P.T. Artist Sandra Stowell

These bound and wrapped mummies are a chine colle photo etched print with string, mounted on honeycomb cardboard packing material.

Here is another artwork that I started long ago, now completed by adding collage elements. The images left to right: the early version, the new version, and then the final mounting:

I am afraid that the earlier version was already sufficient. It consisted of the watercolor window with cutout trees superimposed, with the tracing of purple shadow painted in.

I may well have cluttered and spoiled it by adding the newest elements: a leaf, a bird, and a crescent moon. But it is done, and now the work is mounted on a chipboard panel eady to hang.

I am currently very discouraged about most of my artwork, so I will put this away and hope that I will like it again later! Wouldn’t it be lovely if someone wanted this. But really that is not very likely. I am doing no marketing here. Although I did sign up for the August studio tour, so maybe I will sell a few pieces then.

I have been taught about the value of presentation. A fabulous painting or lovely drawing will be better “seen” by others if it well presented. This may mean framing, or I may choose mounting for presentation. Mounting an artwork to a board or panel may be more appropriate. I don’t want my work behind glass, and framing is a lot of overhead for an artist. Professional framing is expensive, and do it yourself framing requires skill, time, and tools.

With some drawings and paintings I mount the original work directly on a board or a panel. If it is on paper, I will seal it with acrylic medium or wax. This is not archival, but I am not making great art for posterity. The surface will be delicate/fragile, but so what? Art will be hung up for viewing, not handled daily like a toy or a tool! It will be up to the owners to care for it as they see fit.

When I mount archival prints of my work, I may not resist the urge to enhance them. Even a very good print will not have the impact of the original work if the original has dimensional impasto or collage elements. So when I mount an archival print, I may do a bit more to improve the presentation. Here is one example:

You can see on the left the archival print, just positioned on the painted canvas board prior to mounting. At right is the mounted print with enhancements. Note that I took the photos in different lighting so the colors appear different. Really the overall colors are much the same.

What is different: I added a tiny hint of dimension to the print, using acrylic medium & translucent color. I added to the leaves and another spot where the original work has dimension. The main change was is on the mounting panel: I extended a hint of the branches out beyond the print. This felt necessary because I mounted the print on a larger panel, so the background distracted me from the actual print. I like it better with this additional level of presentation. It is not just a weaker copy of the original, but something a bit different and new.

I like using ghost prints. I often made a ghost print back in my printmaking days, unless I was printing an edition. And that was infrequent as I preferred the variety of unique prints.

A ghost print is the second or even third image pulled from the plate without re-inking. Sometimes, very occasionally, a ghost print will be spectacular; better than the first, intentional print. But more often the ghost print will be pale and a bit lackluster, but still with some value.

Ghost prints can be excellent backgrounds for additional work. An intricate ghost print provides a fine start for abstract doodling with colored pencil, pen, or even paint. I cleaned out some flat file drawers and found a few ghost prints to work on. The blue ghost print at left has colored pencil, a bit of marker pen, and an added circle applied. It may be something of an aerial view.

I transformed the orange ghost print on the right using watercolor paint. It now an abstracted landscape to my eyes, and I rather like it. These two pieces are fun examples of using ghost prints.

The Haller Fountain in downtown Port Townsend features a cast bronze figure pouring water from an urn. The woman stands on a ornate base with cherubs and dolphins also spouting water. The figure in this bronze fountain has been replaced three times. Time, water and vandals are hard on public art! The original fountain statue was of poor quality metal that did not last well.

The original for this figure, by an unknown artist, was based on the 1490s painting “The Birth of Venus” by Sandro Botticelli. The artist displayed the statue at the 1893 World Columbian Exposition, aka the 1893 World’s Fair in Chicago, Illinois. The Venus statue was shown in the German Pavilion. That statue was sold to J.L. Mott Foundry of New York, and casts could be ordered from their catalog with a choice of various bases.

Theodore Haller purchased the original figure from the Mott Foundry, and gifted the fountain to the City of Port Townsend in 1906 . Although the original statue was intended as a statue of Venus, our fountain figure is often referred to as Galatea. It seems that the donor’s father, Granville Haller, read a poem about the Greek sea nymph at the dedication of the gift to the City. Since then the figure has been known as Galatea. And the whole is also referred to as the Haller Fountain, after the donor. The first repair of the statue modified the original figure. However Port Townsend artists Mark Twain Stevenson and David Eisenhower created a replica of the first statue in 1992 after vandals destroyed the second statue.

In 2014 artist Sara Ybarra Lopez wrote and published a book, “Galatea: Heart of Port Townsend”. Sara included photos, art, and thoughts about the Haller Fountain by local residents. You can read more about the book in a Leader article by Jan Haliday. You may still be able to buy or view her book at the Jefferson Historical Society Museum of Art & History, at 540 Water Street.

I used part of a old photo that I took of the Haller Fountain to create the recent collage displayed on the right. I added “bubbles” cut from some of my own prints. Galatea sometimes takes a bubble bath when pranksters add soap to the fountain water! I took several photos of the fountain in order to contribute art to Sara’s book.