Aquatint and etching printed in blue ink on wove paper.
Edition unknown; ours one of 10 artist’s proofs.
The border surrounding the composition is separate from the main subject, as is clear from the plates’ indents visible on the verso. It is unclear whether two separate plates were used to obtain this, or whether a clean wiping of the white band between the two sufficed for the artist to obtain this visually attractive compositional element. Either way, it is technically masterful.
Signed, titled, dated, and numbered in Roman numerals in pencil.
Plate size: 14 3/4 x 11 inches.
Karen Parker, née Chambers, and who may have at times used the name Karen Chambers Parker was born in Montgomery, Alabama in 1947. Sadly, at the time of writing nothing further is known about her biography, and it is unclear whether she is still with us or still creating. What is known about her is that she created abstract intaglios of great elegance in the early to mid-1970s. These betray an admiration for Stanley William Hayter and a great many artists who earned their printmaking stripes with Atelier 17 in Paris or in New York. They are very accomplished and suggest she must have had firsthand a formal education from another accomplished intaglio specialist. Her lines, etched or engraved, are sharp. Her aquatint is very finely modulated. By the early 1980s Parker had seemingly evolved artistically. The few prints from that time are influenced by Chinese and Japanese landscape painting and printmaking. Mountains and lakes, mostly printed in hues of blue with touches of green and the occasional subtle hue of another color, contrast against flat atmospheric backgrounds in which a round celestial body, moon or sun is often unclear, watchfully anchors her composition. We would welcome any further information about this exceptionally fine printmaker. Mrs. Parker, if you find this page, and care to tell your story, kindly reach out to us. It would be a pleasure and an honor.
