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Contemporary Etchings

Latest for 2017 etching so far is 'ROWAN TREE & HAYFIELDS', "MAY PLUM BLOSSOM - TOWARDS UPPER WENSLEYDALE" was PB's largest 2015 colour etching based on a large Oil he painted the Spring of 2016.
His major 4 year's work of "THE SEASONS", a suite of dawn and dusk etchings seen in each season and thus comprising EIGHT large 21" square colour etchings of upper Wensleydale viewed from the same vantage point at ,  are possibly the best examples of his 2012/13 colour etchings - but near sold out. All the 'Seasons' plates but the mastercopy one, that depicts walls and the general shape of the land, are totally different

2017 will see another multiplate etching of Wensleydale - from the summit of Whitfield Crag looking south-east toward Penhill and over the Ure and showing Askrigg in the near distance, with the winter orange hues of larch especially in the foreground where they are lit by a sunset.

2017 will also see the culmination of 2 years work on over a dozen colour etchings seeping with Provence summer hues ito 'illustrate' his latest poss last book - a 'Novella' of around 20,000 or so wordscalled  LA ROUTE DES VIOLETTES' .
He has written this based around Tourrettes-sur-Loup above Vence which is not too far north-west  of Nice, and is a gentle story which certainly
at times could be called a 'ripping   yarn' though partially  based partly on fact!
This slim volume will hopefully be bound ready for sale for the September launch in 2017 in York's Stonegate Gallery before moving to La Galleria in Pall Mall's Arcade, very central London- being 30 seconds walk from Trafalgar Square on the north side corner of the arcade.
It may well be that as ever, in the 'handmade' side,  be printed by hand with real etchings bound in on the same leaf (double spread word) opposite the type, in which case another collector's item, may forthcome as well ready for the launches.

On other pure etching fronts,  GALLERIES, like WALKER CONTEMPORARY ART (Walker Galleries) in Montpellier, Harrogate, the PYRAMID GALLERY in Stonegate, York, BELLWOOD &  WRIGHT in Lancaster's Penny Street and Herriot Gallery in Hawes all have many of PB's renowned SEASONS  and other etchings , framed and unframed
Some too are in the printbin in n London's  HIGHGATE CONTEMPORARY ART

Note, lots of PB's 2013 colour etchings, eg 'HAWTHORNS AND HAYFIELDS: JULY IN WENSLEYDALE'  about 16" square,  do quickly sell out of their editions 
In Sept 2014 his 'MISTLETOE & ASKRIGG CHURCH, WENSLEYDALE' was cited by one art critic as one of the 'best seen for years in the UK'. Edition of only 20 or 25 or far less mean that it is  complex to print them off the etched plates (PB etches virgin metal and then inks the lines up , all by hand, and often a large etching takes 100 hours to make then  20hours to get the perfect printed result - after all 10 colours and a rolled grey are sometimes involved. - then over an hour to ink up and print each one, all by hand - and sometimes for the same price of a signed photo of a qork printed on handmade paper, called a 'giclee - which the public think is 'original'! Caveat Emptor (see note below)


PLEASE READ THIS WARNING re the Giclee print 

Don't be buying  them for the same price as an original = handmade etched or lithoed or lithographed or linocut etc  print.

All GICLEE prints are  photographs - photographed  artworks on handmade paper and signed to look like they are 'originals'! - and selling often at  the same price as an 'original' . True 'original prints', like a handmade lithograph, linocut, woodcut or wood-engraving etc  can only GROW in value.

Can you imagine spending a fortune on a Picasso photoed picture - okay signed by him? (He would never sign photos by the way) MADNESS HAS COME INTO THE ART WORLD and the public are being 'had'!

A Giclee print is a fancy french'ified word for a Reproduction!

Us etchers and all printmakers are amazed at how galleries tell the public, nay CONVINCE sometimes the public that the 'Giclee' print is ‘original when only the signature is! I and many other artists point this out and are thus villified by the gallery staff if saying this to a client in the gallery who are buying a reproduction worth the value of the signature alone: photos can fade. It is fine to buy reproductions if they could be cheap, but to number and sign them so they look original and with a glamorous frame round them and a high price such as 'original' prints have, is not on and almost a 'con'.

A welsh gallery owner , when this was pointed to him, told Piers:  “We didn’t know it wasn’t an ‘original’!!                                                

Piers Browne received this by e-mail, from someone he vaguely knows, to add fuel to his fire as a ORIGINAL printmaker whom loathes the confusion over ‘giglees’: 

 "My brother in law brought a giclee print for my sister for £600, and I asked her why she'd paid that  much for something mass produced off a commercial run-of-the-mill commercial colour printer!" And I added... "That when you can have something completely 'ORIGINAL' being handmade  which an artist has given their time and heart to produce. But she couldn't see what I meant so she is happy with her probably £10 or £20 worth of a signed photocopy on canvas (or was it paper I must check)  bought for around £500, if framed!" (Mark Jakes)

Piers'  father loved art, and hung in his rooms in Magdalene College, Cambridge in the 1930's,  a Cezanne reproduction: but he knew it was a photographic reproduction, beautifully framed, but at low, truly an affordable price for an undergraduate. If it had been confusingly (as makes the pic look 'original') signed by Cezanne - tho' that WOULD BE VALUABLE FOR THE SIGNATURE!  But no way would Cezanne or say Picasso  have agreed to signing that.

Giclees are thus a way of starting to appreciate and then collect Fine Art; but best save up for the real thing.

 Never ever has there been a better case of CAVEAT EMPTOR
 Never has there been a better case for the word REPRODUCTION
to be by law added to labels of ‘Giclees’ so the public are not, in effect,  confused and paying far far more than the giclee is worth!