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: 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, 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: 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: 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: 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: 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: 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: 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.

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.

Medium: Woodcut
Dimensions: 7 1/2 x 12 inches (image) 13 x 17 inches (sheet)
Signature: Signed
Artist details: American, 1937 - 2012
Date finished: 1986
Edition: of 33

Recommended by Paige (Collections Manager / Marketing Coordinator):

The VW Bus is charming all on its own, but Lockwood Dennis’s version is even better. His woodcut style blends so well with the simple, graphic nature of the bus. This piece is not trying to be perfect, it's just trying to show its true character. It has plenty of nostalgia in the best way, showing a love for the bold graphics of the ad era when sleek and minimal had yet to reign. 

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.

Recommended by Paige (Collections Manager, Marketing Coordinator):

"I am so captivated by Rob Connell's less-is-more, no-nonsense, it-is-what-it-is ink and gouache paintings. There is plenty of texture where there should be, plenty of contrast throughout, and nothing else to get in the way. His skies are often stark white, untouched and overexposed, while his windows are pitch black, completely concealing any interior. This piece has all of Connell's best features topped off with a uniquely pink building, speaking for the under-appreciated textures of our cities."

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: Reduction woodcut
Dimensions: 17 1/4 x 24 inches (image)
Signature: Signed
Artist details: American, 1938
Date Finished: 1990
Edition: of 130

Recommended by Suzannah (Marketing and Communications Manager):

Gordon Mortensen achieves incredible realism and brilliance in his reduction woodcuts, a process that is complex and requires intricate planning on the part of the artist. “Evening Gold” is less detailed than many of his larger pieces, but draws and keeps your gaze as much as his well known floral landscapes. Bold blocks of color and subtle gradients make up an impossibly luminous landscape. The soft pink in the water floats, the purple in the background is deep and cool, and the golden grass shines blindingly bright. All together, this impressionistic and almost abstract scene feels at once peaceful and magnificently beautiful. 

Medium: Woodcut
Dimensions: 30 x 30 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1997
Edition: 38/75
Reference: Summers, 224

Recommended by Paige (Collections Manager):

"'Jungle Bouquet' brings me so much energy and joy. It takes Summers' signature bold colors and blurred lines even further so the tassels become hyper saturated red blobs. The proportions are complicated with huge palm trees fitting into a ceramic vase that occupies an entire stage setting. To me, these contradictions and oddities are just playful and inviting. I enjoy this piece at first glance every time I see it."

Medium: Woodcut and Pochior
Dimensions: 15 x 11 inches (image/sheet)
Signature: Signed Verso
Artist details: American, 1955
Date Finished: 2013
Edition: of 13

Recommended by Catherine (Collections Specialist):

"Jean Gumpper's woodcuts are expressions of her experiences in nature and each print feels like a spontaneous glimpse into the natural world, dynamic and full of depth. For her piece titled 'Tracery', Jean combines traditional woodcut printing with pochoir, a French stencil-based technique, to create a deeply layered and multi-textured quality. The lively leaves and vines in the foreground wind over an intricate web of dark branches, which resembles tracery on a gothic window. I'm drawn to any metaphor between the natural world and historical architecture, and the play of light shining through this nature-formed window inspires my 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: Lithograph
Dimensions: 8 x 8 inches
Signature: Signed
Artist details: American, 1969
Date finished: 2006

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

"In traditional western visual art, women are often depicted lounging and passive, while men are shown in active roles. Here, in Jenny Schmid’s imagined world of DzR, these roles are flipped. A skateboarding young woman is watching a lounging young man read a book. As she rides her skateboard, the young woman is literally breathing life and energy into the square scene built up of vibrant blues and oranges, offset by an analogous yellow background. Jenny Schmid’s work continues to grow in popularity with her contemporary takes on traditional ideas. This piece is one of her few left at Davidson Galleries still available for under $200."

Medium: Woodcut and drypoint
Dimensions: 14 x 9 inches (image)
Signature: Signed
Artist details: American, 1983
Date Finished: 2014
Edition: 9/9 EV

Recommended by Suzannah (Marketing and Communications Manager):

"There is an aching tenderness and familiarity in Ellen Heck’s portraits of young people. Each child is full of peace and personality, and the combination of woodcut and drypoint mediums produces playful blocks of color and precise feathery lines. I was particularly struck by “Two”, a portrait of a child obscured but looking directly out of the page, holding two hearts against their chest. Worked exclusively in grey tones, the child’s expression shows such freedom and soulfulness, an ineffable emotion and state of being that feels unreachable in adult life. The child does not wonder who they are or how they must be in the world. They simply are themself, and have never considered being otherwise."

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: Resist-ground etching, engraving
Dimensions: 25 x 40 inches
Signature: Signed
Artist details: American, 1930
Date finished: 2001
Edition: of 140

Recommended by Suzannah (Marketing and Communications Manager):

“Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.” - The Love Song of J Alfred Prufrock, by T.S. Eliot

"Peter Milton’s prints share many qualities with the poetry of T.S. Eliot: the grand scale, ghostly vignettes, shifting perspectives, and liminal worlds, as well as a penchant for subtle references to cats in their art. ‘Visions and Revisions’, the title of which is taken from a line in “The Love Song of J Alfred Prufrock”, portrays a party that appears to be in full swing with many figures dancing and socializing. However something in the scene is fractured; the figures are spread far apart, some fading into nothingness, and many staring directly out of the paper at you, the viewer. “The Love Song of J. Alfred Prufrock” tells a story from the perspective of a shy and anxious man who is contemplating attending a party and all the dooms and horrors that will befall him there. I imagine that the viewer is Prufrock, all at once subjected to“the eternal Footman” who holds your hat and coat, among the people “who come and go/talking of Michelangelo,” all while being observed by the woman who is misunderstood and misunderstands you, saying “that is not what I meant at all.” Both the poem and this print convey a powerful sense of disorientation in the midst of frivolity. This print is a haunting and faithful translation of a touchstone modernist poem from verse into visual art."

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: Intaglio
Dimensions: 14 x 30 inches (image)
Artist details: American , 1956
Date finished: 2002
Edition: 1/1

Recommended by Catherine (Collections Assistant):

"Tallmadge Doyle's cosmic and nature-inspired intaglio prints strike an elusive balance between whimsical and grave, simultaneously conveying the beauty of the world and the pressing issues of climate change. Her intaglio print Winter Always Turns to Spring beautifully encapsulates the dark uncertainty around the future of our earth, and its place in the universe, with a message of ever-present hope. The layered star-like and spherical shapes call to mind the swirling cosmos, while the concentration of bright tones in the center draw the viewer through the dark celestial entanglement. This serves as a reminder that whether we are stuck inside the darkness of an unusually long winter or a web of demoralizing information, the light is never far beyond reach."

Medium: Etching
Dimensions: 5 3/4 x 4 1/2 inches (image)
Artist details: American, 1950
Date finished: 2007
Edition: of 30

Recommended by Paige (Collections Manager):

"Mary Farrell's etchings have an amazing precision and texture that make her imagery so visceral. In Identity, Farrell uses harsh contrast to cover the figure's shoulders and neck in highlights but shroud their face in shadows. I find so much mystery in the figure - the lack of context encourages anonymity but the face seems so specific, the pose is generic but hostile or at least uninviting, a cold but honest portrait. The title further mystifies me as I wonder how well I know this person from Farrell's image, or what really makes up an identity."

Medium: Woodcut
Dimensions: 18 x 54 inches (image/sheet)
Signature: Signed
Artist details: American, 1952
Date finished: 2007
Edition: of 16

Recommended by Rebecca (Gallery Manager):

Karen Kunc's large evocative woodcuts are inspired by human relationships to nature and landscape. She brings elements from many cultures into her work, including Moorish, Spanish, and Japanese influences. Kunc is a master of woodcut and is distinguished from other artists by her innovations in the medium.  We look forward to her solo exhibition of artist books at the Bainbridge Island Art Museum next month.

Series: Monoprint/Monotype Invitational 2022
Medium: Watercolor monotype
Dimensions: 17 7/8 x 23 7/8 inches (Image) 22 5/8 x 30 inches (Sheet)
Signature: Signed
Artist details: American, 1961
Date finished: 2021
Edition: 1/1

Artist's statement:
"Backyard at Night is part of the series Night Shadows, inspired by late night walks through my Minneapolis neighborhood. The work addresses feelings of isolation brought on by the pandemic.

The prints were made by painting with black watercolor on a thin polyester plate, which was then printed on a press. Unlike oil monotypes, the image must be completely dry before being printed. This means that it can be developed over many hours, even days. I use additive and subtractive processes to make the images, putting down washes and marks that are allowed to dry before being lifted and revised by re-wetting the plate."

Recommended by Paige (Collections Manager):
"'Backyard at Night' beautifully captures a familiar scene, just off-kilter. It is a quintessential backyard: gutters, chain link fences and patio furniture. But everything is slightly misaligned and in high contrast against the dark of night. It's a striking piece that shows Kareken's wonderful, painterly handling of trees and textures in a new setting. It feels like a photo that no one would think to take but is around us all of the time."

Medium: Reduction woodcut
Dimensions: 8 x 10 inches (image)
Signature: Signed
Artist details: American, 1938
Date Finished: 1985
Edition: of 180

Recommended by Nikki (Fine Print Photographer & Content Publisher):
"Gordon Mortensen uses precise registration and his keen eye for layering color in this reduction woodcut. Mortensen prints a single color of ink; cuts away a small amount of wood; inks the same block in a different color, before cutting away more from the block; and repeating for as many different colors as the viewer can spot. This process can be daunting for many artists because once you cut the block, there is no going back. The result of Mortensen’s intense labor is a wide variety of texture and an expert build up of layers into atmospheric perspective that make for a stunning landscape."

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."