Gift exchanges are among the most intimate ways that artists participate in print collecting. Personalized with the recipient’s name and other inscriptions, gifted pieces document friendships and professional camaraderie while providing insight into the social complexities of viewership. Three etchings presented by B. J. O. Nordfeldt (1878–1955) to fellow etcher Bertha E. Jaques (1863–1941), now part of the permanent collection of the Roswell Museum and Art Center in New Mexico, form an intriguing example. Embellished with notes and informal drawings, these impressions recall aesthetic trends associated with the Etching Revival while underscoring the often private nature of print consumption.
Through the Wine Glass: Whistler and the Hour of the Little Cocktail
- by Catherine Bindman
- A study of the artist's tiny, tender Wine Glass etching.
Hogarth’s Midnight Modern Conversation
- by David Bindman
- A misunderstood moral is clarified.
A Lone Star Bonanza
- by Peter S. Briggs
- The first 25 years at Flatbed Press in Austin.
Incendiary Etchings: Tom Lewis and the Catonsville Nine
- by Morgan Dowty
- A little-known 1969 portfolio by an activist artist.
Freedom and Resistance in the Act of Engraving (Or, Why Dürer Gave up on Etching)
- by Brian D. Cohen
- Experimentation in a new medium.