Bill Ritchie design work in Wasington State
Nellie and Michael Sunderland Collection
This is a stock image of the artwork - not a photo of the owner's actual print
"My Father's Farm"
Provenance: 1972. Print. Intaglio and relief printed from etched plate in thalo green w/black, blue and yellow on Arches Cover white. Image 16 1/4 X 22 3/4 in on 20 3/4 X 29 3/4 in. No. A/P. Signed lower right. Collections also Gloria Abbenhouse, Lee Altman, Billie Bryan, Jocelyn Curry and Rick Asher, Everett Public Library, Dr. Charles McCann, Kay Pruvich, Lynda Ritchie, Kathryn Sharp, Seattle Juvenile Center and others.
Comment: My Father's Farm is named for the real place, where we used siphon hoses for irrigation. Those bright, early mornings were only a farm boy's memory in 1960. When I made this print in 1972, it was in very different world in which I had come to live. The image was composed from a video photograph made in my first video art experiments, using 16 mm film, facing toward Eastern Washington where my father's farm had been. The film was of a sunrise over the Cascade Mountains and the image was my drawing of the same title.
"Bridge's Heart 7"
Exhibitions and Awards: Puyallup Art Exhibition, "Best in Show," juried by Gervais Reid, et. al., September, 1973. Puyallup WA; Lubbock Invitational, Purchase Prize (State Proof), 1973. Lubbock, TX; Philadelphia Print Club Open Competition. Stewart M. Egnal Prize Purchase Award. Sylvan Cole, Andrew Stasik, Janet Flint, jurors. 1973. Philadelphia PA; Jane Haslem Gallery, 1974. Washington, DC.; National Print Invitational , Georgia Southern College, 1973, Statesboro, GA; 20th Annual Print Exhibition, 1973, Brooklyn Museum of Art, Brooklyn, NY; 1st Annual Images on Paper, Purchase Award. Feb-Mar, 1973. Springfield Art Association, Springfield, IL
Comment: "The Henry Gallery Association wanted new members and, as an incentive to join, offered a print. Commissioned to produce the print, I was excited and worked hard, eager to please. It went badly. The harder I worked the uglier the print became. I made plates and pulled many states. Finally I threw out the design entirely. Then it came all at once! A lithograph, from a different series, and using corduroy and soft ground to get the effect of raster lines (from my video work) made for an entirely new direction. Things fell into place and “Bridges Heart” was one of my most successful prints. It’s the only print of mine that the Henry Gallery has in its permanent collection."
"Sweet Target Hearts No. 6"
Sold to David Prentice Sept. 24, 2010)
(Placeholder - this is not the Sunderland's print)
"Locus and Sea Squares "
Provenance: Print from a variable edition of 141 impressions. Printed with intaglio inks from a lacquered copper plate on light Japanese paper chine-colle'd to Van Gelder Zonen paper.
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 which I made in the processes of cyanotype, woodcut, and intaglio techniques. The result is a series of monotypes. The images derive from three sources: The map is based on the Colorado River, a vicinity known once as the Crossing of the Fathers; the leaf-like shape I call locus--the path of a moving point (I drew these to help establish data for use in a computer program). The Great Wave was drawn to resemble the famous print by Hokusai. Besides the pleasure of meeting people who want to take this print into their personal collections, I have shown the print numerous times and it has given me many rewards, nationally & regionally.
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and the printed transcript by selecting: Transcript
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