Luna , 2006

Aaron Noble
six color hardground etching, aquatint, spit-bite aquatint, sugar-lift, white ground, drypoint and roulette
edition of 30
published by Smith College
30 x 22 1/2 inches

Noble created his first etching, Luna, in the fall of 2005 at Wingate Studio in conjunction with the annual Smith College Print Workshop. To create Luna, Noble worked from a previous watercolor that began as a synthesis of various comic book fragments.

Along with a print by Walton Ford this was one of the first multiple plate color etchings I ever got to see in progress. Both Aaron Noble and Walton Ford base their etchings on a watercolor image. They then work with the master printer, Peter Pettengill to etch a copper plate for each of the colors. All the plates are then printed together with a final key plate printed in black ink over top of the colors. Through out the process the color combination is carefully tested and each plate is “edited” in relation to the other plates so the colors blend seamlessly in the final version of the print. The ink gives the images a particularly luminous quality distinct from the original watercolors.

Wingate Studio with Aldo’s Press, Threnody for R.L. Burnside, 2005.
Gideon Bok

color etching and aquatint
20 x 44” edition 15
published by Wingate Studio

The print depicts the activity of the printshop, such as the repetitive movements of the printers, the objects and supplies that went into the creation of his print, and the architecture of the studio.”

About the Studio: Wingate Studio was founded in 1985 by Peter Pettengill to publish etchings in collaboration with artists.

Samuel Beckett Illustrated by Robert Ryman & SIGNED by both

BECKETT, Samuel. NOHOW ON. [New York]: Limited Editions Club, (1989). Quarto (7-1/4” x 10-3/4”) sewn and bound by hand by Carol Joyce in full black Nigerian Oasis goatskin leather with the spine and front board stamped in 22-carat gold leaf. Text printed at the Shagbark Press on paper from Cartiere Enrico Magnani; etchings printed on Arches at Wingate Studio and Renaissance Press. Illustrated by Robert Ryman who has created 6 ORIGINAL AQUATINTS, printed in tones of white, for this work. Copy #457 of 550 SIGNED on the colophon page by the author and the artist. Monthly Letter laid in. Fine in a Fine handmade clamshell box of black Italian cotton lined on the inside with gray ultrasuede and a black goatskin spine label stamped in gold. Still contained within the original shipping box. (#016411) $6,000.00


Olivia’s chickens have arrived!  They prefer to spend their time softly clucking under their coop, escaping into nearby trees for naps, and occasionally laying eggs.  Anyone in the valley who wants organic farm fresh eggs give us a shout!

Spring is finally coming to the Connecticut River Valley and we are excited to have Chuck Webster coming in May to begin working on a new project. This will be our first time working with Chuck, and we are looking forward to making some great art and eating some fabulous meals (we’ve heard he’s an incredible cook…)

Visitation, 2004
six color hardground and softground etching, aquatint, spit-bite aquatint, drypoint
edition of 50
published by Blue Heron Press
44 x 31 inches
111.8 x 78.7 cm.
PKE 7539

Walton Ford is particularly relevant to the subject matter of this blog since his art is a contemporary commentary on nineteenth-century traditions of illustration, particularly those dealing with empire.

"Walton Ford’s prints and paintings look like large-scale descendents of the eighteenth and nineteenth-century tradition of natural history painting and engraving. His life size birds and animals often serve as metaphorical stand-ins for different cultures in allegorical narratives. Extinction, greed, power, naturalism, humor, the grotesque, are all repeating elements in Ford’s work."— Wingate Studio (

Walton Ford’s copper plate etching in progress at Wingate Studio. Each color is etched separately, proofed in black ink and eventually printed in color in combination with the other plates.