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: 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: 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, 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.

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 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: 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: Mezzotint
Dimensions: 7 x 8 3/4 inches (image)
Artist details: American, 1953
Date finished: 1982
Edition: of 75

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

Carol Wax is an expert mezzotint printmaker (a time-consuming process that uses extreme lights and darks to build up an image on a copperplate). In this scene fire, twine, and darkness (with time as a witness) play an important role in Wax’s narrative. To feed the light, the twine must burn, but there is a finite amount of the consumable resource before the flame inevitably goes out and it becomes dark.

Medium: Hand-colored etching with chine-collé
Dimensions: 10 1/2 x 8 inches (image)
Signature: Signed
Artist details: American, 1929 - 2017
Date finished: 1987
Edition: of 100

Recommended by Catherine (Collections Specialist / Gallery Associate):

Often considered a symbol of grief, poppies are one of my very favorite flowers and I appreciate the unique way Art Hansen portrays them with soft textures and muted tones. The symbolism of this flower is beautifully communicated by the subdued color palette and the way the poppies are drooping and wearily leaning into each other. They even appear to be experiencing grief themselves, curled around one another in a gentle embrace. The combination of fully bloomed poppies and new buds represents the timelessness of grief - whether new or old, it is ever-present and universal, and also deeply unifying.

Recommended by Paige (Collections Manager / Marketing Coordinator):

Kouki Tsuritani’s ‘Pulcinella’ is a brilliant version of the cunning, rebel character I adore. The use of mezzotint accents the character perfectly with its darkness emphasizing his severity and the softness building mystery. This Pulcinella is composed and stoic with his prominent nose and just slits in the mask to reveal his eyes. There is so much to explore in Pulcinella’s gaze, the town on his hat and collar, and the moon’s reflection cradled in his arms. 

Recommended by Catherine (Collections Specialist):

Michèle Landsaat's quietly whimsical etchings never fail to make me smile or tug at my heartstrings. I tend to be most drawn toward her more personal or poignant work, but 'Squirrel with a Pineapple' is an adorable piece that I enjoy just as much. A funny twist on a traditional still life, it sparks my imagination and inspires many questions in my mind, such as - How did the squirrel get indoors? What was the reaction of the person who encountered it? I love the vibrancy of the red strawberry and the look on the squirrel's face - caught in the act, but unbothered. As we enter deeper into the cool autumn months, surrounded by busy squirrels collecting food and building their nests, this piece gives me a new appreciation for these resourceful little creatures.

Medium: Gouache on paper
Dimensions: 3 1/2 x 3 1/2 inches
Signature: Signed
Artist details: American, 1939 - 2006
Date finished: 1966

Recommended by Nikki (Fine Print Photographer & Marketing Specialist):

"Don Paulson grew up in Auburn, WA; was a contributor to Seattle Gay news; wrote about historic Seattle cabaret night clubs; and was a part of many LGBTQ+ advocacy groups. Dawn (Paulson’s art pseudonym) created many works on paper that boil down large feelings and moments into simple color palettes and shapes. In this tiny, travel-size piece, a small white butterfly swoops away from hard, straight lines into a blurred abstract shape. Paulson seems to have gifted us a moment of joyful resistance to prescribed paths laid out by society."

Available framed at an additional cost. Please inquire.

Medium: Lithograph
Dimensions: 12 x 12 inches
Artist details: American, 1963
Date finished: 2013
Edition: AP of 3

Recommended by Catherine (Collections Specialist):

"Deborah Maris Lader's prints captivate me with their symbolic storytelling and strike a beautiful balance between dark and whimsical. This surreal lithograph, with its poignant symbolism, tells a complex story about personal growth and freedom. The girl holds a bird, calling out to its flock beyond the wall, and a kite that has begun to escape through a hole. She holds on to them as if they are parts of herself she can't quite let go of, especially while she herself is tangled in vines, passively trapped behind the wall. Her face looks vaguely pensive as she watches the flock of birds, perhaps wondering if she could free herself one day. I hope she does."

Medium: Color mezzotint
Dimensions: 7 3/4 x 7 inches (image) 11 1/2 x 10 1/2 inches (sheet)
Signature: Signed
Artist details: American, 1948
Date finished: 2005
Edition: of 20

Recommended by Nikki (Fine Print Photographer & Content Publisher):

Peter Jogo’s mastery of color mezzotint never ceases to amaze. He expertly replicates sharp angles of light refractions in the glass vase of water, while simultaneously capturing the soft glow of light reaching us from behind the delicately overlapping flower petals. Rather than relying on the stark black and white of most traditional mezzotints, Jogo effectively employs the triadic harmony of purple, orange, and green to tie the full composition together. As summer winds down, this beautifully portrayed bouquet of cut flowers reminds us to enjoy the last rays of sunshine before fall arrives.

Medium: Etching, collagraph, relief, chine-collé
Dimensions: 9 3/4 x 7 3/4 inches
Signature: Signed
Artist details: Japanese, 1967
Date finished: 1998
Edition: of 30

Recommended by Nikki (Fine Print Photographer & Content Publisher):

"Collagraph is a medium that became popular in the ‘60s after synthetic adhesives and plastics became more readily available. Artists from all over the world were invited to visit the studio of Glen Alps in Seattle, WA to try out the process of gluing substrates, scribing marks into the dried substrates, and printing the results as intaglio plates. This relatively new medium has continued its popularity  in the studios of contemporary artists, like Akiko Taniguchi. In ‘Atom’, Taniguchi is using texture and layering on her collagraph to pull the viewer into her 10x8 inch world of abstraction. In it, viewers get to explore the word ‘atom’ within complimentary red and green hues and explosive almond shapes. Every square inch of the print is delightfully filled with new and interesting textures that only collagraph can offer."

Medium: Color etching with chîne - collé and hand coloring
Dimensions: 19 1/2 x 15 1/2 inches (Image) 25 1/2 x 21 1/4 inches (Sheet)
Signature: Signed
Artist details: Korean, 1983
Date finished: 2020
Edition: of 30

Recommended by Suzannah (Marketing and Communications Manager):

"Seoul (Sohee) Kim writes about her art as a playful engagement with alienating and ironic realities though imaginary space. Much of her work faces scenes such as packed train cars and claustrophobic workspaces, where bored and tired figures coexist with magical elements from her imagination. While humorous, much of her work conveys a sense of melancholy and anxiety, using a pastel color pallet, figures depicted in uncomfortable positions, and almost hallucinatory symbolism. “A Box for Rest Time” is as chaotic, muted, and claustrophobic as her other work, but it fills me with more peace and comfort than any other emotion. A figure sleeps in a box, filled to the brim with a messy bed, and next to them sleeps an oversized cat. I too want to hide away from the world and find sanctuary in a little box and a big bed with a big sleepy cat. There one finds safety, dreamless sleep, and rest beyond imagination."

Medium: Mezzotint
Dimensions: 5 3/4 x 9 inches (image)
Signature: Signed
Artist details: American, 1958
Date finished: 1992
Edition: of 100

Recommended by Rebecca (Gallery Manager):

"Mershimer’s lovely ‘Cape Moon’ shows a moment in time, the late night or early morning in a small town; two houses and the parallel lives within, each with a light on while the rest of the town sleeps, one with flaking paint, the other with plants hanging in the window. There is so much nostalgia for quiet places and times in this piece, and private moments in the middle of the night, depicted in sharp beautiful contrast like a scene from a movie."

Medium: Etching, aquatint
Dimensions: 3 x 2 inches (image)
Signature: Signed
Artist details: American, 1958
Date finished: 1997
Edition: 15/40

Recommended by Paige (Collections Manager):

"I find 'Elston Ave.' so interesting because it's a compression of a place into one image. To describe the experience of an entire city street is impossible, but here we see a version of Elston Avenue through the artist's eyes. His priorities, emphasis, symbols, and layers are borderline nonsensical, but full of texture and oddities that speak to his personal interpretation. I would love to take a walk down the avenue of Fitzpatrick's drawings."

Medium: Reduction woodcut
Dimensions: 15 x 32 inches (Image) 18 x 34 inches (Sheet)
Signature: Signed
Artist details: American, 1950
Date finished: 1999
Edition: of 10

Recommended by Catherine (Collections Specialist):

"Terrain / 4 Directions is one of Mary Farrell’s largest and most intricate pieces featuring her iconic portrayal of hands. Reduction woodcut is a notoriously complex technique that requires a great deal of planning. And yet, Farrell conveys a sense of fluid immediacy with the sensitive and sketch-like quality of the forearms and hands. They dance together with strength, grace, and perpetual motion, while the background texture calls to mind both fingerprints and rippling water. Like fish gathered together and circling in a whirlpool, the hands engage in an animated, yet unspoken conversation. I see their vibrant, intertwined outlines as a representation of the vitality and connectedness of all living things."

Medium: Reclaimed wood monoprint, hand-cut paper, blind embossment and collage
Dimensions: 9 x 9 inches (Image/Sheet)
Signature: Signed
Artist details: Korean / American, Pacific Northwest, 1971
Date finished: 2023
Edition: 1/1

Recommended by Rebecca (Gallery Manager):

"Eunice Kim’s style and technique has evolved much over the years, but the natural spirit of her work and her commitment to using non toxic materials has only grown. In her new exhibition Currents & Tides, she uses reclaimed wood from a barn on her property to produce stark and natural woodcut prints. In Seedling (9) #1,  you can feel the energy and intention that Kim puts into the process of selecting the star pattern from the source print, and painstakingly cutting it out by hand with tiny scissors. Kim melds both natural and human history into a meditative harmony of birth, death, and rebirth."

Medium: Four-plate mezzotint
Dimensions: 4 x 5 inches (image)
Signature: Signed
Artist details: American, 1948
Date finished: 2016
Edition: of 40

Recommended by Paige (Collections Manager):

"This piece immediately grabbed my attention because of the rich color and perfect technique. But what keeps me looking is the regal, precious treatment of a humble apple. It strikes me as a perfectly lit, staged scene of a play with an apple as the protagonist. It's a scene that we'd never quite catch in our daily life either because it vanishes when we turn the lights on or because we don't revere the apple on our table as maybe we should. Either way, I'm glad that Jogo called my attention to it."

Medium: Wood engraving
Dimensions: 5 x 7 inches
Artist details: British, 1946
Edition: of 75

Recommended by Suzannah (Marketing and Communications Manager):

"There is magnificent energy and spirit in Colin See-Paynton’s wood engraving ‘Nocturnal Encounters - Barn Owl and Hare,’ in which predator and prey are caught in a cosmic struggle of life and death. The owl swoops majestically with deadly precision while the hare leaps into the sky with huge feet, and eyes wild with panic. The textures of the feather and fur are lifelike in their detail and stylized in contrast, owing to the expertise of Colin See-Paynton’s masterful technique. These two creatures soar in mythic opposition, their momentary scene played against the vault of the night sky."

Medium: Linocut
Dimensions: 10 3/4 x 23 3/4 inches (Image) 15 x 29 inches (Sheet)
Signature: Signed
Artist details: Mexican
Date finished: 2019
Edition: of 33

Recommended by Nikki (Fine Print Photographer & Content Publisher):

Mazatl, translated to ‘deer’, is a day in the Aztec calendar that is a good day to hunt and a bad day to be hunted. This contemporary artist uses woodcut and relief printmaking to advocate for environmental, political, and social justice. The level of detail Mazatl is able to achieve on this linocut print is incredible. He works every available surface with tiny cuts that delineate curves of spines, underwater flower petals, and hollow eye sockets. The mirrored image of the seahorse both alive and dead is attractive with its perfectly split composition and inverse imagery. This nearly two foot long print stares its viewer down, challenging them to think about extinction and its consequences, while simultaneously providing beautiful aesthetics.

Medium: Etching and aquatint
Dimensions: 15 3/4 x 23 1/2 inches (image)
Signature: Signed
Artist details: Japanese, 1957
Edition: of 35
Condition: Some creases at lower left away from image.

Recommended by Nikki (Fine Print Photographer & Content Publisher):
"Starfish are symbolic of divine and endless love. These celestial beings sweep the background of Asahi’s highly technical etching. The little blue-eyed starfish serve as helpful and loving guides as the central female figure pours out the ocean from a shell as she sits on the back of a flying dragon. There is an energy to the piece, despite the artist including only tiny pops of color in the eyes and small details of each creature. Instead, linework and shape build the composition’s movement and playfulness. Each line etched into the plate is carefully scratched to give swirling loops to the water, striking contrast to the dragon scales, and delicate curves on the woman’s body. A visual boost of warm and energetic feelings."

Medium: Woodblock
Dimensions: 20 7/8 x 15 inches
Signature: Signed
Artist details: Japanese, 1940
Date finished: 2004
Edition: of 30

Recommended by Emma (Marketing & Communications Manager):
"Aoki's work often focuses on human interaction and human connection - or lack thereof. Amidst his many works featuring crowds of busy people and missed connections, Aoki has delivered this beautiful portrayal of two figures facing each other, stopped in time. With emphatically oversized arms, the figures demonstrate the incredible intimacy and tenderness of simple human touch. Though the figures have no facial features, the piece evokes the disarming sensation of staring directly into someone else's eyes. All that cannot be explained about human emotion seems to rest in the quiet space created between them." 

Series: Holes for Loneliness Games
Medium: Etching, aquatint
Dimensions: 10 1/4 x 10 1/2 inches (image) 15 1/2 x 15 3/4 inches (sheet)
Signature: Signed
Artist details: Japanese, 1986
Date finished: 2012
Edition: of 20

Recommended by Nikki (Fine Print Photographer & Content Publisher):
"The level of technical detail in this etching is intricate - from each character’s particular facial expression to the curtains, hanging plants, mirror, and archway tile designs. Takeda is so good at taking simple everyday things like drinking coffee at a coffee shop and turning them into interesting shadow box scenes. The viewer can’t help but look at each of the people in this crowded room and wonder what they are all thinking behind their wide eyes. The only character not looking at one another or at themselves in the mirror is the person directly in front of the viewer. Rather than participating in the gossip or chatter, this person is rolling their eyes and looking up at the ceiling, while they drink their coffee."

Medium: Wood engraving
Dimensions: 10 3/4 x 5 7/8 inches (image)
Signature: Signed
Artist details: Canadian , 1952
Edition: of 50

Recommended by Sam (Owner & Director):
"This wood engraving makes particularly effective use of the detail possible with the medium. The artist uses the form of the farmer viewed from the back, to show the man's home and property. You get a clear sense of the place and that he is directly connected to this rural context of wildlife, river, and the surrounding fields. The image shows that it is all part of him."

Series: SMS No. 6: December 1968
Medium: Hand-bound pamphlet with magic marker cover drawing containing typewritten pages of proposed menus of American food
Dimensions: 8 1/2 x 5 1/2 inches
Artist details: Swedish/American, 1929 - 2022
Date of impression: 1968
Edition: of 2000
Publisher: The Letter Edged in Black Press

Recommended by Paige (Collections Manager):
"An absurd and almost pointless project, Oldenburg finds just the right amount of humor while looking at the precious, boring thing we call everyday life. Although very different from his famous large-scale sculptures, this booklet is captivating to me precisely because it's so small and personal. After his recent passing, this piece and the meaning of 'unattended' are even more intriguing."

Medium: Color lithograph
Dimensions: 19 3/4 x 15 3/4 inches
Signature: Signed
Artist details: German, 1935
Date finished: 1973
Edition: of 222

Recommended by Sam (Owner & Director):
"Bernhard Jager's Untitled (Pregnant Woman) is a striking color lithograph which reflects the artist's early studies and interest in biology. He makes unique use of liquid tusche for most of his lithographic images. This particular technique and drawing approach allow him to suggest the inner workings of the body while preserving the outline of the form. His paintings and prints are in many museum collections including  the Museum of Fine Arts, Boston."

Medium: Intaglio
Dimensions: 14 x 7 inches
Artist details: American, 1984
Date finished: 2010
Edition: AP

Recommended by Paige (Collections Manager):
"This piece comes from Carrie Lingscheit's twenty thousand moments project, based on the limitations of our human brains and the amount of information that can be processed and saved from the 20,000 (or so) moments in a given day. Momento No. 3273 (pine) hones in on a feeling, to pine, and the quiet setting where it happens, alone in a bed. It beautifully captures the way we are drawn inward to our own emotions and imagination when we pine for someone or something. Negative space is used to draw our attention down to the dark, intense face; the surroundings are blurred and forgotten, represented only with a lovely watercolor texture, just as we tune out the world when lost in intense thought."

Medium: Etching, aquatint
Dimensions: 10 5/8 x 20 3/8 inches (image) 14 x 25 1/4 inches (sheet)
Signature: Signed
Artist details: Japanese, 1986
Date finished: 2015
Edition: of 15

Recommended by Sam (Owner & Director):
"Contemporary Japanese artist Azumi Takeda's etching Full, Full, Full is part of a wonderful series showing groups of people waiting, engrossed in various activities, or, as in this case, the artist focuses on the detritus left behind that references what they had been doing. There is order with the placement of the disparate objects, that speaks about each of the individuals that is no longer in the room. Takeda's use of the etching and aquatint process, is perfect for the detail required."

Medium: Woodcut
Dimensions: 12 x 8 inches (image) 17 1/4 x 11 1/2 inches (sheet)
Signature: Signed
Artist details: American, 1987
Date finished: 2019
Edition: of 10

Recommended by Emma (Marketing & Communications Manager):
"I'm delighted and pleasantly surprised by how lasting an impression this graphic yucca print has left on me since first seeing it. The vertical format, rich black gradient, and unexpected use of negative space are simple and satisfying. There's nothing to overthink and everything to enjoy. It's incredibly charming how Spitzack has taken an ordinary subject and made such striking imagery with it."

Medium: Lithograph
Dimensions: 15 3/4 x 23 3/4 inches (image) 19 3/4 x 27 1/2 inches (sheet)
Signature: Signed
Artist details: Japanese, 1961
Date finished: 2017
Edition: of 30

Recommended by Rebecca (Gallery Manager):
"Although now a favorite artist of mine, I originally found Keisuke Yamamoto's lithographs to be a bit austere. It wasn't until I took the time to continue looking that my experience of the scene transformed. Now I feel welcomed into the moment. I long to sit in the chair, to feel the breeze enter the room through the window, and to be warmed by the light. The artist has impeccable technique from the drawing stage to the printing of the lithograph. To watch him sharpen a litho pencil is to understand his precision. Through exquisite rendering, Yamamoto brings to life a place and a moment that I long to experience."

Medium: Etching and aquatint
Dimensions: 17 3/8 x 26 1/2 inches
Signature: Signed
Artist details: Italian, 1921 - 2009
Date finished: 1958
Edition: 152/220
Condition: G.G. blindstamp, lower left.

Recommended by Nikki (Fine Print Photographer & Content Publisher):
"Mario Avati’s piece Le Corbus (Raven) seems macabre, but there is a beauty found in sitting with death in this still life. By posing the bird like this, Avati has carefully highlighted the raven and all the interesting facets of its wings, face, body, and feet as the viewer’s eye moves from the top left of the mezzotint to the bottom right, across a clear diagonal. This image is a study of light, texture, and shape - referencing the rich history of Dutch still life paintings. The milky eye of the bird ‘looking’ directly at the viewer also serves as a memento mori, a reminder that death happens to everyone eventually."

Medium: Color drypoint
Dimensions: 8 7/8 x 12 1/2 inches
Signature: Signed
Artist details: American, 1944
Date finished: 1997
Edition: of 50

Recommended by Sam (Owner & Director):
"Liza Jones' Winter Dune is a color drypoint in which she exploits both the delicacy and strength possible with the drypoint process. She effectively captures the coast dune landscape alternating with marshy wetlands. Her mark making is convincing."

Medium: Collagraph
Dimensions: 17 1/2 x 18 1/4 inches
Signature: Signed
Artist details: American, 1921 - 2017
Edition: 2/50

Recommended by Rebecca (Gallery Manager):
"John Ross was an important artist and publisher (High Tide Press) in the printmaking community and was instrumental to the development of the collagraph along with his wife, Clare Romano, and Glen Alps. Of the collagraph process, Ross once said, "From these ordinary materials, I can create city streets, mountains, canyons, pueblo dwellings, oil refineries, skyscrapers, and other constructions, either realistic or visionary." Refinery shows all that Ross accomplished with collagraphs in a beautifully balanced composition. The piece stays true to the industrial nature of a refinery while adding rich texture, sumptuous color, and engaging detail."