Today's postings

  1. [Baren 30921] Re: Baren Digest (old) V35 #3485 ("Marilynn Smith")
  2. [Baren 30920] Sotheby's Auction link (AEleen Frisch)
  3. [Baren 30922] Re: New Baren Digest (HTML) V35 #3484 (May 19, 2006) (Sharri LaPierre)
  4. [Baren 30923] Re: New Baren Digest (HTML) V35 #3486 (May 21, 2006) ("Jean Womack")
  5. [Baren 30924] Re: Baren Digest (old) V35 #3485 (L Cass)
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Message 1
From: "Marilynn Smith"
Date: Sun, 21 May 2006 10:28:35 -0600
Subject: [Baren 30921] Re: Baren Digest (old) V35 #3485
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With regard to oiling or varnishing blocks there are some woods that carve
better when they are oiled. Wood has oil in it. Some woods have more than
others. I was fighting a small piece of basswood that I had left in this
hot climate for at least a year. Over time it had dried out. It was
brittle and was splintering like mad. I went to the art store and bought a
bottle of linseed oil. I oiled it extensively and let it sit for about 24
hours, than I started carving again. Now it is carving well for me. But I
am not sure what will happen when I go to print this block. Since oil and
water do not mix it should leave the water on the surface. Not sure if that
will be good or bad, will have to try it and see. If the water based method
will not work there is always the oil pigments to use. For me it is
whatever will work as I flip around with pigments and types of surfaces a
lot. For example, my nude for the exchange is done on lino and will be a
oily print. I say experiment and learn as much as you can about the
different woods and remember that wood naturally has oil in it. The harder
woods often have more oil and of course the grain is closer together. All
of this is a little like chemistry and I am not the most knowledgeable
source, that is why I say give different things a try, it is only a piece of
wood! Have fun!!!
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Message 2
From: AEleen Frisch
Date: Sun, 21 May 2006 11:54:10 -0400
Subject: [Baren 30920] Sotheby's Auction link
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The images in the catalog for the Sotheby's auction are wonderful.
Hiroshige always gives me shivers. Here is a link that will take you
close to them:

Note that they make you register to look at the catalog, but you can opt
out of all email from them.

AEleen Frisch

Exponential Consulting
340 Quinnipiac St. Bldg. 40
Wallingford, CT 06492 USA
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Message 3
From: Sharri LaPierre
Date: Sun, 21 May 2006 13:26:56 -0700
Subject: [Baren 30922] Re: New Baren Digest (HTML) V35 #3484 (May 19, 2006)
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Hi Everyone! If you have sent checks for registration for the Summit
in the last ten days and have not heard from me, it is because I have
been off on World Adventures and the PO was holding the mail until my
return. Well, I'm back now, so keep those checks coming! Meanwhile,
if you sent one and did not receive confirmation of receipt from me,
let me know.

The Summit, she is a-comin!


PS Norway is a wonderful country - I am advising everyone to visit it
someday, however, the Summit comes first! Make your registration now
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Message 4
From: "Jean Womack"
Date: Sun, 21 May 2006 13:39:21 -0700
Subject: [Baren 30923] Re: New Baren Digest (HTML) V35 #3486 (May 21, 2006)
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Jan, will you let us know what happens in that auction? Thanks. Jean Womack

Jan wrote:

>Utagawa Hiroshige Prints up for Auction.
>Sotheby's Auction in Amsterdam tomorrow Monday 22nd May there will be
>an auction of
>1. a boxed set of 70 prints by Hiroshige 11....... Utagawa Hiroshige
>son-in -law and protege of the famous Hiroshige (1)
>2. an album of the 53 Stations of the Tokaido by Hiroshige 1
>The auction house estimates it will get $35,000 - $43,000AUS for the
>boxed set and $12.000 - $14,000AUS for the album, but David Forrest of
>Gallery East here in Perth and a friend estimates they will sell for at
>least $2000 a print and much more.
>check out the Southeby's site:
>I have bought a couple of prints through David but I am afraid I won't
>be bidding for these this time.
>Good luck to any of you who do.
>Perth Western Australia

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Message 5
From: L Cass
Date: Sun, 21 May 2006 17:21:38 -0400
Subject: [Baren 30924] Re: Baren Digest (old) V35 #3485
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I just had to oil (linseed) a rather dry splintery block I was
carving -just be sure to wipe of any excess and leave to dry for a
short while and it takes waterbased inks beautifully -
I recall that Maria suggested just that for the cherry ply she'd sent
out for the (1st) puzzle print project so I do it n0w whenever the
wood looks a bit dry.