Today's postings

  1. [Baren 42822] Fw: Print Fairs and a a few nice woodblocks (Barbara Mason)
  2. [Baren 42823] Re: Fw: Print Fairs and a a few nice woodblocks (Graham Scholes)
  3. [Baren 42824] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Barbara Mason
Date: Sat, 26 Feb 2011 00:02:18 GMT
Subject: [Baren 42822] Fw: Print Fairs and a a few nice woodblocks
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I am on this list so am forwarding it because I cannot believe what stuff sells
for as soon as the artist dies....Maybe we should fake our death so we can feed
ourselves.....I think that was done in the 1800's, I read about it but forget
who it was. At any rate it is amazing what folks will pay for not so great
I think some of this is fine but some is pretty bad. I guess as artists we
should get rid of our junk so it won't end up for sale for stupid prices. I am
stunned by some of these prices. I just cut up old prints to make birthday
cards...never waste paper!
so my 2 cents worth...a frustrating day in the studio and now this. Hahahahaha
My work is not going as I want, typical for the cold winter, my studio seems to
be freezing, oh yes, it actually is freezing. The heat is running full blast 24
hours a day and it is darn cold. I want summer!
My best to you all

----- Forwarded Message ----
From: The Annex Galleries
Sent: Fri, February 25, 2011 2:54:22 PM
Subject: Print Fairs and a list of 25 unusual works

The Annex Galleries will be participating in 2 Print Fairs in the next month,
the 15th Annual McNay Print Fair in San Antonio, Texas:

And the:

Capital Art Fair in Washington, DC:

Details can also be found using the link to our website: Please contact the gallery if you
have further questions.

We are attaching a list of 25 Works that we are featuring at the gallery with
links to them on our website where you can see the images and get more
information. They were selected to show the diversity of the inventory that we
acquire on a monthly basis. All these artists’ works and much more can be
viewed at our website:

Gustave Baumann: Laguna Beach (Presbyterian Church; a rare gouache / drawing
done in Laguna Beach in 1927 while on a trip to California, preparatory for a
woodcut, which was never realized.

An exceptional Art Deco 2 piece, 3 panel gold/silver leaf and painted screens by
Esther Bruton of the Corn Dance at the Santa Domingo Pueblo and a Rabbit Hunt at
Taos, done in 1929 when the artist was in Taos, New Mexico. Sold as a pair.

Edmond Casarella: Reflections; an abstract gouache from April of 1953.

Lee Chesney: Un Jour L’amour Nous Bless: an early intaglio from 1950.

Pele De Lappe: Popular Song; a rare lithograph from 1937.

Perle Fine: Carousel; an engraving from 1944, done at Atelier 17 in New York.

Sam Francis, Stone Cloud; the artist’s second black and white lithograph printed
at Tamarind in 1963.

Alberto Giacometti: Objets Mobiles et Muets; his first lithograph, a Surrealist
work from 1931 that comes from the estate of artist Emerson Woelffer.

S.W. Hayter: Oedipe; an engraving and soft ground from 1934 with the artist’s
palm print included in the image using soft-ground.

Luis Jimenez: Fiesta (Diptych) a color lithograph diptych printed with Master
Printer Ernesto deSoto.

Mauricio Lasansky: Young Lady; a 1968 color intaglio that was added to our
recent exhibition of Lasansky’s prints.

Blanche Lazzell: Tulips a beautifully printed, early impression of the
white-line woodcut from 1920.

Joe Mugnaini: Robot World; one of a group of lithographs done with author Ray
Bradbury for the portfolio “Ten Views of the Moon” in 1981

Rolf Nesch: Kvinne (Woman); a small 1968 metal print in colors.

Isidoro Ocampo: Motivo de Feria; a large lithograph from 1940 by this early TGP

Nathan Oliveira: Head; an early, 1963 experiment with monotype, printed from a

Abe Rattner: Among Those Who Stood There; a unique, stencil and hand coloring
over an offset printed black.

W.S. Rice: Forbidden Fruit; an early large woodcut of 2 parrots and a fruit bowl
from around 1915.

Judith Rothchild: Le Nid; one of a group of new mezzotints by the American born
French artist.

Doris Seidler: Shore Forms; a 1954 engraving done at Atelier 17 in New York.

Beth Van Hoesen: Chest Patterns III; one of a group of etchings from the “Nude
Man” series from 1965.

Simon Vostre: The Crucifixion (illustrated leaf from "Hore Christifere Virginis
Marie" Almanac) a woodengraving with hand applied color from 1508.

June Wayne: Study for the Saint and the Sinner #4; a “flit gun” and ink drawing
that was preparatory for an oil painting that was destroyed by a leak in her

J.A.M. Whistler: Seymour Seated; an etching and drypoint of his nephew, Seymour
Haden from 1857/8.

We have other works by almost all these artists so please add their name to our
Searchbox on our website for a full inventory.

Please contact us with any questions.

The Annex Galleries
604 College Avenue
Santa Rosa, CA 95404
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Message 2
From: Graham Scholes
Date: Sat, 26 Feb 2011 01:08:31 GMT
Subject: [Baren 42823] Re: Fw: Print Fairs and a a few nice woodblocks
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It must be February!!!!!!
Marnie and I get this way as regular as clockwork.

Despair not Barbara. There is one factor that we as artist must keep reminding ourselves.
We do not create masterpieces until we are dead. So on this basis keep a stiff upper and
know that some of what is being created today will considered worthy.

Your observation re the quality of some of the images is accurate however not all have our keen eyes and
knowledge with regards to imagery. Don't over look the hype of the Annex Galleries.....
or other galleries for that matter. They are in the business of making money... which
has very little to do with good art.


Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: Leftovers II
Posted by: Ellen Shipley

I've joined a print exchange called Leftovers II, the upshot of which it has to be printed on leftover paper -- the bits and pieces that are left over when you've broken down paper for previous print projects.

Who doesn't have those?  I've come across some long, thin pieces that are just perfect.

Now for the subject.  What behoves an exchange called Leftovers?  I'm thinking something large enough to be printed on many pieces at once.  Say Once In a Blue Moon:

My thinking is to lay out the strips of paper and print on all of them at once.  The individual prints will be pieces of the whole.  And afterall what are leftovers if now pieces of a whole?

I thought this block would lend itself nicely to the project, with it's profusion of stars.  Each print will capture a piece of a star.  ;-]

This item is taken from the blog Pressing-Issues.
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Subject: Fatter Fatness!
Posted by: Pistoles Press

      It has been a little while since I've posted! I love blogging and documentation but sometimes it does get in the way of making work.  I have a show in April so I made the decision to skip a lot of blogging and get to the making part!  Still had my camera handy but only picked it up when I felt things were well underway and my progress is going good.
    The latest work I have completed is dedicated to my wonderful muse, Fatter Fat Toad!  You can read more about her here on my other blog:

Fatter Fat Toad in the Journey to Middle Earth

      The Chinese consider toads to be very auspicious and I really enjoyed Fatter Fat's company whether or not she brought me money.  She brought me plenty of joy!  I always wanted to carve a block to remember her by.  It's been a year or so since I've seen her.  I started with pictures I took of her in her favorite place next to porch steps. I picked out one of my favorites that I took of her and posted on my blogspot about her. She didn't like the camera and would puff herself up when I took photos so that she looked like a giant disk of warty clay! I liked the one of her head slightly turned to face the camera as she lay puffed up with her legs tucked under her. It showed off her warts and stripes.  After she endured my irritating camera I would reward her with worms from my worm composter.  This was maybe the secret to why she stayed around so much.

      I sketched from this and several others.  (The smaller sketches are from other smaller toads that have visited the house.)  After roughing in her dimensions and markings, I transferred the sketch to a piece of battleship gray linoleum and went about carving.  For some reason, it was hard to initially carve this work.  I don't know if it was because I was worried that I'd somehow screw up or that this was the first time in a long time that I had carved battleship gray linoleum.  Usually, I work with the golden hued (softer) stuff.  I knew I'd like the gray material because it would hold more detail but somehow it was hard to just get started. I noticed myself avoiding her face so I decided to approach the carving through the markings in her flank. In hind sight, I think I was afraid of making an error in carving her face.

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog Pistoles Press.
'Reply' to Baren about this item.