Gerry Peirce - Etcher

In the heart of downtown Tucson there is a group of ancient adobe buildings, relics of a bygone era and romantically known as The Old Adobe. In this picturesque old place, where the atmosphere of manana is ever prevalent, is the studio gallery of Gerry Peirce, etcher and water-colorist.

Peirce's earlier published etchings are principally of Canada and Nova Scotia, although for the past twelve years he has been doing studies of Arizona and Old Mexico, which have brought him many honors.

The artist's etchings are mostly drypoints. This means one works with the barest minimum of equipment. A blank sheet of copper and a sharp needle-maybe a sewing needle held in a holder. Every scratch on the copper plate throws up a little ridge of copper alongside the line. It is similar to a plowed field. This ridge is known as the burr, and it is the burr rather than the depth of the line that holds the ink. It is the burr that gives to drypoints a richness and softness as well as depth not obtainable in acid etching. The burr wears rapidly and only small editions are taken. The etcher then cancels his plate by drawing deep lines across the design. It is hard to destroy one's own creation, but it protects the value of those prints already made.

In his etching titled, "Yucca," the sense of limitless space, the stillness, the warmth of our Arizona scene are all present. This is a beautiful print. It was awarded the Manning prize at the Southern Printmakers Exhibition.

The "Church at Tubac" is glowing in the intense sunlight. One can almost hear the chatter of the group of Mexicans as they idle in the quiet serenity of their peaceful scene.

In "Nogales Hilltop" one finds a touch of humor not often found in Peirce's work. The everyday life of these people is set before us in a most delightful way. This is in the permanent collection of the Metropolitan Museum in New York City.

The interesting print "Arizona" speaks eloquently for itself. There is no warped thinking in Peirce's work-rather a quiet dignity in his eternal search for beauty, for the right line to express Arizona.

"Ghost Town" is a work that has been awarded many special honors. It was selected as one of the "100 Best Prints of the Year." This print is in the Library of Congress, and many other fine collections. The sense of desolation and solitude is enhanced by the lack of any living thing except perhaps some bushes growing wild. Here the artist plays a melodic composition in his interpretation of these deserted towns. There is no sentimental melodrama here.

"The Pass" is really Gates Pass in the Tucson mountains. One is looking west toward Old Tucson. This is still quite wild country. As a subject for a drypoint it is a difficult one and is handled in a most masterful manner. A bit of aquatint helps to give the tone in this print.

"Desert Nocturne" is another difficult subject well handled. Somehow or other, this subject seems to typify much of the desert country. The saguaro, the mesquite, the palo verde, and the other desert plants are all in their natural environment. This print, too, has been awarded many honors.

In the "Citadel" there is all the epic grandeur of our West. The rugged rocks catching the dying rays of the setting sun seem to sing out a joyous song of ten thousand tomorrows. Gerry Peirce has looked out into his world and found it good and beautiful. Peirce is a member of the Society of American Etchers, the Southern Printmakers, the California Society of Etchers, and several more. His work is in most of the principal collections throughout the country, as well as in numerous museums. He was born in Jamestown, New York, and studied four years at the Cleveland School of Fine Arts. Thence to the famed Art Student's League in New York City.