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CENTER FOR CONTEMPORARY PRINTMAKING

11 T H B I E N N I A L

International Miniature Print Exhibition 2017 EXHIBITION CATALOG


Our mission is to support, preserve, and advance the art of original prints. The Center for Contemporary Printmaking is a nonprofit workshop and gallery recognized by the Internal Revenue Service as a 501(c)(3) organization.

Mathews Park 299 West Avenue Norwalk, CT 06850 203.899.7999 info@contemprints.org www.contemprints.org

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11th Biennial International Miniature Print Exhibition JUNE 4 TO AUGUST 27, 2017

TABLE OF CONTENTS 4

Juror’s Statement & Bio

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List of Accepted Artists

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Purchase Award Sponsors

42

Glossary of Printmaking Terms

46

About CCP

If you are interested in purchasing prints from this catalogue, please call CCP at 203.899.7999.


J URO R’ S STAT E M E N T

FREYDA SPIRA As a curator, it is a daily pleasure to get to see and respond to a

The series of intaglios by Michaela Winter, Tiny Stony Friends, con-

variety of prints and, by looking and studying, make a small selec-

tained a sense of theatricality and at the same time a lyrical humor

tion for exhibition, for classes, for discussions. The nearly two

about the evolution of friendships and the differences between every

hundred prints on view at the Center for Contemporary Printmak-

human being. And yet, even as we are drawn from very different stuff

ing were chosen from over six hundred images I looked at by 294

we all cling together. These works had resonance for me and brought a

artists from 33 countries who submitted work for review in the 11th

smile to my face.

Biennial International Miniature Print Exhibition. It was a wonderful experience walking into the Center’s second floor studio to see

Congratulations to everyone who submitted their work. My explora-

all of the tables covered with miniature prints. It gave me pause to

tion of the miniature prints gave me a quiet day (so rare in our day

think I had to look closely at each and every work of art knowing

and age) to think and imagine and laugh and cry, so thank you. And

the intense concentration and the enormous amount of time and

thank you to Laura G. Einstein, Executive Director of the Center for

effort that goes into every print. I’m not angling for pity here—a

Contemporary Printmaking, as well as the Center’s Board and Staff

little sympathy perhaps—but simply offering some perspective on

for making my time there so rewarding.

the difficult and sometimes heart-wrenching process of winnowing down the selection from 632 to the 190 that will be on view in the Center.

Freyda Spira is an Associate Curator in the Department of Drawings and Prints at the Metropolitan Museum of Art, where she

And, what does this selection represent? Again, as a curator I’m in

specializes in Northern Renaissance and Baroque prints, drawings,

the business of looking for images that strike me as relevant to some

and illustrated books. She joined the Met in 2009 as an Assis-

larger context or conversation within contemporary culture and are

tant Curator in charge of the Study Room and in that role was in

remarkable, exceptional, outstanding, arresting in their own right. But

charge of American posters, popular prints, and ephemera. She

we all have our predilections and mine include the tangibility of na-

holds a BA from Barnard College, MA from Columbia University,

ture, texture, craftsmanship, color (or the lack thereof), wit, and series.

and a PhD from the University of Pennsylvania. Her exhibitions at the Met include: The Power of Prints: The Legacy of William Ivins

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Dorothy Cochran’s silk aquatints, that emphasize soft undulating

and Hyatt Mayor (2016); Wordplay: Matthias Buchinger’s Draw-

folds and the compression of space, exploit an alternative to a tra-

ings from the Collection of Ricky Jay (2016); Dürer and Beyond:

ditional technique that reaches back to the sixteenth century. The

Central European Drawings (2012); and at the National Gallery in

simplicity of the compositions and tonal range mirror the beautiful

Washington, Imperial Augsburg: Renaissance Prints and Drawings,

monotypes of Christine S. Aaron whose view Nightfall is neither a

1475-1540 (2012). She is currently working on the 2019 exhibitions

sea nor landscape. Hers is an unrecognizable space experiencing

Renaissance Etching and The Last Knight, a show about Emperor

the tumult of nature as it batters and breaks surfaces as we move

Maximilian I (1459–1519) in conjunction with the Arms and Armor

continually towards night.

Department.

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11th Biennial International Miniature Print Exhibition ACCEPTED ARTISTS

Christine S. Aaron New York Glade, 2017 Monotype 1x4 $75

Christine S. Aaron New York Twilight, 2017 Monotype 2x2 $75

(ALL ART IS PICTURED ACTUAL SIZE)

Christine S. Aaron New York Island Storm, 2017 Monotype 1x4 $75

Christine S. Aaron New York Nightfall, 2017 Monotype 1x4 $75 3rd prize

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Saul Acevedo California Altitude 1.26 Billion ft, 2017 Lithograph, ed. 1/2 2x2 $30

Giannios Alexandros Greece Learning to Fly, 2017 Etching and aquatint, ed. 1/9 2x2 $80

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Linda Adato New York Spanish Doorway, 2017 Etching and aquatint, ed. 2/50 2 3/8 x 1 1/8 $85

Giannios Alexandros Greece The Butterfly Effect, 2017 Etching and aquatint, ed. 2/9 2x2 $80

Linda Adato New York Writing on the Wall, 2017 Etching and aquatint, ed. 2/30 1 7/8 x 1 7/8 $85

Giannios Alexandros Greece Dangerous Balance, 2017 Etching and aquatint, ed. 1/9 2x2 $80


Trudy Barnes California V:I2, 2017 Photopolymer intaglio, ed. 3/12 2x2 $60

David Avery Year of the Rooster, 2017 Etching with hand coloring, Variable edition 3/25 2 x 1 3/4 $180 Graphic Chemical & Ink Purchase Award

David Avery California The Appearance of Things, 2016 Etching with hand coloring, ed. 16/35 3 7/8 x 1 $150

David Avery California Errant Light, 2009 Etching, ed. 10/30 2 3/4 x 1 1/4 $150

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ˇ Eva Capková (129) Germany Untitled A, 2017 Magnetic graphic Variable edition 3/10 2 3/8 x 1 5/8 $79 Honorable Mention

ˇ Eva Capková (129) Germany Untitled C, 2017 Magnetic graphic Variable edition 4/10 2 x 1 5/8 $79 General Packaging Purchase Award & Honorable Mention

Marcelle Benhamou France Radiolar III, 2017 Mixed media, 2” diameter $70

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Rung-Tsu Chang

Rung-Tsu Chang

Rung-Tsu Chang

Taiwan Un Petit Paysage 1, 2017 Intaglio with chine collé, AP 1/10 2 x 1 7/8 $54

Taiwan Un Petit Paysage 2, 2017 Intaglio with chine collé, AP 1/10 2 x 1 7/8 $54

Taiwan Un Petit Paysage 3, 2017 Intaglio with chine collé, AP 1/10 2 x 1 7/8 $54


Amy Chu Amy Chu

Connecticut Lady and Elephant, 2017 Etching and aquatint, AP 2 5/8 x 1 1/2 $40

Connecticut Butterfly Lovers, 2017 Etching and aquatint, AP 2 3/8 x 1 5/8 $40

Dorothy Cochran

Dorothy Cochran

New Jersey Push, 2017 Silk aquatint, ed. 1/5 2 x 1 7/8 $60 1st Prize

New Jersey Open, 2017 Silk aquatint, ed. 1/5 1x4 $60 1st Prize

Dorothy Cochran

New Jersey Strata, 2017 Silk aquatint, ed. 1/5 1 7/8 x 2 $60 1st Prize

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Lucie Combret France Physalis, 2017 Etching, AP 2x2 $55

Lucie Combret France Platanus, 2017 Etching, AP 2x2 $55

Jane Cooper New York Netherlands I, 2017 Monotype on 22k Gold Leaf 2x2 $100

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Jane Cooper New York Netherlands ll, 2017 Monotype on 22k Gold Leaf 2x2 $100


Viviane De Kosinsky Virginia Paris Morning, 2014 Etching with hand coloring, ed. 30.50 2 x 1 7/8 $135

Viviane De Kosinsky Virginia Bear Pear, 2012 Etching with hand coloring, ed. 26/50 2 x 1 7/8 $135

Viviane De Kosinsky Virginia Bit of a Boar, 2004 Etching, ed. 17/100 2 x 1 7/8 $120

Viviane De Kosinsky Virginia King Kong, 2013 Etching with hand coloring, ed. 13/35 2 x 1 7/8 $135

James T. Dormer Colorado Studio II, 2017 Lithograph, AP 2x2 $125

James T. Dormer Colorado Studio III, 2017 Lithograph, AP 2x2 $125 Christine’s Graphic Supplies Purchase Award

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Katharine Draper Connecticut Enclosed, 2016 Monotype 2 x 1 7/8 $60

Katharine Dufault New York Cherry Vector II, 2017 Photopolymer intaglio, ed. 1/5 2 x 1 7/8 $150

Sophie-Hélène Drouot France Saules, 2016 Drypoint, ed. 1/20 1 1/4 x 2 5/8 $40

Sophie-Hélène Drouot France Tilleul, 2017 Drypoint, ed. 1/20 2 1/2 x 1 5/8 $40

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Katharine Dufault New York Cherry Vector III, 2017 Photopolymer intaglio, ed. 2/5 2 x 1 7/8 $150

Sophie-Hélène Drouot France Carnaval, 2017 Drypoint, ed. 1/20 1 1/2 x 2 1/4 $40


Carol Dunn Connecticut Flight Over P-Town, 2017 Photopolymer intaglio, Variable edition 1/50 1 5/8 x 2 3/8 $70

Beth Fein California Across the Floor III, 2017 Photopolymer intaglio with chine collé, AP 2x2 $50

Roxanne Faber Savage Connecticut Bubbles, 2017 Photopolymer intaglio, Variable edition 2/10 1 3/4 x 2 1/4 $100

Beth Fein California Across the Floor IV, 2017 Photopolymer intaglio with chine collé, AP 2x2 $50 Speedball Purchase Award

Roxanne Faber Savage Connecticut Baby Doll, 2017 Photopolymer intaglio, Variable edition 1/10 1 3/4 x 2 1/4 $100

Beth Fein California Across the Floor V, 2017 Photopolymer intaglio with chine collé, ed. 2/5 2x2 $50

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Cindi Ford Michigan Preservation I, 2017 Etching, aquatint and embossing with hand coloring 2x2 $65

Cindi Ford Michigan Preservation II, 2017 Etching, aquatint and embossing with hand coloring 2x2 $65

Sally Frank New York Forest Filigree I, 2017 Linoleum cut, ed. 1/10 2x2 $90

Sally Frank New York Forest Filigree II, 2017 Linoleum cut, ed. 1/10 2x2 $90 McClain’s Purchase Award

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Cindi Ford Michigan Preservation III, 2017 Etching, aquatint and embossing with hand coloring 2x2 $65


Floki Gauvry Argentina #8023, 2015 Digital 2 x 1 7/8 $100

Floki Gauvry Argentina #8081, 2015 Digital 2 x 1 7/8 $100

Amy Geyer Massachusetts Black Ice, 2017 Monoprint 2 11/16 x 1 1/2 $100

Amy Geyer Massachusetts Lightning, 2017 Monoprint 2 11/16 x 1 1/2 $100

Betsy Gould Massachusetts Azure Series: Horizon II, 2017 Gelatin monotype, woodcut and collage 1 3/8 x 2 7/8 $85

Betsy Gould Massachusetts Azure Series: Horizon II, 2017 Gelatin monotype, woodcut and collage 1 3/8 x 2 7/8 $85

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Mark Graver New Zealand Collé I, 2017 Digital, ed. 1/20 2 3/4 x 1 1/2 $80

Mari Gyorgyey Connecticut Travel Ban, 2017 Screenprint on silk 2x2 $40

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Mark Graver New Zealand Collé II, 2017 Digital, ed. 1/20 2 3/4 x 1 1/2 $80

Mark Graver New Zealand Collé III, 2017 Digital, ed. 1/20 2 3/4 x 1 1/2 $80

Grace Hailstone United Kingdom Night/Day, 2017 Wood engraving 2 1/8 x 1 1/2 $60


Susan Hardy Rhode Island 3 Trees, 2017 Pochoir 4x1 $60

Susan Hardy Rhode Island 2 Ponds, 2017 Pochoir 4x1 $60

Holly Hawthorn Connecticut Clams, 2017 Etching with monotype 1 1/2 x 2 5/8 $45

Maria Heed Sweden Let Go, 2017 Etching, ed. 3/25 2 3/8 x 1 5/8 $52

Maria Heed Sweden Regn (Rain), 2017 Etching, ed. 3/25 2 3/8 x 1 5/8 $52

Maria Heed Sweden FĂĽgelplanta (Birdplant), 2017 Etching, ed. 3/25 2 3/8 x 1 5/8 $52 2 0 1 7 E X H I B I T I O N C ATA L O G

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Jeff Huckeby Texas A.I. Redux #11, 2017 Relief with hand coloring, ed. 1/7 1 1/4 x 2 5/8 $53 McClain’s Purchase Award

Peter Hriso Missouri Cubes, 2017 Digital, ed. 1/2 2x2 $30

Sabine Huber Switzerland Two Elements I, 2017 Digital, ed. 1/3 1 3/8 x 1 5/8 $140

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Sabine Huber Switzerland Two Elements II, 2017 Digital, ed. 1/3 1 3/8 x 1 5/8 $140

Sabine Huber Switzerland Two Elements III, 2017 Digital, ed. 1/3 1 3/8 x 1 5/8 $140

Jeff Huckeby Texas A.I. Redux #5, 2017 Relief with hand coloring, ed. 1/7 1 3/4 x 1 3/4 $53


Eeva Huotari Finland Tools, 2017 Etching and aquatint, ed. 2/50 1 x 3 7/8 $40

Eeva Huotari Finland Turn Me On, 2017 Etching and aquatint, ed. 4/40 2 3/8 x 1 1/2 $40

Hanne Ingerslev Denmark Dawn, 2017 Monotype 2 x 1 7/8 $50

Hanne Ingerslev Denmark Mountain, 2017 Monotype 2 x 1 7/8 $50

Eeva Huotari Finland A Bit Stressed Out, 2017 Etching and aquatint, ed. 2/40 2 3/8 x 1 1/2 $40

Hanne Ingerslev Denmark Death ‘N Beauty, 2017 Monotype 2 x 1 7/8 $50 Honorable Mention

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Onnik Karanfilian Bulgaria Endless, 2016 Etching, aquatint and stencil, AP V/X 1 3/4 x 2 $90

Onnik Karanfilian Bulgaria Crucifix, 2016 Etching, aquatint and stencil, AP V/X 1 3/4 x 2 $90

Ruth Kalla Ungerer Connecticut Love’s Repose, 2017 Intaglio 2 3/8 x 1 5/8 $85

Ruth Kalla Ungerer Connecticut Relational Hold, 2017 Intaglio 2 3/8 x 1 5/8 $85

Onnik Karanfilian Bulgaria Cutout Memories, 2016 Etching, aquatint and stencil, AP V/X 1 3/4 x 2 $90

Onnik Karanfilian Bulgaria We Can Work It Out, 2016 Drypoint, AP V/X 2x2 $90

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Onnik Karanfilian Bulgaria All You Need is Love, 2016 Drypoint, AP V/X 1 7/8 x 2 $90


Rosie Kearton United Kingdom Dartmoor Stone 1, 2017 Collagraph, ed. 1/6 2x2 $60 Honorable Mention

Tatiana Klacsmann New York Lady Justice, 2017 Relief, AP 2 1/2 x 1 1/2 $70

Rosie Kearton United Kingdom Dartmoor Stone 2, 2017 Collagraph, ed. 1/6 2 3/4 x 1 1/4 $60 Legion Pescia Purchase Award & Honorable Mention

Shirley Klein New York Splash I, 2016 Monotype 2x2 $45

Rosie Kearton United Kingdom Dartmoor Stone 3, 2017 Collagraph, ed. 1/6 1 5/8 x 1 3/4 $60 Honorable Mention

Shirley Klein New York Splash III, 2016 Monotype 2x2 $45

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Alja KoĹĄar Slovenia Untitled A, 2016 Etching, ed. 1/15 2 3/8 x 1 1/8 $60

Robin Koss Pennsylvania On the Path That Whispers No. 1, 2017 Aquatint and collage 2x2 $150 Honorable Mention

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Alja KoĹĄar Slovenia Untitled B, 2016 Etching, ed. 7/15 1 1/8 x 7/8 $50

Robin Koss Pennsylvania On the Path That Whispers No. 2, 2017 Aquatint and collage 2x2 $150 Honorable Mention

Robin Koss Pennsylvania On the Path That Whispers No. 3, 2017 Aquatint and collage 2x2 $150 Honorable Mention


Jesse LaRoche Connecticut Hubble, 2016 Digital, ed. 6/40 1 3/4 x 2 1/4 $80

Charlie Lee-Potter United Kingdom Resist 1, 2017 Drypoint, AP 2x2 $30

Jesse LaRoche Connecticut 3 Moons, 2014 Digital, ed. 19/40 1 3/4 x 2 1/4 $100

Charlie Lee-Potter United Kingdom Resist 2, 2017 Drypoint, AP 2x2 $30

Jesse LaRoche Connecticut Larch, 2014 Digital, ed. 6/40 1 3/4 x 2 1/4 $80 Jerry’s Artarama Purchase Award

Charlie Lee-Potter United Kingdom Resist 3, 2017 Drypoint, AP 2x2 $30

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Channing Lefebvre New York One, 2017 Drypoint and gouache, ed. 1/5 2x2 $100

Vinicius Libardoni Brazil Uno, 2017 Linoleum cut, ed. 1/10 2x2 $20

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Channing Lefebvre New York Two, 2017 Drypoint and gouache, ed. 1/5 2x2 $100

Vinicius Libardoni Brazil Due, 2017 Linoleum cut, ed. 1/10 1 7/8 x 1 7/8 $20

Channing Lefebvre New York Three, 2017 Drypoint and gouache, ed. 1/5 2x2 $100

Vinicius Libardoni Brazil Tre, 2017 Linoleum cut, ed. 1/10 1 7/8 x 1 7/8 $20


Camila L. Linaweaver Oregon Non-Native Branches, 2017 Etching and monotype 2x2 $85

Camila L. Linaweaver Oregon Unfinished Window, 2017 Etching and monotype 2x2 $85

Camila L. Linaweaver Oregon The Back Room, 2017 Etching and monotype 2x2 $85

CL McBeth-Collins Pennsylvania Egress, 2017 Aquatint and chine collĂŠ, AP 4x1 $100

Roberta Linfield Canada Gold Loop, 2017 Gelli print 2x2 $30

Roberta Linfield Canada Gold Ring, 2017 Gelli print 2 x 1 7/8 $30

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Sasha Meinck Connecticut New Moon, 2017 Aquatint, AP 2x2 $30 Margaret McLoughlin Ireland Dense Trees, 2017 Intaglio, ed. 1/4 3x1 $75

Emmanuel Monzies France Red Feather, 2017 Monotype 1 7/8 x 1 7/8 $60

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Emmanuel Monzies France Growing Wild, 2017 Monotype 1 7/8 x 1 7/8 $60


Kla’ra Nagy Hungary Hopeless A, 2017 Mixed media, ed. 4/30 2 x 1 7/8 $500

Thom O’Connor New York Trees, 2016 Photopolymer gravure, ed. 6/30 1 1/2 x 2 1/2 $60

Kla’ra Nagy Hungary Hopeless B, 2017 Mixed media, ed. 6/30 2x2 $500

Kla’ra Nagy Hungary Hopeless C, 2017 Mixed media, ed. 4/30 2 x 1 7/8 $500

Thom O’Connor New York S.P., 2016 Photopolymer gravure, ed. 10/30 1 1/2 x 2 1/2 $60

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Andrea Oldani Italy All Through the Ground #02a, 2017 Etching, ed. 2/25 2 x 1 7/8 $40

Andrea Oldani All Through the Ground #02b, 2017 Etching, ed. 2/25 1 7/8 x 1 7/8 $40

Kurt Pammer Canada Home, 2016 Drypoint, ed. 1/12 1 5/16 x 2 3/8 $90

Kurt Pammer Canada Home, 2016 Drypoint, ed. 1/12 1 5/16 x 2 3/8 $90

Jim Pearson Illinois Wraith QW, 2016 Digital, AP 2 1/4 x 1 5/8 $75

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Jim Pearson Illinois Wraith KL, 2016 Digital, AP 2 1/4 x 1 3/4 $75


Merle Perlmutter New York Short Stories, 2017 Intaglio, ed. 7/90 2x2 $125

Kathie Pettersson Sweden The White Stone, 2017 Etching, ed. 1/10 2 x 1 7/8 $90

Johnny Plastini Colorado Intersubjectivity Field, 2017 Monoprint 2x2 $90

Sophie Potie France Train to Nowhere, 2017 Etching 1 3/8 x 2 3/8 $130

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DeAnn L. Prosia Connecticut Looks Can Be Deceiving, 2017 Etching, ed. 2/30 2 x 1 7/8 $70

Julie Robins-Southward United Kingdom New Home 1945, 2016 Photopolymer etching and serigraph, ed. 1/3 2x2 $80

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DeAnn L. Prosia Connecticut Get Me The Hell Outta Here, 2017 Etching, ed. 3/40 2x2 $70

DeAnn L. Prosia Connecticut I’m Taking My Family and Leaving, 2017 Etching, ed. 2/30 1 7/8 x 1 7/8 $70

Hermann Rommel Germany Grenze, 2017 Etching and aquatint with chine collĂŠ, AP 1 5/8 x 2 1/4 $40


Sigita Rucinskaite-Praneviciene New York Happy Swirl, 2017 Drypoint, AP 2x2 $40

Amy Sands Minnesota Constellation XVIII, 2017 Laser cut, monotype and serigraph 1.875” diameter $100 Honorable Mention

Sigita Rucinskaite-Praneviciene New York UP, 2017 Intaglio, AP 2 x 1 7/8 $40

Amy Sands Minnesota Constellation XIX, 2017 Laser cut, monotype and serigraph 1.875” diameter $100 Honorable Mention

Sigita Rucinskaite-Praneviciene New York Grey With Touch of Gold, 2017 Drypoint with hand coloring, AP 2x2 $40

Amy Sands Minnesota Constellation XX, 2017 Laser cut, monotype and serigraph 1.875” diameter $100 Renaissance Graphics Purchase Award & Honorable Mention

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Maria F. Santiago Minnesota Spiral 1, 2017 Collagraph with chine collĂŠ 1 1/2 x 2 1/2 $90

Lisa Sewards Australia Little Pigeon II, 2017 Photopolymer intaglio, AP 2x2 $80

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Rayfield Scott Connecticut Gracias, 2017 Photopolymer intaglio, AP 1 1/2 x 2 1/2 $88

Lisa Sewards Australia Little Pigeon III, 2017 Photopolymer intaglio, AP 2x2 $80


Lynn Shaler France Metro, 1980 Etching and aquatint, ed. 3/35 2 1/8 x 1 5/8 $300

Christopher D. Shore New York Arch, 2017 Etching, ed. 2/15 2 x 1 7/8 $60

Tamara Sorkin Israel S/T #2, 2016 Intaglio, ed. 3/4 2 x 1 7/8 $60

Tamara Sorkin Israel S/T #1, 2016 Intaglio, ed. 2/3 2 3/8 x 1.5 $60

Tamara Sorkin Israel S/T #3, 2016 Intaglio, ed. 3/3 3x1 $60

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Yoshimi Umezu New Jersey Flying Bees, 2017 Collagraph and drypoint, AP 2x2 $50

Yoshimi Umezu New Jersey Crawling Ants, 2017 Collagraph and drypoint, AP 2x2 $50

Lito Valiatza Greece The Forgotten, 2017 Linoleum cut, ed. 1/11 1 7/8 x 1 3/4 $45

Dominique Van Der Veken France Cerf Volant, 2016 Etching, ed. 25/60 1 7/8 x 1 7/8 $55

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Dominique Van Der Veken France Jeux de Lune, 2016 Etching, ed. 24/60 1 7/8 x 1 7/8 $55


Victoria Star Varner Texas Crossed Paths (Short Version) Nice to Meet You, 2017 Engraving 2x2 $50

Ellen Verdon Winkler Maryland Man II, 2015 Drypoint with chine collĂŠ, ed. 1/16 2x2 $75

Fabienne Veverka New York Sediment 1, 2016 Etching monoprint 1 7/8 x 1 7/8 $80

Victoria Star Varner Texas Path Over Tienanmen, 2017 Engraving and lithograph 2x2 $50

Ellen Verdon Winkler Maryland Man III, 2016 Drypoint with chine collĂŠ, ed. 5/16 2x2 $75

Fabienne Veverka New York Sediment 2, 2016 Etching monoprint 1 7/8 x 1 7/8 $80

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Pamela W. Wallace New York Openings, 2017 Monotype 2x2 $100

Claudia Waruch New York Hay Binding II, 2017 Photopolymer intaglio with chine collĂŠ 2x2 $85

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Pamela W. Wallace New York Dense Passage, 2017 Monotype 2x2 $100

Claudia Waruch New York Hay Binding III, 2017 Photopolymer intaglio with chine collĂŠ, ed. 1/2 1 7/8 x 1 7/8 $85


Annie Wassmann Michigan Cracker CAD 1, 2017 Lithograph and screenprint, ed. 1/10 2x2 $60 Christine’s Graphic Supplies Purchase Award

Jack Wickham United Kingdom Kitchen, 2016 Etching and aquatint, ed. 1/3 2x2 $75 Honorable Mention

Annie Wassmann Michigan Cracker CAD 2, 2017 Lithograph and screenprint, ed. 1/10 2� diameter $60

Jack Wickham United Kingdom Bathroom, 2016 Etching and aquatint, ed. 1/3 2x2 $75 Honorable Mention

Annie Wassmann Michigan Cracker CAD 3, 2017 Lithograph and screenprint, ed. 1/10 2x2 $60

Jack Wickham United Kingdom Lounge, 2016 Etching and aquatint, ed. 1/3 2x2 $75 Legion Somerset Purchase Award & Honorable Mention

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Cleo Wilkinson Australia Inception III, 2015 Mezzotint, ed. 17/50 2x2 $120

Hildegard Winkler Germany You Lost Me VI!, 2017 Etching, AP 1 7/8 x 1 7/8 $80

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Cleo Wilkinson Australia Murmur, 2011 Mezzotint, ed. 20/50 2x2 $120

Cleo Wilkinson Australia Becalmed, 2013 Mezzotint, ed. 43/50 2x2 $120


Michaela Winter Germany Tiny Stony Friends I, 2017 Intaglio, 1 7/8 x 2 1/4 $75 2nd Prize

Melissa Wollmering Pennsylvania Untitled, 2017 Linoleum cut with collage 2 x 1 7/8 $60

Michaela Winter Germany Tiny Stony Friends II, 2017 Intaglio, 1 1/2 x 2 5/8 $75 2nd Prize

Lauren Wright United Kingdom Dancing Peacock, 2017 Etching with watercolor 2x2 $85

Michaela Winter Germany Tiny Stony Friends III, 2017 Intaglio, 1 1/4 x 2 5/8 $75 2nd Prize

Lauren Wright United Kingdom Dancing Peacock, 2017 Etching with watercolor 2x2 $85

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Leon Zakrajsek Croatia Clouds I, 2017 Carborundum monoprint, AP 2x2 $100

Leon Zakrajsek Croatia Clouds II, 2017 Carborundum monoprint, AP 2x2 $100 Speedball Purchase Award

Yuanwei Zheng China The Night, 2017 Wood engraving, ed. 1/20 2 1/4 x 1 1/2 $25 Awagami Paper Award 100 Sheets of Awagami Editioning Paper

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CCP WISHES TO THANK OUR 2017 MINIATURE PRINT PURCHASE AWARD SPONSORS

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G L O S S A RY O F P R I N T M A K I N G T E R M S A N D T E C H N I Q U E S WHAT IS A HAND MADE PRINT? A hand-made print is created by the artist who prepares the plate from which the print is printed using a variety of methods depending on the type of print involved. It is not a finished piece of artwork that is copied and printed by mechanical means. A digital print is made on a computer using the computer to create a piece of artwork. Many purchasers of art work buy what they think is a hand-made print when what they really buy is a photocopy of a watercolor or oil painting frequently numbered and signed by the artist. Sometimes the signature is a printed one and is valueless as such. Most prints are printed on dampened paper. The paper is soaked from fifteen minutes to several hours. When ready to print the artist dries the paper between blotters or towels until any wet areas are blotted away. This softens the sizing and makes the paper more receptive to the ink and in the case of intaglio or embossing allows the paper to be actually pressed into the plate. These papers are heavy rag papers like Arches or BFK. Light Japanese rice papers are not dampened usually. While oil based ink is necessary for lithographs other prints can be done with either oil or water based ink. Water based ink will dry quickly which gives the artist less time to ink the plate, especially in a monotype or any plate using several colors. However the finished print will dry within a day. Oil based ink can be worked with for several hours before printing but the finished print will take several days to dry completely. In any case the plate must be cleaned thoroughly before storing as dried ink will distort future prints.

INTAGLIO: The image is cut into the material. Intaglio methods include: ETCHING: A copper or zinc plate, well polished, is coated on all surfaces with an acid resistant ground (a type of varnish). A sharp tool is used to scratch through the ground in the manner of a pen and ink drawing. The plate is then immersed in the acid bath (usually diluted nitric acid) and watched while the acid eats the metal wherever the scratched lines have been made. If some areas are meant to be lighter than others the plate is removed, rinsed and dried and the area painted with an acid-resistant coating, called “stopping-out varnish�, and the plate is returned to the acid as soon as the varnish is dry. This can be done several times, as the deepest lines will hold the most ink. The plate is then rinsed, dried and the varnish removed. Etching ink is then pressed onto the plated until all areas are covered. Then the ink is wiped off the plate with tarlatan - a stiff gauze fabric, which while cleaning the plate leaves the ink in the etched lines. Wiping the plate is an art in itself; too much wiping creates a pale print and too little a dark muddy print. Further polishing of light areas can be done with a page from an old phone book or unprinted newsprint. The plate is then placed on the bed of the press and the dampened paper over it. The paper picks up the ink from the acid bitten crevices and the finished product is an etching. DRYPOINT ETCHING: The bare plate is scratched with a sharp tool straight into the plate, which can be copper, zinc or plastic. This is hard work as even a plastic plate is hard to scratch very deeply. Today electric tools are often used to aid in the incising of lines. In doing this a burr is formed which gives a slightly different quality to the finished print. As the burr wears off in printing the prints will vary a little. The plate is inked and printed in the same way as an etching. SOFT GROUND ETCHING: The varnish ground is softened with Vaseline and then mesh, fabric, string, etc. can be put on the plate and run through the press, creating an impression of the items in the ground. The ground can also be marked with a pencil, toothpicks, etc. The plate is placed into an acid bath like an etching and stopping out varnish can be used. The plate is cleaned, inked and printed as is an etching and the result is a soft ground etching. The resulting images are softer rather than the linear crispness of an etching. AQUATINT ETCHING: Powdered rosin is sifted evenly onto a clean polished metal plate and is then heated on a hot plate to melt the varnish enough so that it adheres to the plate. Too much heat and it will melt the particles into each other. The plate is put in the acid bath and removed each time that stop-out varnish is needed to create the image from light to dark areas. There is no line drawing, just wash areas, somewhat like a watercolor painting. The edges of the areas are burnished by rubbing with a metal tool to blend them. The cleaning, inking, wiping and printing are the same as an etching.

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COLOR and COLORED ETCHINGS: A color etching has the color inked into the plate with colored etching inks. It can be done by applying each color separately to the plate and carefully wiping or with a separate plate for each color requiring very careful registration for printing each plate on to one piece of prepared paper. Either method is time consuming and requires endless patience. A colored etching is an etching printed in the usual way that later has color added to it with paint or perhaps pastel. It’s a quick and easy way to color an etching but is not an integral part of the print. ENGRAVING: An engraving tool is used to cut a line into a plate. The cut is very cleanly made without any burr and without the slight roughness of acid biting. It is difficult and nerve-wracking work that requires precision and patience and the tools must be constantly sharpened. The deeper cuts are darker as they hold more ink and as the tools are apt to slip many an error has to be burnished out (rubbed with a metal tool) before proceeding. MEZZOTINT: Special expensive tools are used in “rocking” across the plate vertically, horizontally, and both diagonals. When the surface is completely scored, which may take a day or so, and then the design image is carefully burnished erasing the scored surface. The plate is inked, wiped and printed as in an etching. The result is a rich velvety black with soft edges to the light image areas. PHOTOGRAVURE: A general term for any metal plate process in which an image has been transferred to a metal surface by photographic means. A corrosive bath is used to incise the image into the plate before inking and printing. Photo-etching is a term alternatively used. Any of the above ways of making an etching can be used in combinations to achieve very unique and interesting handmade intaglio prints.

SOLARPLATE: is a simple approach and safer alternative to traditional etching and relief printing. Since Dan Welden’s development of the process in the 1970s, printmakers, painters, photographers, and art teachers interested in multiple impressions have utilized printmaking with Solarplates. Solar plates are steel-backed, light sensitive, photopolymer printmaking plates. After exposing with U. V. light, the plate is developed with water. Solar Plate may be exposed using sunlight, but an exposure system and vacuum frame gives more consistent results.Both positives and negatives can be utilized; intaglio and relief printing techniques can be applied.

RELIEF PRINTS: The design remains on the surface and the unnecessary parts are cut away. Relief prints include: WOOD CUTS: A piece of wood is carved with wood carving tools (gouges) and the remaining surface is inked with an ink roller (brayer). Often the grain of the wood is incorporated into the pattern. It can be printed on a press or by hand rubbing with a baren or wooden spoon, etc. More than one color can be used, but more often a separate wood block is used for each color. Either oil based or water based ink can be used and a variety of different papers. WOOD ENGRAVING: The wood used has no grain as the blocks are made with the grain on the vertical. The end of the block is carved and fine detail can be achieved. Separate blocks are usually used for more than one color. REDUCTION WOOD ENGRAVING: All the colors of a design are left on the block and the whole block is inked in the lightest color. More than the required number of prints a are made of that first color. Then the part of the block that bears only the first color is cut away and the next color is printed. This is repeated for each color cutting the color away after each set of prints. Precise registration is very important. In the end the block is destroyed and if fifty prints were made to begin with, perhaps thirty-five or forty might be successfully carry all the colors in registration.. LINOLEUM and SOFT PLASTIC: These plates are carved with special tools and are softer and easier to work with and have no grain. More than one color can be inked on one block or separate blocks can be carved for each color. The printing can be done with a press or by rubbing. Various papers can be used. COLLOGRAPH: Similar to a relief print, but instead of carving into the plate, the image is built up on the surface of the plate. The base plate can be cardboard, plastic, metal, wood or anything available. Then the design is made up of cut out paper, card stock, fabric, string, netting, lace, feathers, drizzled and dried glue, etc. When everything is glued down and dried the whole plate is sprayed with spray paint or varnish so that the plate can later be cleaned. Then the plate is inked with one or more colors, either water base or oil, and printed as a woodcut. The plate can be inked in various ways many times and cleaned for storage.

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EMBOSSING: A plate with a raised design somewhat like a collograph is printed on heavy prepared paper using no ink. Displayed with good lighting the embossed design can be very effective. LETTERPRESS: A relief technique for printing movable type (though blocks with images may also be used). Metal, wood, or polymer forms of a standard height are set in place in the bed of a press. Since ink is transferred from the surface of the blocks by the application of pressure, letterpress prints are recognizable for their embossed printed forms. LITHOGRAPHY: Since oil and water do not mix, if the plate is kept wet and the design has been done in oil, the wet plate can be inked in oil ink and printed on prepared paper. The oil base ink adheres only to the design area and is rejected by the wet areas and is printed on a special press. Lithography encompasses: STONE LITHOGRAPH: Lithograph translates to “Stone print” and all were originally done on specially prepared stones. The stones are heavy and expensive. The design is drawn on a stone with a grease crayon or painted with a grease base ink (called tusche). When finished it is treated and cleaned and in appearance looks like a blank stone once again. However the design is there and while the stone is kept wet the ink is applied with a brayer. The oil base ink adheres only to the design area and is printed on a lithography press. Separate stones are used for separate colors. ZINC PLATE LITHOGRAPHY: A specially treated zinc plate is used much as a stone, but is cheaper and easier to handle. The fine shading achieved on a stone is not quite as attainable on zinc. PAPER LITHOGRAPHY: A paper printed from a copy machine has an oil base toner (computer ink is water based and will not work). Since wet paper is fragile the paper is sprayed with water and flattened onto a plastic plate. In order to keep the paper wet it is coated with liquid gum Arabic. A small amount is spread on the wet paper and allowed to rest about five or ten minutes. Then more water is sprayed on the paper and the ink is applied. Ordinary oil paint works well as the ink must be soft since the wet paper is fragile. A few drops of linseed oil helps. Paint that is too stiff will tear the paper and if too soft will result in a pale print. The color is applied with a brayer and washed off. This step is repeated two or three times and then excess water is gently blotted off and the plate is ready to print on prepared dampened paper. An etching press works well. Any color or combination of colors can be used, but only applied with a brayer on very wet paper. The photocopied print can be constructed from anything - pen and ink drawing, a photo, cut outs, feathers, just about anything you can copy. The size is limited by the copy machine paper. POLYESTER PLATE LITHOGRAPHY: (PRONTO plate printing), a new and nontoxic form of lithographic printing was developed by George Roberts while he was Professor of Printmaking at Boise State University. Polyester Plate Printing started as a low cost yet professional form of commercial offset lithography. The medium is capable of reproducing the full spectrum of lithographic marks such as: hand drawn brush strokes, ink wash, texture, crayon and pencil marks, and is equally well suited for digital imaging. Plates can be also imaged directly with a laser printer or a photocopier. The process is more straightforward than conventional lithography as the plate does not require chemical processing in the form of etching with acid. CHINE COLLÉ: The process of adhering one piece of paper to another by using a liquid adhesive and running them together through the printing press. Chine is French for “China,” which refers to the thin Asian paper originally used with this technique, and collé means “glued.”

SCREEN PRINTING: In essence this comprises a hand-cut or photographic stencil with the silk mesh of the screen holding the stencils parts in place. A piece of silk mesh fabric is stretched onto a wooden frame. The frame is hinged on one side to a base. A drawing is placed under the silk and any part of the silk that is not the color to be printed is stopped out with a glue or lacquer or a photo process can also be used. The bare silk that is not painted out will allow the ink to be squeezed through the silk. After the prepared screen is dry the paper to be printed is put in place. If more than one color will be used in the print the placement of the paper is critical. The paint is placed on one end of the screen and dragged across the silk with a rubber squeegee. The frame is lifted enough to remove the paper and replace it with the next piece and the paint is dragged back again and so on until the full number of prints are made. The printing is very fast - a minute or so per print. The set up of the image on the screen takes a good bit of careful planning. The screen is then cleaned of the paint and the stencil removed and the stencil for the next color is put on the screen. Many different colors can be combined on one print and the stencil can be done in a painterly way or a crisp cut out stencil or with photography. Either water base or oil base paint can be used.

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MONOTYPES: a one of a kind print. A second print, called a “ghost” can be made but will look very much lighter. MONOTYPE: A plastic plate has ink applied to it with brush, sponge, brayer, etc. Any color or design can be used. Feathers, lace, string, etc. can be placed on the plate; ink on the plate can be manipulated with fingers, Q-tips, brushes, etc. Thick paint will slide off in printing and too thin paint will dry out and not print. The plate is placed on an etching press and the dampened paper on top. After the print is made a second print can be made from the same plate, but they will look very different. Before cleaning the plate the design can be manipulated with added paint, etc., but the result is still a one of a kind impression. The CLAYPRINT MONOPRINT is an innovative process created by Mitch Lyons in the 1960’s and continually developed by him even today. The “plate” for the print is a leather hard slab of stoneware clay. The media is white slip mixed with house paint colorants and ceramic stains to produce a rainbow of colors. The colored clays in the form of slip, moist clay, and powdered chalks are applied to the slab using a full range of painterly, printmaking, and ceramic techniques. Once the image on the slab is complete, a slightly dampened sheet of Reemay interfacing canvas is carefully laid on the slab, and light pressure is applied by hand to lift a thin layer of colored clay from the surface. The colored clays bond to the interfacing to produce an archival monoprint. STENCILS: Cut out pieces of card stock can be inked, arranged on prepared paper and printed either on a press or by hand. The CLICHÉ VERRE Process is a cross between art and photography. It Is a method created using photography equipment but can be done on pieces of art, not just photographs. The method consists of etching, painting or drawing on a transparent surface, such as glass, thin paper or film and printing the resulting image on a light sensitive paper in a photographic darkroom. This process originated in France in the early 19th century. Contemporary cliché verre artists also utilize scanners and editing software to produce the images on acetate or as digital prints.

WHAT ARE THE INSCRIPTIONS ON THE BOTTOM OF THE PRINT? Traditionally, signifying inscriptions are written in pencil at the bottom of a print. Reading from left to right, the inscriptions indicate the edition number, the title of the artwork, and the artist’s name (and sometimes the date), e.g. 2/30 Untitled #1 A. Smith, 2012 Artist’s Proof (A.P.) A print reserved for the artist and not included in the numbered edition. An artist’s proof can be identified by the inscription “A.P.” found in the lower left-hand margin instead of a number. Printer’s proofs are reserved for the printer and are inscribed “P.P.” Bon à Tirer (B.A.T.) A print that is not included in the edition, but which indicates the standard a printer tried to duplicate for the edition. A print which is bon à tirer (translated from French as “ready to pull”) can be identified by the inscription “B.A.T.” found in the lower left-hand margin. What is an Edition? A set of identical prints made from the same matrix (or set of matrices). Often a number of other prints – artist’s proofs, printer’s proofs, bon à tirer, and hors commerce (“not for trade”) prints – are made at the same time but are not considered to be part of the numbered edition. Each print in a limited edition is usually numbered in the lower left-hand margin. The form of this inscription is as follows: number in the edition/size of the edition (i.e. 15/50). To guarantee a limited edition, the artist or printer can “strike” or cancel the plate by incising an X on the printing face after completion.

ATTRIBUTION The majority of the descriptions above are attributed to Elizabeth MacDonald, with additional material by CCP.

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ABOUT CCP The Center for Contemporary Printmaking is a nonprofit multimedia studio and gallery dedicated to the art of the print. At CCP artists can work independently, collaborate with staff printers, or enroll in workshops conducted by nationally recognized artists. Exhibitions of original prints are held regularly in the gallery, and diverse educational programs are offered for experienced and emerging artists. THE EXHIBITION PROGRAM AT CCP Each year, the Center for Contemporary Printmaking (CCP) hosts a series of exhibitions in the Grace Ross Shanley Gallery, including works by established professional artist, the Biennial FootPrint International Print Exhibition (on even numbered years), the Biennial International Miniature Print Exhibition (on odd numbered years). We wish to acknowledge and thank the following foundations and organizations for their help and support in enabling the Center to service the community and the tri-state area.

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2017 CCP MiniPrint Exhibition Catalog  
2017 CCP MiniPrint Exhibition Catalog  
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