Bill Ritchie's art in Washington State
in the

Marnie Briggs Collection


"Locus and the Sea Squares"

Provenance: 1982. Cyanotype, intaglio, and relief print. Blue, gray,  red-orange, violet and black  on 21 1/2 X 15 on 29 X 20 1/2 in. Japanese paper. No. ___, from variable edition of 141 prints. Signed lower right. 

Comment: "This print is from a series of 141 trial proofs and artist's proofs in "cycles" of approximately 15 each, of different color series. They are proofs that I made using the processes of cyanotype, woodcut, and intaglio printing. The result is a series of monotypes. I derived the images from three sources: The map is based on the Colorado River, a place known as the Crossing of the Fathers; the leaf shape I call locus--the path of a moving point (drawn to establish data in a computer program). The Great Wave was drawn from the famous print by Hokusai."

Similar impressions in collections of Karl Beckley, Presha Sparling and Keith Beckley, David Bethlahmey, Tom Blue, Mark Bouffiou, Billie and Eric Bryan, Fran Calhoun, Carl T. Chew, King County Northwest Artists Collection, Gilkey Collection, Lynda Ritchie, Rockford College, Microsoft Corporation, Sean Elwood, Laurie and John Fairman, Darcie and John Furlan, Banci Giacomo, S. Maria Guaita Estate, Karen Guzak, Laura Jackson, Davis, Wright and Jones, Inc., William Kelly, Dennis and Dick Kerr, Laurie and Michi Kosuage, Dan Lipkie, David Lotz, Kent Lovelace Estate, Wayne Ludvigsen, Jeffrey Martin, Emeline Mathews Estate, Paul Matsumura, Dennis Evans and Nancy Mee, Portland Art Museum, Camilla Nowinski, Buzz Pearson, Tommer Peterson, Deborah Poletti, David Prentice, Casey and Douglas Rosenberg, Ken Ross, Robert Sarkis, D. G. Smith, Nellie and Michael Sunderland, George and Kim Suyama, David and Sandra Taylor.

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and the printed transcript by selecting: Transcript

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