4

almost everyone else allows the machine to provide for the "dupli-

cations", and then all the prints are

as good as "the same". The variations of my

Foxglove woodcut I can for the sake of

simplicity divide into two main groups (and it is

easy to do, as there have only been printed 6 – six

of them; – of which one (the artist’s proof) was lost in the Bergen

fire). – (These 6 prints represent one year’s work)

These two groups I can almost charac-

terise as: luminous, light, with a distinctive wood-

cut technique – and perhaps with a slightly thin and "faint"

atmosphere, – the other with a heavier, deeper

lery). Well this description is of course very incom-

plete. The last of these two types of prints are in the possession of

Dr. Kreyberg and the collector Maschmann – Oslo. The first

type of print is in the possession of Kramer, who received the first com-

pleted print – after the carving of all the blocks was completed.

I mentioned that I had only pulled two prints from it, from the time

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