of cool tranquility second only to the actual experience of visiting the country's northwesternmost cape. Pietzcker's use of perspective and depth, created by the contrast of dark cliffsides against an uninked sky, pulls me into the sparkling azure and cerulean water.'

Medium: Woodcut
Dimensions: 8 x 8 inches (Image) 11 1/2 x 10 3/4 inches (Sheet)
Signature: Signed
Artist details: Japanese, 1940
Edition: of 30

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

Aoki is so good at showcasing the human experience.To me, this piece encapsulates so much of the dynamic between anyone in relation to another. It could be between two coworkers, two friends, two lovers, two family members, or two strangers. The focus is on two fingers pointing at one another, accusingly, but the space between their curved bodies and their defensive opposite hands tell more of the story. It’s what isn’t said and how our bodies react to another’s accusations that tend to fill up negative space in a relationship.

Medium: Lithograph
Dimensions: 23 1/2 x 33 1/2 inches (image)
Signature: Signed
Artist details: Japanese, 1961
Date finished: 2000
Edition: of 15

Recommended by Paige (Collections Manager / Marketing Coordinator):

In the 'Light Time Silence’ series, Yamamoto creates mysterious spaces that are both blank and full of meaning. A story with one too many details missing. Chairs placed (or abandoned?) in front of windows. Spaces empty of signifiers. ‘Light Time Silence #17’ is slightly different because there are more objects that whisper about this type of place and its type of person. We don’t know where they’ve gone, but their dishes are drying next to the sink. We don’t know where this room is but it seems to be in an old building. As we enter a space that we believe to be a home, we turn our focus to who owns this chair, who belongs in this chair. We think about what is needed to make a space into a home because we can see that this blank space has the proper foundation, but an uncanny neutrality, an absence. A home without a heart. A place without its people.

Medium: Etching and aquatint
Dimensions: 19 1/2 x 22 1/8 inches (Image) 26 1/8 x 28 1/4 inches (Sheet)
Signature: Signed
Artist details: Welsh, 1943
Edition: of 90

Recommended by Rebecca (Gallery Associate):

There are so many of Phil Greenwood's images that I am drawn to, it is hard to pick just one. His luscious colors sing and merge into a cohesive landscape. He does the impossible and prints just two or three color plates wet, so that the colors unfold with creative, complex relationships. Subtle tonal variations are accomplished by his expert handling of aquatint and etching. Taking inspiration from his surrounding English landscapes, Greenwood makes scenes look new and exciting yet familiar all at once, like the nightly moon shining fresh patterns onto the meadow below.

Medium: Woodblock
Dimensions: 16 1/4 x 22 1/2 inches (image) 24 1/2 x 30 1/4 inches (sheet)
Signature: Signed
Artist details: American, 1946
Date finished: 2019
Edition: of 30

Recommended by Rebecca (Gallery Associate):

During a visit to Machu Picchu in 2017, Arnoldi was inspired by the ancient, drystone walls where the irregular shapes of organic stones fit together perfectly. Arnoldi then made a series of paintings that became this series of woodblocks. In 2019, his publisher, Harvey Bayer, facilitated a relationship with master printers at Thumbprint Editions. Together, Arnoldi was able to freely enjoy the printing process with abandon and utilize the knowledge of the master printers who create consistent, beautiful impressions. It involved a unique way of printing, using the separate, cut blocks with overlaid inks in different viscosities, so that the blocks could be printed together simultaneously. The results are beautiful renditions of those ancient Inca walls. The series is also more accessible than the preceding paintings and in a more accessible size compared to Arnoldi's monumental-scale works.

Medium: Woodcut and drypoint
Dimensions:14 x 9 inches (image) 22 x 15 inches (sheet)

Signature: Signed
Artist details: American, 1983
Date Finished: 2014
Edition: AP

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

Heck’s ability to meld drypoint and woodcut together with perfect registration is incredible. The little girl is focused on tying her heart wing strings, while we watch her busy at work. Children are immensely talented at dreaming and imagining. This piece reminds me that it takes careful consideration and softness to dream, but it is just as important to do as an adult, as it is for a child. 

Medium: Color relief print with embossing
Dimensions: 5 3/8 x 3 5/8 inches (block) 6 x 4 1/4 inches (sheet)
Signature: Signed
Artist details: Japanese, 1924 - 2000
Date finished: 1970s

Recommended by Paige (Collections Manager / Marketing Coordinator):

A humble, small piece, this work by Haku Maki is magical to me. It shows an amazing knowledge of the simple things. The embossing is subtle but complex and reminds us how much can be done just within the paper even before adding anything on top of it. The graphics are clear and uncomplicated but looking at the passages where the color opens to the white paper, or the richness of the indigo ink and shimmer of silver, there is so much to enjoy. A complex little poem in itself.

Medium: Intaglio
Dimensions: 5 1/4 inches x 5 1/2 inches (Image) 8 1/2 x 8 3/4 inches (Sheet)
Signature: Signed 
Artist details: American, 1984
Edition: of xxv

Recommended by Catherine (Collections Specialist / Gallery Associate):

Carrie Lingscheit’s intaglio prints explore the symbolism and subtleties of human behavior and relationships. This enchanting and somewhat absurd etching, depicting a masked woman with an armful of beloved ferrets (or some other musteline creature), inspires some curious narratives in my mind. I interpret her ferret disguise as a way of creating safety, but I wonder for whom that safety is intended. Does she wear this mask simply to help the ferrets feel safe and secure in her arms, or does her personal sense of safety also require the ferrets to stay close to her? Or, perhaps she truly sees herself as one of them. The viewer can bring their own relational narratives to their interpretation, which is one thing I love about this piece. It is a delightful invitation to explore questions around human attachment and the transformations we experience, whether forced or natural, to stay close to those we love.

Medium: Mezzotint
Dimensions: 31 5/8 x 23 3/4 inches (image) 39 1/4 x 28 inches (sheet)
Signature: Signed
Artist details: Thai, 1990
Date finished: 2018
Edition: of 25

Recommended by Nikki (Art Photographer / Marketing and Exhibitions Specialist):

This large mezzotint was printed in 2018 - before covid shut the world down. Today, it feels equally, if not more relevant. I enjoy the perspective Thai artist, Chirachaisakul, has on America’s ‘Labyrinth of Liberty’. Liberty is bound, gagged, blinded, objectified, and wrapped in fragility - unable to help the small figures that climb her. Even if the figures in the print could make it through the maze at the bottom, there would be even more red tape at the top.

Medium: Oil painting on handmade Mitsumata paper
Dimensions: 13 x 18 inches (image / sheet)
Signature: Signed
Artist details: Japanese, 1950
Date finished: 2016

Recommended by Paige (Collections Manager / Marketing Coordinator):

Lately, I have been reflecting on art's place in the face of tragedy, of war, and of suffering. This piece, 'For Fukushima - Hannya-shingyo II', has always struck me visually, but it has captured my mind especially in this context. Hiroshima beautifully understands art as remembrance, art as witness, art as prayer. The artist's hands are felt in the texture of the handmade paper, in each layer of color applied, in each stroke of calligraphy. The language speaks of wisdom and in deep red, it is powerful but not forceful. The mountains are dark but they touch a bright sky. This piece naturally inspires honest reflection.

Medium: Drypoint and watercolor on Gampi paper, seamed and backed with Sekishu
Dimensions: 49 x 77 1/2 inches (Image) 51 1/4 x 77 1/2 inches (Sheet)
Signature: Signed
Artist details: British / American, 1957
Date finished: 2021
Edition: 1/5 EV

Recommended by Rebecca (Gallery Associate):

Jenny Robinson's ethereal "Glasshouse" recalls the beautiful Victorian structures that housed exotic, botanical wonders for visitors to promenade amongst; talking, sharing gossip, glances and whispers. The scale of the piece is commanding, yet the Japanese paper and indigo color give it lightness and mystery. The palm fronds and flax reference the exotic hothouse specimens from that period. Robinson's mastery of combining drypoint and watercolor while printing at a monumental scale is unsurpassed. The lovely, delicate Japanese Gampi paper, expertly seamed and backed with Sekishu, provides the necessary strength to make such a large-scale piece while maintaining the imagery's otherworldly beauty.