• Limited edition prints are multiples of the same image created through any of a number of printing methods. Some 20^th Century prints have fetched over $100,000. See: http://planetall.homestead.com/dynasym2/files/arts.html#anchorA&A . Being multiples of the same image, the numbers have to be very carefully accounted for...hence... "limited edition". They are issued with certificates containing data pertaining to the print itself (paper used, size of image, edition size etc.). It also warranties the authenticity of the piece as well as giving a current appraised value (usually the purchase price at the time of sale). These certificates can be reissued as the value goes up.

• You may also notice the term "Artists’ proofs" (AP or EA... épreuves d’artiste) used along with the term "Limited Edition". These are often identical to the rest of the same edition, but sometimes not. Traditionally, in older printing processes they were samples the artist made to check different elements of the process, after which he sometimes made changes to: paper-type or weight, ink colours or density or even added extra plates or screens. These were often more coveted by collectors than the rest of the edition partly because they often look different from the rest of the edition, making them rare like flawed postage stamps. With other "proofs" it is simply because they were chosen as special samples of the edition by the artist. They usually represent no more than 10% of the total edition size. Althought they may be numbered (AP23 for example), they may not be, but may be simply marked "AP" or "EA" with the quantity accounted for on the certificate.

• In earlier times when the equipment was cruder, the quality of each print dropped sharply with relatively few impressions. As the "proofs" were the earliest and hence crisper impressions, this also added to their value. Overall the crude equipment forced editions to be small which kept their value high. Nowadays though runs in the millions are possible without much of a drop in quality. Ths however has caused problems in the limited print market as editions of 10,000 to 20,000 are common and as high, if not higher than 80,000. From the standpoint of simple profit, this may seem to make sense. The problem though is that by saturating the market with one-time sales, the secondary print market is all but eliminated. If someone buys a print as an investment and wants to or needs to sell it, he doesn't want to compete with dealers who are still making first-time sales of the print years later. The idea of editions greater than 1000 was at one time unthinkable. What kept the market healthy in past times was a lack of saturation. Therefore any collector who has investment as a motive would be well advised to look at edition sizes no greater than 1000.

• In this same vein, you may notice prints described as "open editions". These could be called "unlimited editions" in that there can be millions of them published. People buy them because they can't afford the "limited" version or don't know the difference. Open or unlimited editions have little collector’s value and may even degrade the value of the "limited version" and are often just glossy posters. Because they have the potential to depreciate an artist’s body of work many artist's and printmakers refuse to publish them, preferring to "limit" all their editions.

About the Work

"Trojan Memory" evolved from the design of the horse's head developed for "Surrealistic Landscape" (below). It is a much looser and freer design when used this way and truly exploits the beauty of form in both the horse and the fluted column.

Paper Size - 51/8" x 81/4"

Medium - Ink on paper.

Size of Limited Edition - 880

Total Number of signed impressions - 968

Number of Artist's Proofs 88

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

Back to picture of "TROJAN MEMORY"

 

About the Work

"Surrealistic Landscape" is an allegorical work based on the concept of a Landscape as a Chessboard. The image explores design problems similar to the issues treated in the painting "Fandango", (see) regarding the "close" picture plane. Those issues pertain to what are referred to as "three-" and "four-point perspectives".

To elaborate, most paintings are designed in what is called "one-point perspective". That is to say, the subjects in the picture converge towards a single "vanishing point". If you take the example of looking down a railroad track...the point where the two rails seem to converge and disappear is the "vanishing point". What though if the artist wishes to depict two sets of rails converging to different points on the horizon. Then he must use two "vanishing points". Actually he can use more than two "vanishing points" as long as they are on the same line. In this case one could have ten or more "vanishing points" along the horizon line. It would still be a "two-point perspective" because the points are spread out in two basic directions. If another direction is added, either "up" or "down", then it becomes a "three-point perspective" and if both up and down are added, it becomes a "four-point perspective".

Although one occasionally sees "three-point perspectives", most people will never see a "four-point perspective" without extreme distortions, unless it is in a scenario where the separate subjects are floating in the space, with no physical objects or planes to separate them. Once a single object or plane itself must be executed in "four-point perspective", difficulties arise. This can be illustrated by imagining oneself standing on the edge of a cliff or building with a large pole (see 3 illustrations) coming from far below and extending past us and up very high. The view of "up" and "down" can be drawn as long triangles with pointed tips cut off. However if one tries splicing these two triangles together to make a continuous picture, something is wrong... If one looks straight on at the pole, its two sides are parallel to each other, whereas in the "spliced view", the sides bulge at the "splice". This is the same problem as described in "Fandango" (see) where it is shown to be caused by too wide of a picture plane.

In this work "Surrealistic Landscape", four point perspective is achieved without evident distortions to the objects nor any obvious curvatures of straight lines. These elements actually exist in the picture but are concealed by the design much the way a tailor hides seams in a garment.

This Link will take you to an editorial one of several published on the original design describing the poetic elements in the picture. It is a scanned version of the text and apologies are in order for its quality. At a later date, the text will be scanned in OCR and clarrified.

For anyone who purchases an impression of the work, a copy of the one of the clippings will be included.

 

 

Image Size - 13.1"x 21.4"

Paper Size - 17.4"x 25.4"

Medium - Ink on paper lithograph.

Paper - Quintessence Remarque Velvet

Size of Limited Edition - 880

Total Number of signed impressions - 980

Number of Artist's Proofs 100

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

Back to picture of "SURREALISTIC LANDSCAPE".

See Clipping Archives about "SURREALISTIC LANDSCAPE"

About the Work

Atomized lithograph. Hand-finished with paint...not ink. Each print is deliberately varied in colour and shade, making each a unique work of art. Can be framed as a painting...or as paper-born art. An interesting variation is framing three together as a triptych.

Paper Size - 19" x 231/2"

Image Size - 18"x 211/2"

Medium - Ink and paint on paper/atomized lithograph

Size of Limited Edition - 276

Number of Artist's Proofs - 12

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

 

Back to picture of "WALL Of SKY".

 

"THE WARDEN'S TEAHOUSE"

 

About the Work

"The Warden's" teahouse is a heritage building in the City of Fort Saskatchewan, Alberta (Canada). Its beautiful lines with curving slope to the roof make it a favourite subject for artists in the Fort Saskatchewan area.

Paper Size - 81/2"x 11"

Medium - Ink on paper

Size of Limited Edition - 181

Total Number of signed impressions - 199

Number of Artist's Proofs - 18

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

 

Back to picture of "THE WARDEN'S TEAHOUSE".

"THE OLD C.N. STATION"

 

About the Work

"The C.N. Station is a landmark in the City of Fort Saskatchewan, Alberta (Canada). It is a typical example of the architecture tradionally used in the construction of C.N. (Canadian National Railway) stations.

Paper Size - 81/2"x 11"

Medium - Ink on paper

Size of Limited Edition - 181

Total Number of signed impressions - 199

Number of Artist's Proofs - 18

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

 

Back to picture of "THE OLD C.N. STATION".

 

"SASKATCHEWAN SCHOOLS COMMEMORATIVE"

 

About the Work

"Saskatchewan Schools Commemorative" is based on a mural designed and painted by the artist in the province of Saskatchewan, (Canada). The original commission was a commemoration of education and pioneer life in early Saskatchewan.

The design features a wagon wheel floating in the sky with various aspects of early pioneer life nestled between its spokes. In the foreground are the figures of an RCMP officer mounted on a horse and Chief Moosomin for whom the Town of Moosomin was named after.

Paper Size - 20"x 26"

Image Size - 15"x 20"

Medium - Lithograph

Size of Limited Edition - 300

Total Number of signed impressions - 300

Number of Artist's Proofs - 10

Price / Edition $U.S. / $Can.

Price / Artist's Proofs $U.S. / $Can.

 

Back to picture of "SASKATCHEWAN SCHOOLS COMMEMORATIVE".

 

In order to reduce upload time, images are presented in low resolution. High definition images of the works will be available online at some time in the future. If you would like to see a finer resolution version of any particular work, please e-mail your request.

Most sections below have several internal links...look for them.

TOP OF PAGE	ARTIST'S BIOGRAPHY
ORIGINAL PAINTINGS	CLIPPING LIBRARY
MURALS	CD ALBUM
SCULPTURES (Bas Reliefs)	PLACE AN ORDER (by e-mail)
EXPANDING MATRIX THEORY	WEBSITE DESIGN
PRICE LISTS $U.S.	DIRECTORY TO ALL SITE LOCATIONS
PRICE LISTS $Canadian	INQUIRIES