BILL OSMUNDSEN

“ON V IRGINIA BEACH”

A COLLECTION OF

SIGNED LIMITED EDITON

GICLEE PRINTS

AND

ORIGINAL

ACRYLIC PAINTINGS

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CONTACT INFO:-

PRINTS AND ORIGINALS ARE SOLD ONLINE

AND THROUGH SELECTED GALLERIES.

I MAYBE CONTACTED BY E-MAIL:-

BILLOSMUNDSEN@AOL.COM

THESE ARTWORKS CAN BE VIEWED AND

PURCHASED ONLINE THROUGH PAYPAL:-

BRONZESEA.ORG

QUESTIONS BY PHONE:-

757-618-9550

COMMISSIONED ARTWORKS ACCEPTED

© WILLIAM BARTH OSMUNDSEN

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About Giclee Prints, Print History and these images For the last ten years I have been working again in paint. Dur-ing the previous 30 years I spent the better part of my Art Ca-reer as a Sculptor and building an Art Foundry. My early child-hood training was in oils; the fundamentals of drawing and anatomy. I have always had a special interest in Maritime sub-jects and portraiture. I have actively taught life drawing and portrait sculpture throughout my career. I have always been interested in intro-ducing color to my sculptured bronzes in the form of poly-chrome patinas.

Print-wise I have produced a number of hand-cut serigraphs and I have a great respect for the process of various types of manual printing, such as etching and engravings as well as wood-cuts. These are all labor intensive and can be defined as their own art;- really they go far beyond the re-production process of say a photo-lithograph, which is designed to faithfully reproduce a work of art without much deviation. Recently, in the lexicon of art processes, comes the Giclee print. Which means to literally ‘spray’ the ink onto a page. Everyone who has printed with a computer is familiar with that process. As the Gi-clee has developed the images have become more and more vibrant and the overall print quality finer than or equal to the very best photo-lithograph.

The main difference for both the artist and consumer is lithographs are printed in bulk and Giclee’s can actually be printed one at a time. In both cases a high resolution photo of the artwork can be used for the original positive. With Giclee preparation process, artwork or photography, can be scanned to create a master file of the painting. It might be interesting to note, in history, the print, in the form of the etching or stone lithograph was used to present a finished artwork, I.e. large painting, to a potential patron or purchaser of that art. This was introduced during the 12th and 13th century throughout cultured Europe. Very often the Artist thought he had maybe a dozen potential sponsors for the Artwork and he would make a finished study of the Art to be created; -make a plate for an engraved print which could duplicate copies of the design to be sent on to as many clients who might purchase the Art-work, with a letter describing the project. As time went on a great appreciation rose out of these prints and they were looked at as 'Art' in there own right. The 19th century artist, such as Toulouse-Lautrec used the stone lithograph media to advertise Moulin Rouge and he would also number and sell the prints as did many of his contem-poraries. In the late 1800’s many very accurate etchings were hand colored for books and prints. By the mid 20th century the Off-Set press which with a 4-color photo-separation process and lightweight plates for printing really ramped up the possibility of large and consistent print runs. Enter the Giclee proc-ess about 10 or 15 years ago and now you have an even greater color and duplication control.

For me these images produced in print and on my web pages are highly autobiographical. They fol-low friends I’ve met and places I have been to. In every case I knew the subject or individual;- lived near or around the location that I painted.

About the Limited Edition Print:- Paper, Ink and preparation The paper I have chosen for this print collection is Arches ‘Aquarelle’ Rag Paper. It is a heavy stock with a nice open tooth on it. This allows the ink to sink in and play off the paper at different angles. Although minute, the textured surface, produces a richer print much like paint on a canvas. The sizes given are for the image and there is ample white paper area around that. As it is a num-bered and signed print, the signature is made under the image in pencil and traditionally is left within the matted or framed area along with some of the corresponding white paper. When you see a Limited Edition print the bottom number indicates the total quantity of Art Prints that will be made. The top number is consecutive to the number of prints issued. The numbering will look, for instance, like this: 5/500, the 5th print made in a series of 500. The bottom number is a good indicator to let collectors know there are only say 500 prints to be made in the edition. So you own one of 60 or 150 or 500 that number will guarantee you as the collector, of the limit of the edition and of future rarity which should translate to greater value for resale, if you desire, further down the road.

To insure that your print purchase is of lasting quality the paper is acid-free and has a 100% rag content. The Rag content, which is the cotton or linen used in making the paper, makes a stronger and more durable paper; It also indicates the best and most expensive papers made:- 100% being the highest Rag content. Acid is the devil to paper; that’s why old manuscripts are handled with gloves. The acid will discolor and eventually destroy the document. The Arches paper we are using is certified acid free and this is supported by the ISO 9706 Standard for galleries and museum longevity for papers. The printing is done on a high end Epson Printer, inks are guaranteed for 75 years. If you matt your print please follow suit and use an acid free matt as that can discolor the print second hand.

Bill Osmundsen March 2011 Greenwich Village, New York

“ON V IRGINIA BEACH”

COLOR PLATES

‘REFLECTIONS ’

‘SURF FISHERMAN ’

‘SWAN’

‘REFLECTIONS TOO’

‘GREY GOOSE’

© W ILLIAM BARTH OSMUNDSEN

All reproduction rights reserved no part of this book maybe

Reproduced without explicit permission of the Artist.

“ R eflections ”

Signed Giclee

Limited Edition 150

12 ” x 16 ”

© Wm Barth Osmundsen

From the Artist ’ s Original

Acrylic on Canvas

“ON VIRGINIA BEACH”

Virginia Beach and the Hampton Roads Area has long been a draw for me.

My first experience with the Virginia seacoast goes back to my Navy enlist-ment;- I was stationed at the ‘Little Creek’, Amphibious Base which lies on the Chesapeake Bay between Norfolk (which it is part of) and Virginia Beach. While in the Navy I often visited ‘the Beach’ for recreation, where I was rep-resented by a fine Gallery, owned by George and Ruth Laakso, who were well know artists’ in the area. That was from 1969 til 1972. When my enlistment was over, I returned home, to the New York area, to pursue my art full time.

Always fond of Virginia Beach I relocated there in 2005 where I was just a short walk from the Boardwalk. I looked for subjects which would be the es-sence of my immediate surroundings.

In the Fall, Winter and Spring the beach is quite disserted. You always find lo-cals walking their dogs on the Boardwalk; cyclists peddle by and people walk the sandy broad beach as the seasons change.

On these walks I found a wonderful continuum of nature. A cycle of migra-

tory birds and weather that repeats and continues with the rhythm of the ocean waves. Looking minutely at some of the smallest of the residents that lingered into the Winter I found the Gulls. In the bright sun they cast dark shadows and on the beach, fresh from the last wave, where they cast their own reflection. This only lasts for a moment, as the water dries the reflection fades and then a new wave comes in, the gulls scurry up beach and back as the wave reseeds.

On one of these walks I met a surf fisherman. I always wonder if they catch anything and he had. I don’t remember what kind of fish though, maybe a bass or a blue. It was kind of a stormy day and the surf was really churning up. A chill in the air and gray in the sky reminds me that the ocean can change abruptly in a short amount of time. This was the same emotion I wanted to capture in “Swan’ a wonderful old wooden Sloop with a traditional rig, out on a blustery day.

“ S urf Fisherman ”

Signed Giclee

Limited Edition 150

15 ” x 20 ”

© Wm Barth Osmundsen

From the Artist ’ s Original

Acrylic on Canvas

“ S wan ”

Signed Giclee

Limited Edition 150

14 ” x 17 ”

© Wm Barth Osmundsen

From the Artist ’ s Original

Acrylic on Canvas

“ R eflections Too”

Signed Giclee

Limited Edition 150

14 ” x 18 ”

© Wm Barth Osmundsen

From the Artist ’ s Original

Acrylic on Canvas

The Grey Goose was created in response to the environmental clean-up of the Elizabeth River.

In the words of the late CBS commentator Charles Kuralt who was a friend

to the river:

"When the wetlands really come back, when the forests return to the

shore, when healthy fish, clams and oysters find a home in the Southern

reaches of the river again, and the sun rises off the Atlantic in the morning

to reflect itself in the serene pure waters of the Elizabeth River, our chil-

dren and grandchildren will know that we had them in mind."

“ T he Grey Goose”

Revival of the Elizabeth River

Original Acrylic Painting

50 ” x 50 ” framed

POR

© Wm Barth Osmundsen