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SWEET PEA, 2008
50 x 50 inches overall (4 sheets, 24.5 x 24.5 inches each)
Relief on handmade paper/two sheets per panel, edition of 10
Edition variable because of the handmade paper
$7,000.
MOTHER E, 2008
48 x 50 inches overall (2 sheets, 50 x 24.5 inches each)
Relief on handmade paper/two sheets per panel, edition of 10
Edition variable because of the handmade paper
$9,000.
Anne Appleby's new "prints" are actually not so much editioned as they are serialized as similar objects. Relating to how Appleby's paintings form a strict grid of 1 - 6 wood panels, she has worked with Wildwood Press in St. Louis to make squares and rectangles of handmade paper. Each "panel" consists of two sheets of roughly textured handmade paper, each printed front and back with different colors that saturate the sheet, pushing against each other creating a subtle surface of intermingled color. The two sheets laid over one another suggest the subtly nuanced differences between the edges and centers of her painted surfaces. Color from the lower sheet also peeks through voids in the top sheet; the extravagantly deckled edge reveals color as well. This is printmaking at its best in the sense that the artist has used printing processes to enlarge the scope of her unique work rather than simply reproduce it.
The single panel work titled "Stone" depicts, as the artist suggests, "a limestone deposit anywhere. I was thinking about Lake Huron and the Niagara escarpment." The four-panel work, "Sweet Pea," suggests "these lovely perennial peas at my home in Helena...I love their fragrance and the fragility of the flowers." The colors of her print reveals the plant's life cycle from the dark brown of the seed, through the various greens and yellows of its leaves, to the soft pink of its flower.
MULBERRY, 2008
76 x 50 inches overall (6 sheets, 24.5 x 24.5 inches each)
Relief on handmade paper/two sheets per panel, edition of 10
Edition variable because of the handmade paper
$16,000. unframed
STONE, 2008
48 x 48 inches overall
Relief on handmade paper/two sheets per panel, edition of 10
Edition variable because of the handmade paper
$5,000.
RED GREEN, 2008
48 x 98 inches overall (2 sheets, 48 x 48 inches each)
Relief on handmade paper/two sheets per panel, edition of 10
Edition variable because of the handmade paper
$12,000.
VERONA SUITE, 2003
Color aquatint with burnishing
16.5 x 30 inches, edition of 20
VERONA VARIATIONS
Appleby's latest series of aquatint etchings, published by Crown Point Press, San Francisco, creates harmonic couplings of rich panels of color. A group of 15 prints titled VERONA VARIATIONS are the latest effort by this artist.
Acknowledging the tiny bit of Native American blood still flowing in her veins, Appleby connects her bond with nature to her ancestral heritage through a description of information that is not only seen but felt - without the clichè-ridden trappings of feathers and smoke. These are highly subjective works. They speak of the ineffable spirit of unknowable things more than any finite quantity of known data. They intrigue, they satisfy and they encourage.
click on any image to enlarge:
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No. 1
SOLD |
No. 2
$3,100 framed |
No. 3
$2,800 |
No. 4
SOLD |
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No. 5
$3,100 framed |
No. 6
SOLD
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No. 7
SOLD |
No. 8
SOLD |
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No. 9
SOLD |
No. 10
SOLD |
No. 11
$2,800 |
No. 12
SOLD |
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No. 13
SOLD |
No. 14
SOLD |
No. 15
SOLD |
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VERONA VARIATIONS NO. 2 - 5, and 11, 2003
Aquatint with burnishing, 32 x 31.5 inches, Edition of 10, Crown Point Press
The ASPEN Suite
This earlier suite of color aquatints derived from the tree seen during each of the four seasons, each image comprised of three identically sized vertical rectangles. A fifth, and larger, print called JASMINE takes the form of the asymmetrical two-panel paintings in the exhibit. Through the multiple layering of several inked aquatint plates, these prints are able to communicate a feeling similar to Appleby's paintings, while retaining the texture and tone of the unique medium of aquatint etching on the stark, white paper.
SPRING ASPEN, 2000 (seen at upper right in the set of four above)
Aquatint with burnishing 25.5 x 32 inches, Edition of 35 Crown Point Press
$2,800.
SUMMER ASPEN, 2000 (seen at lower left in the set of four above)
Aquatint with burnishing 25.5 x 32 inches, Edition of 35 Crown Point Press
$2,800.
WINTER ASPEN, 2000 (seen at lower right in the set of four above)
Aquatint with burnishing 25.5 x 32 inches, Edition of 35 Crown Point Press
$3,500.
click on any image below to enlarge:
KINNIKINNICK, 1997
Aquatint 34 x 24.5 inches, Edition of 30, Crown Point Press
$3,500.
WINTER, 1999
Aquatint, 16 x 20 inches, Edition of 50, Crown Point Press
$1,500. framed
Appleby grew up in Pennsylvania, and moved to Montana at age 17. She still lives in Big Sky Country most of the year, spending just a few months at her home in San Francisco. She was schooled at the San Francisco Art Institute and graduated with an MFA in 1989. A strong influence on her work was a 15-year apprenticeship with an Ojibwe Native American elder in Montana. What she gained most from this apprenticeship was a strong level of patience and an incredible ability to observe. Appleby would watch and translate into color the amazing cycles in her vast backyard of Montana. Leaves, stems, buds, fruit, seeds and more are transformed into two-dimensional portraits of captured moments in nature's fluid evolution.
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