showing 100 of 1185 results matching creditline:"Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund". (load 200 more)

advanced
Six-color etching and screenprint with chine collé and hand-cut gampishi oversheet: The first plate is printed in light green, light blue, light brown, and light gray inks from an aquatint with a brown chine collé element. The second plate is printed in black ink with etching, sugar-lift, spit-bite, drypoint, scraping, burnishing with the two lower comers cut at diagonals and reassembled after inking and prior to printing. The oversheet is white gampishi which was screenprinted. 136 diamond shapes were hand-cut according to placements designated by the artist and attached using 10 diamond shapes cut from BEVA in placements designated by the artist. The gampishi oversheet being attached at irregular intervals will dynamically respond to its environment with changes described by the artist as "expected and welcome." To allow movement and protect the oversheet from damage, each print was mounted using kozo-shi strips to museum board with an 8-ply museum board window overmat.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions and Walker Art Center

Winter Speaks, 2015

Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View
Woodcut: Hand-printed in dark blue with a barren on a sheet of white gampi from laser-cut luan plywood created from the artist's drawing and mounted to the Revere Silk sheet with wheat starch. Intaglio: Two steel-faced copper plates drawn by the artist using sugar-lift, spit-bite, scraping, burnishing, and extensive drypoint using sandpaper, twisted scribes, and scrapers printed in black ink. Screenprinting: Solid light blue shapes created using Rubylith material per colored paper shapes cut by the artist printed after the prints were dried and flattened. Digital: Digital pigment printing on white gampi from the artist's drawing on tracing paper adhered to BEV A conservation film and cut by a programed knife cutter and applied to the print with heat. Of Summer is the second print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four print series concerning the four seasons. To match the presentation of the first print, Winter Speaks, each Of Summer print was mounted using kozo-shi strips to museum board with an 8-ply museum board window over mat.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions and Walker Art Center

ɹǝɯɯnS ɟo, 2016

Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View
• Digital pigment print of scanned green floral drawing on verso of the Somerset Velvet paper. • Digital pigment print of scanned Sumi ink drawing printed onto Asuka paper. • Asuka hand-cut and chine colléd onto the Somerset Velvet paper, prior to intaglio. • Intaglio from one steel-faced copper plate drawn by the artist using aquatint, spit-bite, sugar-lift, and drypoint in black ink. • Screenprint in light gray on Coventry Rag paper. Screenprint in blue on museum board. • Butterfly element made of gampi holographic foil, stainless steel wire, and BEVA conservation film. • Coventry Rag border cut and adhered to Somerset Velvet intaglio print using BEVA conservation film and gampi paper. • Three-dimensional elements hand-cut and folded forward to the artist's specifications. • Coventry/Somerset print attached to museum board using BEVA conservation film and gampi paper. • lnserted the hand-cut and folded butterfly element through the museum board and attached with BEVA conservation film and gampi paper. Finally is the third print by Jim Hodges co-published by the Walker Art Center and Highpoint Editions intended to be part of a four-print series concerning the four seasons.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions and Walker Art Center

Finally, 2017

Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View
Seventy-nine color print with lithographic, relief, screen and pigment printing with hand-cutting, collage, and metallic foil. Printing order: Coventry Rag: A gradation from light gray on the left to medium gray on the right was digitally pigment printed and seven colors (3 golds, copper, red, yellow, and orange) of foil were applied individually using metal leaf size screenprinted through screen stencils created from the artist's drawing. Kozo-shi: 92 shapes in 62 colors printed from 14 lithographic plates and one run of blended color screenprinting. The plates were created by relief printing black ink from wood panels onto tracing paper. The artist selected shapes from the printed tracing paper which were used to create photolithographic plates. After the lithographic plates were printed, an overprint of gradated screen ink transitioning from clear on the left side to transparent black on the right was applied. The printed kozo-shi was cut into strips and mounted on the printed Coventry Rag sheets using BEVA film adhesive. The kozo-shi mounted on the Coventry Rag was then screenprinted with eight colors (3 metallic golds, metallic copper, metallic bronze, red, orange, and yellow) through screen stencils created using the artist's drawings.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions and Walker Art Center

Bringing in the Ghosts, 2019

Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View
32-color screenprint and lithograph co-published by Highpoint and the Walker Art Center produced from computer files and drawings by the artist hand-printed from photosensitive screens and lithographic plates. The four lithographic elements were retained for possible reworking and inclusion in separate project.

Copyright %C2%A9 Julie Mehretu%2C published by Highpoint Editions and Walker Art Center

Entropia (review), 2004

Julie Mehretu; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

Not on View
A four-color lithographic print with chine collé published by Highpoint Editions. Four lithographic drawings by the artist were printed from lithographic plates on four pieces of gampi paper. The four separate gampi sheets were layered using wheat starch paste and then attached to the Somerset backing sheet, also using wheat starch paste. Entropia: Construction is related to an earlier work co-published in 2004 by Highpoint Editions and the Walker Art Center, Entropia (review). Three drawings previously used in Entropia (review) were merged with a fourth new drawing by Julie Mehretu to create Entropia: Construction. There are no further variants or prints using these drawings.

Copyright %C2%A9 Julie Mehretu%2C published by Highpoint Editions

Entropia: Construction, 2005

Julie Mehretu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint, drypoint, and burnshing printed in black ink on gray Rives BFK with white Shikibu #1 chine collé.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions

days: I, 2021

Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View
Drypoint, burnshing, and cutting with a jewelers saw printed in black ink on white Arches Cover paper.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions

days: II, 2021

Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View
Two plate intaglio. One plate created with spit-bite printed à la poupée on natural Kaga gampi chine collé in green, gray, and tan inks on bright white Hahnemühle paper. The second plate was created with drypoint and burnshing and printed in black ink.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions

days: III, 2021

Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint printed in blue on pale gray Domestic etching paper with natural gampi chine collé.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions

days: IV, 2021

Jim Hodges; Printer: Harlan & Weaver, New York; Publisher: Highpoint Editions, Minneapolis

Not on View
state proof; abstract composition of varying lines with blank space in ULQ

Proof #1 for "II" from "days" suite, 2021

Jim Hodges

Not on View
Two coyotes, each printed lithographically in white, grey, and black. One coyote with four US flags and a sign, the other holding a mask with the word "HELP'' between vertical ribbons and border. Hanji paper mask screen printed, hand-cut, and applied with BEVA film adhesive.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Tone Deaf, 2021

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 10 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

Winter Hours, 2007

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
state proof; abstract composition of varying lines

Proof #5 for "II" from "days" suite, 2021

Jim Hodges

Not on View
A diptych comprised of a Ukiyo-e style woodcut image printed with watercolor inks and companion text printed in turquoise blue lithographic ink.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Archive Brasil 1551 & ashes of F.L.W. house, 2008

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
state proof; abstract composition of varying lines

Proof #3 for "II" from "days" suite, 2021

Jim Hodges

Not on View
state proof; abstract composition of varying lines

Proof #2 for "II" from "days" suite, 2021

Jim Hodges

Not on View
Lithograph printed in black from one plate depicting two owls with toys strapped to their backs. Hand-colored by the artist using gouache, watercolor, colored pencil, and ink.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Piggyback, 2015

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
state proof; abstract composition of varying lines

Proof #4 for "II" from "days" suite, 2021

Jim Hodges

Not on View
Woodcut: Seven-color Ukiyo-e style in collaboration with Highpoint Exhibition and Studio Manager Joanne Price bleed printed on 10 x 10 inch Japanese mulberry paper. Block cutting under the supervision of, and printing by, Joanne Price. Printing order: (1) Medium yellow (2) Dark orange (3) Red (4) Dark red (5) Red (6) Very dark red (7) Black. Lithograph: Four-color lithograph in collaboration with Highpoint Master Printer Cole Rogers from three stones and one ball grained plate bleed printed on 10 x 10 inch white Rives BFK paper. The images were made with lithographic crayon on two stones, rubbing ink on another, and gum stop out on the plate. Printing order: (1) Light blue (2) Moss green (3) Dark blue (4) Black. Intaglio: One-color spit-bite aquatint bleed printed in black on 10 x 10 inch Pescia Grey paper in collaboration with Highpoint Senior Printer Zac Adams-Bliss. Plate-making and proofing to approval by Zac Adams-Bliss. Edition printed by Justin Israels.

Copyright %C2%A9 Kinji Akagawa%2C published by Highpoint Editions

Here and Now: Re-View, Re-Think, i≠i, 2010

Kinji Akagawa; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Black-and-white lithograph from stone drawn by the artist of a figure holding a cloud like form.

Copyright %C2%A9 Do Ho Suh%2C published by Highpoint Editions

Karma Juggler, 2015

Do Ho Suh; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Black-and-white lithograph from a photolithographic plate drawn by the artist of eight totemic figures.

Copyright %C2%A9 Do Ho Suh%2C published by Highpoint Editions

Untitled (Figures), 2016

Do Ho Suh; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Composite print composed of twelve panels, initially drawn to connect visually with the other prints on paper, may be installed in different configurations. The portfolio includes 12 prints on paper, a woodcut printed in black on muslin, a portfolio box with a spider web pattern screenprinted in transparent base on the cover, and an inkjet printed dust jacket. Top row, left to right: Panel 1 This panel is composed of four drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on the right and bottom edges. Paper deckles are on the top and left edges. Panel 2 This panel is composed of two drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on the right, bottom, and left edges. A paper deckle is on the top edge. Panel 3 This panel is composed of three drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on the right, bottom, and left edges. A paper deckle is on the top edge. Panel 4 This panel is composed of three drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on the left and bottom edges. Paper deckles are on the top and right edges. Middle row, left to right: Panel 5 This panel is composed of three drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on the right, top, and bottom edges. A paper deckle is on the left edge. Panel 6 This panel is composed of three drawings by the artist printed from positive lithographic plates in black, and seven stripes drawn by the artist and screenprinted in seven colors, bleed printed on all edges. Panel 7 T

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Architectonic vs. H.R. (Panels 1-12), 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Fake stones & thrashed walls, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych comprised of a Ukiyo-e style woodcut image printed with watercolor inks and companion text carved from wood and printed in green lithographic ink.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

A carved breakfast nook in the Style of 1950s American baroque, 2008

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Linoleum relief print of the artist's image "Galloping Death" carved by participants at a lecture/demonstration on September 13, 2007 and printed in black ink.

Copyright %C2%A9 Artemio Rodr%C3%ADguez%2C published by the artist

Galloping Death, 2007

Artemio Rodríguez; Printer: Highpoint Editions, Minneapolis; Publisher: Artemio Rodríguez

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #4, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 11 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied bronze, silver, and pearl foils in 25 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominately red and is one of four related works from the artist's "Take Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Wačháŋtognaka | Nurture, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed in black shop mix ink from stone.

Copyright %C2%A9 Estate of Donovan Durham

James Brown, 2005

Donovan Durham; Printer: Highpoint Editions, Minneapolis; Publisher: Donovan Durham

Not on View
One-color intaglio printed in dark brown ink. Techniques used were sugar-lift, lifted screenprinting (text), spit-bite aquatint, plus "found/existing" drypoint scratches. The plate was printed with plate tone according to artist's directions.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

It’s just my Rough habits, I guess, 2002

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Six-color bleed print lithograph printed split-fount from three plates on kitakata paper. The artist made additions in watercolor and bee's wax was applied over all. The print was then adhered to the Arches Cover backing sheet.

Copyright %C2%A9 Joel Janowitz%2C published by Highpoint Editions

Vertical Diptych, 2005

Joel Janowitz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Intaglio printed in brown ink from one plate made by the artist using the spit-bite technique.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

It seldom matters, the words you say, 2009

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions XII, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 3 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Intaglio with white gampi chine collé printed in light green from one steel faced copper plate made by the artist using the spit-bite technique.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Untitled, 2003

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph and screenprint in 16 layers on the backside of the paper with irregular edges cut using a template creating a tromp-l'oeil depiction of the words "Something Real Authentic True" in transparent Scotch brand tape dirtied with dust and fingerprints. Printing order: Run 1: Drawing using dust, hair, and fibers to create a positive lithographic plate printed in dark gray. Run 2: Drawing using the artist's fingerprints in ink to create a positive lithographic plate printed in brown and gray using the split fountain technique. Runs 3-8: Drawing made with Rubylith brand tape to create vertical letter strokes on a screen and printed 6 times to build physical thickness in very transparent yellowish green gloss screen printing ink. Runs 9-14: Drawing made with Rubylith brand tape to create horizontal and diagonal letter strokes on a screen and printed 6 times to build physical thickness in very transparent yellowish green gloss screenprinting ink.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Something Real Authentic True, 2011

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color intaglio printed in black ink with gampi chine collé (colored with blue, green, yellow, turquoise, orange, and the artist's blood) plus iron and saffron transfer during printing. Hard-ground and lift-ground techniques were used to create the copper intaglio plate. After drying and flattening, the artist applied copper, silver, and pale gold foil and applied pale green watercolor.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

North, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

8 Ways to trash the Tonsberg shop, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Five-color screenprint in silver, metalic pearl blue, gold, and red with three over printings of gloss clear and flat green. After printing, the image was debossed with an intaglio plate to create a plate mark.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

West, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
Two lithographic drawings from "Architectonic vs. HR" panel numbers 1 and 6 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed in black shop mix ink from stone.

Copyright %C2%A9 Estate of Donovan Durham

Mary Wells, 2005

Donovan Durham; Printer: Highpoint Editions, Minneapolis; Publisher: Donovan Durham

Not on View
Woodcut trace monotyped in oil-based black ink on three sheets of paper from two basswood blocks carved by the artist. The block was inked with a standard roller and printed using a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The impressions were each joined and backed with three additional sheets of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

Constellation, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A single lithographic drawing from "Architectonic vs. HR" panel number 10 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 122 times in 8 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #4, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint printed in 16 layers: 12 layers of white ink, 2 layers of tan ink, 2 layers of gloss overprint varnish. Edges of print hand-cut and distressed by the artist from a template, including pinholes in upper right and upper left of print.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Endless, Ceaseless, Boundless Joy, 2009

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Seven-run screenprint on 2-ply museum board intended to look like a campaign poster commercially printed on poster board, printed with some edge bleeding if possible per the artist. Runs 1 through 6: clear gloss overprint screen ink flat bleed printed. Run 7: Kelly green screen ink printed through a stencil from the artist's drawing.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

JFK in "64", 2011

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Unique monoprint screenprinted by the artist using asphaltum on paper with hand-applied asphaltum on a sheet of paper cut by the artist. Multiple monoprints were made using shared screens for printing and joined in various combinations, all entitled "Niet Voor Kinderen."

Copyright %C2%A9 Jay Heikes%2C published by Highpoint Editions

Niet voor Kinderen (32), 2015

Jay Heikes; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed in black shop mix ink from stone.

Copyright %C2%A9 Estate of Donovan Durham

Dr. King, Jr March on Washington, 2007

Donovan Durham; Printer: Highpoint Editions, Minneapolis; Publisher: Donovan Durham

Not on View
14-color lithograph and screenprint.

Copyright %C2%A9 Lisa Nankivil%2C published by Highpoint Editions

Lacuna, 2008

Lisa Nankivil; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions VII, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lateral image of multicolored demolition truck facing to the L, with "31" painted on driver's door, "Miller Trucking" on truck bed, and exhaust tubes coming out from top of hood; lithograph printed in black on three panels with watercolor additions. The artist made three drawings for photolithographic plates. The plates were inked in black and the artist distressed the image by rubbing off areas of the image prior to printing each sheet. The sheets were then hand-colored by the artist using watercolor inks.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Miller Trucking, 2011

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
The artist tossed US currency pennies of random numbers and years creating patterns to be blind embossed into copper foil. A total of 28 compositions were produced. Holes corresponding to the composition were laser-cut into a 20 x 24 x 1/8 inch acrylic sheet and 3 mil copper foil was adhered to the sheet using Drytac Facemount film adhesive. Coins with corresponding dates and orientation were fitted into the sheet and embossed into the foil using an etching press. The coins were removed, the cavities filled with Durham's Rock Hard Water Putty, and the foil was wrapped around the acrylic sheet's edge and secured with Scotch Double Sided Tape. The embossed foil-wrapped acrylic sheet was then adhered to 3/8 inch medium density fiber board using DAP Weldwood Contact Cement. A label bearing the publisher's name, the artist's signature, date and inventory number was then affixed to the back. The artist chose to leave the metal surface unfinished allowing it to age and patina just as the coins they are based on expecting and welcoming the changes. The rate and amount of change will vary depending on their environment.

Copyright %C2%A9 Mungo Thomson%2C published by Highpoint Editions

Pocket Universe (Copper) #23, 2016

Mungo Thomson; Publisher: Highpoint Editions, Minneapolis

Not on View
Eleven-color screenprint bleed printed with visually irregular borders. The image includes drawings and marks by the artist made on Denril, overhead projector film and Rubylith film, and a halftoned image manipulated by the artist. It is signed and dated 2011 by the artist in pencil on the border and in the image in ink 2010.

Copyright %C2%A9 Carter%2C published by Highpoint Editions

Continuous, 2011

Carter; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions XI, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
34-color screenprint and lithograph with collage and hand coloring.

Copyright %C2%A9 Carolyn Swiszcz%2C published by Highpoint Editions

Free News, 2005

Carolyn Swiszcz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed from four plates: two reds, brown, and black. Depicting a fox holding a turtle and Japanese character Dōmo-kun. Printing order: red flat, red wash, brown, and black.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Fox Tussle, 2015

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Breakaway), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A diptych comprised of a Ukiyo-e style woodcut image printed with watercolor inks and companion text printed in ochre lithographic ink.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Natty dress until the end, 2008

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint with applied copper foil in 20 colors from stencils produced using drawings made by the artist referencing Lakota dentalium yoked dresses. The dress color is predominately gold and is one of four related works from the artist's "Takes Care of Them" suite.

Copyright %C2%A9 Dyani White Hawk%2C published by Highpoint Editions

Wókaǧe | Create, 2019

Dyani White Hawk; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Woodcut trace monotyped in oil-based brown sienna ink from a basswood block carved by the artist. The block was inked with a standard roller and printed with a combination of hand barens and wooden spoons per the artist's instructions resulting in different densities and tonalities. This produced a series of similar, but variant impressions. The final impressions were each backed with an additional sheet of paper using wheat starch and trimmed to size.

Copyright %C2%A9 Aaron Spangler%2C published by Highpoint Editions

The Wall, 2014

Aaron Spangler; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Relief print from rubber stamps using oil based inks collaged with wheat starch onto a monotyped background using oil based inks.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

The Wages of Sin, 2016

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Four-color intaglio printed in process yellow, red, blue, and black inks. Hard-ground and spit-bite aquatint techniques were used to create the copper intaglio plate. After drying and flattening, the intaglio inks were screenprinted over with a very transparent satin golden yellow.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

South, 2002

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions IX, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions Narrative Page, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed print from one lithographic plate and monotyping by the artist. The print was then adhered to the Arches Cover backing sheet. Being a variant edition, the prints were signed with Roman numerals I/XIII–XIII/XIII.

Copyright %C2%A9 Joel Janowitz%2C published by Highpoint Editions

Away (XI), 2005

Joel Janowitz; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Unique monoprint screenprinted by the artist using asphaltum on paper with hand-applied asphaltum on three sheets of paper cut and hinged by the artist. Multiple monoprints were made using shared screens for printing and joined in various combinations, all entitled "Niet Voor Kinderen."

Copyright %C2%A9 Jay Heikes%2C published by Highpoint Editions

Niet voor Kinderen (7), 2015

Jay Heikes; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint and lithograph printed with multiple screen runs to produce a trompe l'oeil effect of the words "Endless, Ceaseless, Boundless Joy" appearing to be written in masking tape overlapping each other on a scuffed and dirty sheet of paper with irregular edges and three trompe l'oeil pieces of yellowed Scotch brand tape on the top edge. The top and bottom edges were cut using an irregularly shaped template designed by the artist. Run 1: Lithographic drawing of scuffs and dust in medium gray ink Runs 2-6: Masking tape screen stencil #1 in opaque white Runs 7-11: Masking tape screen stencil #2 in opaque white Runs 12-16: Masking tape screen stencil #3 in opaque white Run 17: Masking tape screen stencil #1 in transparent tan Run 18: Masking tape screen #2 in transparent tan Run 19: Masking tape screen #3 in transparent tan Run 20: Scotch tape screen stencil #1 in transparent greenish yellow Run 21: Scotch tape screen stencil #2 in very transparent greenish yellow Runs 22-28: Scotch tape screen stencil #2 in gloss overprint varnish The top and bottom edges were cut using an irregularly shaped template designed by the artist.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Wayland, 2013

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Eagle head shapes printed 116 times in 11 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #3, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #3, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A hard-ground etching of a floating figure with well-articulated legs and abstracted upper body printed in black ink.

Copyright %C2%A9 Chloe Piene Studio%2C published by Highpoint Editions

Anvil, 2010

Chloe Piene; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed in black from one plate depicting a raccoon on its back and an owl. Hand­colored by the artist using gouache, watercolor, and colored pencil.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

The Showdown, 2015

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Untitled (Spotlights) A: Lithograph and screenprint in five colors: sage green printed texture of oriented strand board (OSB) plywood on a light creamy yellow background with five solid flat shapes in black, teal blue, and red. (The artist intended the OSB plywood texture to be relief printed directly from the plywood, but it was transferred to a lithographic plate when it was determined the OSB plywood matrix was too unstable to edition.) Untitled (Spotlights) B: Relief and screenprint in four colors: indigo blue printed texture of Luan mahogany plywood with four solid flat shapes in lemon yellow, lime green, and red.

Copyright %C2%A9 Sarah Crowner%2C published by Highpoint Editions

Untitled (Spotlights), 2013

Sarah Crowner; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of four lithographs printed in black and transparent orange with a dusting of orange pearlescent pigment on Pescia Blue. Five additional colors were separately printed on mulberry paper (two using lithographic ink and three using fluorescent sign paint) sprayed with a UV-protective varnish and collaged onto the Pescia.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

Winter Hours II, 2007

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
Eagle head shapes printed 157 times in 14 runs from laser-engraved Plexiglas plates. The plates were inked and wiped intaglio style, relief rolled with transparent black ink, and printed in an overlapping configuration as drawn by the artist.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Snake Glyph #5, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Stone lithograph printed in black depicting an owl and a rabbit with a mustache.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Envy, 2015

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions Portfolio, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed from three plates in light gray, brown, and black depicting a coyote laying on its back holding four shadow puppets. Printing order: light grey, brown, and black.

Copyright %C2%A9 Julie Buffalohead%2C published by Highpoint Editions

Revisionist History Lesson, 2014

Julie Buffalohead; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions III, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of eight prints from nine laser-engraved Plexiglas plates in the shape of a flying bird, five bird heads, a woman's legs, an ape, and an abstract shape in red, blue, and black inks. The plates were printed in four fixed overlapping arrangements designed by the artist by chance. Seen as a group, these arrangements suggest the nine shapes being tossed to the side, bottom, or top edges of the picture frame. Four panels of the eight were printed in these arrangements with the plates inked and wiped intaglio style only. The other four were printed in these arrangements after adding a relief roll of ink in addition to the inked and wiped lines. The intaglio printed lines stand visibly on the relief printed flats.

Copyright %C2%A9 Carlos Amorales%2C published by Highpoint Editions

Skeleton Images – Azar Compositions #1, 2010

Carlos Amorales; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of four lithographs printed in black and transparent orange with a dusting of orange pearlescent pigment on Pescia Blue. Five additional colors were separately printed on mulberry paper (two using lithographic ink and three using fluorescent sign paint) sprayed with a UV-protective varnish and collaged onto the Pescia.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

Winter Hours IV, 2007

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
One-color intaglio printed in black ink. Techniques used were sugar-lift and lifted screenprinting with aquatint.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

It Ain’t Right, but it’s so., 2003

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One of three prints in a set entitled "Three Questions." A soft-ground etching drawn by the artist printed in black with seven additional screenprinted colors.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Spared III, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Intaglio from three plates, one printed a la poupée with gampi chine collé printed lithographically.

Copyright %C2%A9 Jessica Rankin%2C published by Highpoint Editions

Parade of Possibilities, 2008

Jessica Rankin; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Multi-color screenprint with photographic halftone images altered by the artist; figurative elements and layered drawing by the artist printed in flat inks and overprint varnish in select areas.

Copyright %C2%A9 Carter%2C published by Highpoint Editions

Forthcoming, 2011

Carter; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Intaglio with gampi chine collé printed from one copper plate made by the artist using the spit-bite technique.

Copyright %C2%A9 Todd Norsten%2C published by Highpoint Editions

Untitled, 2003

Todd Norsten; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Anti Anti Anti (Farbbombe & Brighton Bookshelf), 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Cloth-bound portfolio box containing twelve soft-ground etchings drawn by the artist and printed in black on natural gampi chine collé and white Somerset Satin paper, a soft-ground etching text written by the artist and printed in black on white Somerset Satin paper, and a screenprinted title page.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Three Questions II, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
From a set of nine lithographs of various sizes hand-colored with gray water based screenprinting ink. Each set is housed in a customized portfolio with a title page and includes three 'heads,' three bodies,' and three 'legs' intended to be composed by the buyer into compositions of his or her own conception in the style of the exquisite corpse.

Copyright %C2%A9 Jay Heikes%2C published by Highpoint Editions

Title page for Niet voor Kinderen, 2015

Jay Heikes; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A triptych containing a central white cloth panel printed in black and silver plastisol ink with two smaller four-color lithographs created using the artist's digital files and drawings.

Copyright %C2%A9 Adam Helms%2C published by Highpoint Editions

Untitled Landscape, 2008

Adam Helms; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View

Copyright %C2%A9 Anna Sobol-Wejman%2C published by the artist

Winter, Minnesota, Minneapolis, 2002

Anna Sobol-Wejman; Printer: Highpoint Editions, Minneapolis; Publisher: Anna Sobol-Wejman

Not on View
One of three prints in a set entitled "Three Questions." A soft-ground etching drawn by the artist printed in black with seven additional screenprinted colors.

Copyright %C2%A9 Mary E. Esch%2C published by Highpoint Editions

Someone is Followed I, 2003

Mary Esch; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
16-color lithograph and screenprint.

Copyright %C2%A9 Lisa Nankivil%2C published by Highpoint Editions

Streaming, 2009

Lisa Nankivil; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Chirp), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Screenprint bleed torn on four edges depicting figures, horses, trees, text, and abstracted indigenous masks in a landscape.

Copyright %C2%A9 Andrea Carlson%2C published by Highpoint Editions

Anti-Retro, 2018

Andrea Carlson; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
One-color bleed, printed in silver ink from a suite of seven prints titled "The Seventh Thread had Greenish Walls A Bathroom in the Hall." Printed at North Dakota State University during the 2008 Mid-American Print Council Conference.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Stasiaphrodite, 2009

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
A suite of four lithographs printed in black and transparent orange with a dusting of orange pearlescent pigment on Pescia Blue. Five additional colors were separately printed on mulberry paper (two using lithographic ink and three using fluorescent sign paint) sprayed with a UV-protective varnish and collaged onto the Pescia.

Copyright %C2%A9 Stuart Nielsen%2C published by Basic Content%2C Minneapolis

Winter Hours I, 2007

Stuart Nielsen; Printer: Highpoint Editions, Minneapolis; Publisher: Basic Content, Minneapolis

Not on View
Two lithographic drawings from "Architectonic vs. HR" panel number 8 printed in black.

Copyright %C2%A9 Santiago Cucullu%2C published by Highpoint Editions

Untitled, 2006

Santiago Cucullu; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Lithograph printed in black from stone using pencils and tusche.

Copyright %C2%A9 Kip Deeds%2C published by the artist

Aeolus and the Arkadelphia, 2003

Kip Deeds; Printer: Highpoint Editions, Minneapolis; Publisher: Kip Deeds

Not on View

showing 100 of 1185 results matching creditline:"Highpoint Editions Archive, The Friends of Bruce B. Dayton Acquisition Fund and the Christina N. and Swan J. Turnblad Memorial Fund". (load 200 more)

Download results as CSV