Bill Ritchie Work in Washington State
 
in the

Tommer Peterson Collection

(Placeholder for Peteson's actual print image)

Locus and Sea Squares

Provenance: 1982. Vermillion intaglio with black overprint blended, printed on white paper and includes "loci" plate over blue cycle. Impression No. 78. (Verified ?) Signed lower right.

Comment: This print is from a series of 141 trial proofs and artist's proofs in "cycles" of around 15 each, and each in a different color combination. I made them in the processes of cyanotype, woodcut, and intaglio techniques. This one was the last in the edition and was the subject of the video (now on DVD); I gave it to David for his constant support of the poster project based on the series. The images are from three sources: A map of the Colorado River, at 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);  Finally, 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, Marnie Briggs, 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, 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.

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