Etching Publisher's Journal

The publisher produces the bases for Living Prints with support for all the players and keeps communications clear and on course.

9712181400

I sent him this e-mail:

I just got back from doing some shopping. Noticed one interesting thing, at least I thought so. The discount store has a two foot high terra cotta reproduction of one of those soldiers from the early Chinese emperor's tomb on sale for about $90.

It set me thinking about a letter to the editor of Archaeology Now! that I read a few weeks ago. It seems that a recently deceased artist, a local guy, named Ritchie, I think, had several ancestors way back who left behind rare and unusual artifacts that haven't been seen since their disappearance from a ocean liner in 1910.

Something about strong Celtic/Serbian/Tartar/gypsy influence, carefully crafted by devotees--they had some strange sort of sect going, non-theist, fire, poplar trees, something, something. I forget all the details.

Anyway, you know, I fell into thinking about the Maltese Falcon, and the possibility of drumming up some fakes of those artifacts--since the details are so sketchy, we might be able to pull it off. Of course, when I say fakes, I'm talking quality.

I, personally, would want people to be able to see that they were really getting something. I mean, I don't want to embarrass anyone. One question of course, would be whether to aim for a few well-off collectors, or aim for a larger market.

I don't know. My feeling is, if we could find a few well-healed locals, who fancy themselves real connoiseurs, we might be able to pull it off, though on the other hand, just think of the thrill from seeing something of yours stacked up on pallets on the floor of a discount store when you happen to go in there! Anyway--tell me if you think I'm full of it.

9706191440

When I came in I sensed there was something wrong. It was quiet. Were they talking about me when I walked in? "Is everything okay?" I asked them.

The curator seemed distraught. "He can't remember how he did it!"

"Did what?" I said, and she pointed to the print on her worktable. The artist was looking closely at it. He picked it up and moved it around up close to his face. He squinted. I remembered he told me he needed new glasses, and it made me wonder if this was the real problem.

"I wish I COULD remember," he said, smiling. But the curator did not smile. "I wasn't there," she said, defensively. The professor was sitting in a chair off to the side, his hands shoved deep in his pockets. He sat in a reclining position, his shoulders laid back heavily against the wooden back of the chair.

"I only think there should be better notes," he said, breaking the silence again.

"Who wants to know, anyway," I said.

"All I can tell you is I printed it six times," the artist said, seeming not to have heard my question. "See, on the back?" as he turned it over. Written in pencil were six rows of numbers, written in pencil.

"That's another problem. Sometimes I can barely read the writing!" Then, "Also, it's chine colle. Black," added the artist.

"Who wants to know" I repeated my question. "The Museum," the professor said.

	Curator's Log	The curator is seldom seen but is always seeing to it that the living prints' records are correct and rules followed.
	Artist's Diary	The artist provides the vision and imagery of the living print, laboring after the compelling image.
	Printer's Notes	The printer performs many tasks to keep prints alive, crafting and designing solutions to problems the artist, curator and publisher propose.
	Professor's Papers	The professor explains the living print, the history of printmaking, and keeps the academic community informed.

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©1999 Bill H. Ritchie, Jr. ritchie@seanet.com