Who was Dale DeArmond?
Please refer to the about tab for more information on this artist.
What is the intended purpose of this website?
The purpose of this website is to create a database of Dale DeArmond’s body of work, so collectors, fans or just the curious can access a site that can answer questions. There are currently few sites available for information on this artist, offering only a spattering of individual bits of information.
What is the difference between a woodcut and a wood engraving?
Per Letterpress Commons:
Woodcuts are relief printing plates made by carving marks in blocks of long grained planks or plywood. Long-grain refers to the grain following the direction of growth, i.e, parallel to the tree trunk/branch the piece of wood was cut from.
Woodcuts vs. Wood Engravings
While both are relief printing methods, Woodcuts are distinguished from wood engravings by both the grain direction of the wood used and the tools employed. Wood engravings are typically made in hardwood blocks cut across the grain or endgrained, that is, perpendicular to the growth of the tree using gravers and scorping tools.
What is the correct spelling of the artist’s name?
Dale’s name is spelled DeArmond (the artist also used De Armond). It has also been (mis)spelled as De’Armond, Dearmond and De Armand.
I have a print of Dale DeArmond’s, and attached to it is a certificate of authenticity (COA). Does it add value?
DeArmond included a COA with many of her engraving prints. It included information about when it was printed, title, description, etc. Keep these with the original print – while it wouldn’t be said to add value, it is important to the print. It should be noted that not every engraving print released by DeArmond was accompanied by a COA, and very few of her woodcut prints had an accompanying COA.
As is standard with many valuable collectables, should I be concerned about “fake” prints or bootleg copies?
Fakes or copies have not been identified with DeArmond’s body of work. However, their possibility of existence is progressively very real, especially for valuable or rare titles. As a rule of thumb, if something looks too good to be true, it may be a fake. Research, do your homework, and be cautious when making purchases. Look into references and ask many questions. Caveat emptor; Latin for “let the buyer beware.”
Regarding individual prints, I’ve noticed the text AP, T.P., or P/P. What do they refer to?
In addition to the regular edition, DeArmond created various proofs for many of her prints. They are listed below, and may not apply to all:
A/P = Artist Proof
T/P = Trial Proof
P/P = Presentation, Printer’s, or Progressive Proof
B.E. = Book Edition
E.A. = Épreuve D’Artiste Proof (known to only exist for a few titles, including her 1975 stone lithographs, as they were printed in France)
What is hand written on most of the prints?
Typical for DeArmond’s prints is the penciled, hand-written details that she wrote on the bottom of each print, which may include the title of the print; edition number/total in edition; artist signature; and year of production. An example below:
Raven Making the World 22/35 Dale DeArmond – imp – 1963
For her name, it may be abbreviated as “D. DeArmond” or “De Armond.” Where the numbers are may be written “AP” or “A/P 2/5” (an indication it is an Artist Proof, number 2 of 5). The (unique) first number is what is assigned to the individual print, while the second number indicate the total in the edition. The written imp is short for imprinted or impression – an indication that DeArmond herself has pulled the print. Said DeArmond: in the past, a puzzled person “…asked me once ‘why all of your prints are marked imperfect?’… the IMP simply means that it has been imprinted by the artist rather than by an assistant or by a commercial shop.” With some exceptions, if you do not see “imp” on a print, it is likely a serigraph or lithograph and not hand-pulled by DeArmond.
Proofs are produced during the production of a print. They give the artist insight (and opportunity to make changes) to what the final piece will look like. They may be uncolored and/or appear “unfinished,” but in most cases they are identical to prints in the regular edition. Proofs can be held by the artist, given away to friends and/or family, and when the regular edition is sold out, they may also be sold. They are generally considered more valuable. Although not applicable to all prints, there should only exist 10% of proofs with regard to the original edition. For DeArmond’s earliest woodcuts, typically 5 artist proofs were produced, regardless of the number in the regular edition.
I have a print that has a slightly different title than is listed. Is this normal?
A title change may be made for whichever reason after proofs or initial prints are made. For the print “Raven and the Magic Stone,” artist proofs may be titled this – however, later prints were given the title “Raven and the Young Spring Salmon.” Each title refers to the same print.
Which mediums did DeArmond work with?
She has worked in many mediums, including oil, pastel, ink and pen, pencil, stone lithographs, woodcuts, wood engravings, etchings, silkscreens (serigraphs), lithography, and even textiles – in addition to literary works.
I’m looking for a particular print, yet I cannot find it. Any reason?
If you’re looking for a print, it’s out there – for a price. Most of her works had a very limited print run. Truthfully, most of what DeArmond produced could be considered “hard-to-find.” With few exceptions, DeArmond produced much of her work – and some books – herself.
What dictates value for DeArmond’s prints?
DeArmond produced a large body of work, but released a relatively small edition of each title. Thus, her works are short in supply. Values of her prints are derived from many reasons, including:
- past sales;
- number in the edition (rarity);
- subject matter;
- age of the art;
- appeal (popularity)
- availability (has a title shown up on the market recently)
- its complexity (for example, the number of colors in a woodcut)
Dale’s original prints carry a wide range of values. As a collector, it is important to collect what you like, and what appeals to you. Unless money is no object, they should not be considered for purchase with the sole intention of garnering a profit. The original carved woodblocks for her woodcut and wood engraving prints are unique and can be highly desired.
Where can DeArmond’s work be purchased?
Few galleries around Southeast Alaska and beyond continue to carry her work. Her prints can perhaps be easiest found in Juneau and Sitka, where she lived most of her life; but if looking for something in particular, also check other art galleries in Southeast Alaska, Anchorage and Fairbanks, as well as those in Washington State and Oregon. It is recommended that would-be buyers contact the Rie Muñoz Gallery in Juneau, Alaska; Muñoz was a long-time friend of DeArmond’s, and her gallery has sold DeArmond’s artwork for many years. Their website is www.riemunoz.com, and their phone number is 907-789-7449.
DeArmond’s art is not available for purchase on this website.
What is a “second state” when referring to her prints?
On rare occasion, DeArmond has produced what may be called a “second edition,” but hers are referred to as a second state. These are not second editions but a print with “conspicuous changes” from its first (regular) edition. DeArmond has produced very few second states of her prints; their edition size may be different than the first.
Anything else not yet mentioned?
Insurance valuations for most of DeArmond’s works are available via this website – click here for more information.
Your information is needed! Do you have a print that is not listed on this site? A picture of a title that is missing? What about image (block) or overall print sizes? Do you have a COA (certificate of authenticity) for a print? How about other missing information like: year produced; type of paper; type of medium; perhaps you own another “state” (see above) of a print not listed? Please consider sending information and/or pictures of your works to firstname.lastname@example.org.
For many years, DeArmond sent annual Christmas cards to her closest friends and business associates. These were hand-made, hand-produced, and often signed by Dale and her husband. Their values are unknown; they are rarely ever offered on the open market.
In her lifetime, DeArmond created thousands of drawings, sketches and carved blocks. While many of these would end up in a woodcut or engraving print edition, not all were. In fact, many items DeArmond produced could be considered “unique” or “one-of-a-kind.” For whatever reason, she may have decided not to continue with an edition, thus only producing a singular copy.
As of October 2019, there are approximately 740 print titles listed. Despite this site described as an ongoing work-in-progress, it’s likely that DeArmond – in her expansive 50 year artistic career – produced over 400 woodcut titles and 800 wood engraving titles. This proves challenging to document as many of her print titles are unknown to the market.
Most collectors want prints and original works in excellent, near-new condition. Because DeArmond hand-pulled most of the prints herself, the terms “new” and “mint” really do not apply, but condition does play a factor in dictating value. A few things to consider:
- DeArmond didn’t always print on white paper. She used quite a number of different colors and types of paper.
- Always use acid-free matting when framing your art. If you purchase a print in an older mat, (strongly) consider re-matting it; older mats tend to be acidic and can “burn” into the print over time.
- Beware of “sunburn,” or what’s referred to as toning – where the print has burnished because of extended exposure to sunlight, yellowing the paper. Colors on these prints can be substantially different than as originally issued.
- Foxing is not uncommon on older paper prints, especially in states with warmer and high-humidity climates, and may be reversible.
- If possible, look to make sure that the print hasn’t been cut down. Some framers have done this to a print to fit a smaller frame!
- Dates can vary on prints; early woodcuts tended to be created “on-demand,” and may be dated later than those created earlier. Engravings may have later print runs for purposes of a book edition.
- Print sizes can vary. For single titles, DeArmond sometimes (but not always) used different sized papers.
- If you see deckled edges (also known as feathering) on a print, this is intentional – an example is below. It’s done when the printmaker is cutting the print paper, and is often issued this way by its makers or manufacturers.
This website is only possible with the participation and assistance of many individuals and businesses. Many thanks are given to all involved.
The images on this site are representable of the images DeArmond produced, but all are culled from a variety of sources. Some are directly taken from a print, while others may represent a low-quality version of the original. Others may be scanned from a print that was copied in a book, while some may not be available at all.
The information provided in all areas of this website is provided using various reference materials and websites, but some information may be erroneous or mistaken. Your use of this website indicates your understanding and agreement that (the owner and creator of this website) will not be held liable for anything deemed incorrect or erroneous. You further acknowledge and agree not to hold (the owner and creator of this website), or the respective copyright holder, liable from anything that may result, or does result, as a consequence.
Except where noted, all images contained herein this website are copyright © Estate of Dale DeArmond. Used with permission. All rights reserved.
Website design, content, and any text beginning with “note,” is copyright © Davin Anderson 2015-2019.
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