Landscape Vernacular
A Journey (After A.D.)
2011
burnished, interlocking collage, 19th-century papers, end pages, dictionary definitions, photo-transfers on end pages, yes glue, archival document repair tape, and Alfred DeCredico’s collage remnants
10.5 x 11 inches

LV 1
todd bartel Landscape Vernacular burnished, interlocking collage, 19th-century papers, end pages, book engravings, dictionary definitions, photo-transfers on end pages, map graticules, yes glue, archival document repair tape, and Alfred DeCredico’s collage remnants
Sublime Climate
2011
burnished, interlocking collage, 19th-century papers, end pages, book engravings, dictionary definitions, photo-transfers on end pages, map graticules, yes glue, archival document repair tape, and Alfred DeCredico’s collage remnants
13 1/4 x 12 1/2 inches

LV 2
todd bartel Landscape Vernacular burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, yes glue, archival document repair tape, and Alfred DeCredico’s collage remnants
Anima Hominis
2011
burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, yes glue, archival document repair tape, and Alfred DeCredico’s collage remnants
13 3/4 x 14 1/2 inches

LV 3
todd bartel Landscape Vernacular burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, yes glue, gouache, pencil, archival document repair tape, book engravings, and dictionary definitions
Set Apart or Belonging To An Individual or A People
2011
burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, yes glue, gouache, pencil, archival document repair tape, book engravings, and dictionary definitions
23 1/2 x 11 1/4 inches

LV 4
todd bartel Landscape Vernacular burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, Mimeograph, improperly exposed/fixed photo remnants, Italian letter remnant (c. 1880), yes glue, pencil, antique cellophane tape, archival document repair tape, and dictionary definitions
All That Part of a Picture Which is Not of the Body or Argument
2011
burnished, interlocking collage, 19th-century papers, end pages, photo-transfers on end pages, Mimeograph, improperly exposed/fixed photo remnants, Italian letter remnant (c. 1880), yes glue, pencil, antique cellophane tape, archival document repair tape, and dictionary definitions
16 1/4 x 13 1/2 inches

LV 5
todd bartel Landscape Vernacular burnished, interlocking collage, 19th-century papers, end pages, marbled paper, rain washed and weather-beaten bulletin board paper, found ink-imbued card, photo-transfers on end pages, weather-beaten wallpaper remnant, atlas chart, map graticules, dictionary letter tab, yes glue, pencil, antique cellophane tape, archival document repair tape and dictionary definitions
Dog Star Rising
2011 & 2014
burnished, interlocking collage, 19th-century papers, end pages, marbled paper, rain washed and weather-beaten bulletin board paper, found ink-imbued card, photo-transfers on end pages, weather-beaten wallpaper remnant, atlas chart, map graticules, dictionary letter tab, yes glue, pencil, antique cellophane tape, archival document repair tape and dictionary definitions
18 3/8 x 18 3/8 inches

LV 6

Collection of Anna Maria College
Paxton, MA
todd bartel Landscape Vernacular burnished, interlocking collage, 19th century papers, end pages, marbled papers, Xerographic prints on antique end pages, toner transfers on rain eroded bulletin board papers, cancelled stamp and envelope remnant, pencil, antique cellophane tape, archival document repair tape, yes glue and dictionary definitions
Proportions and Table Manners
2014
burnished, interlocking collage, 19th century papers, end pages, marbled papers, Xerographic prints on antique end pages, toner transfers on rain eroded bulletin board papers, cancelled stamp and envelope remnant, pencil, antique cellophane tape, archival document repair tape, yes glue and dictionary definitions
24.5 x 19.125 inches

LV 7
todd bartel Landscape Vernacular burnished, interlocking collage, paper bandaid repairs, 19th century papers, end pages, marbled papers, Xerographic prints on antique end pages, toner transfers on rain eroded bulletin board papers, cancelled stamp and envelope remnant, pencil, antique cellophane tape, archival document repair tape, yes glue and dictionary definitions
Proportions and Table Manners
2014
burnished, interlocking collage, paper bandaid repairs, 19th century papers, end pages, marbled papers, Xerographic prints on antique end pages, toner transfers on rain eroded bulletin board papers, cancelled stamp and envelope remnant, pencil, antique cellophane tape, archival document repair tape, yes glue and dictionary definitions
24.5 x 19.125 inches

LV 7 verso
todd bartel Landscape Vernacular burnished interlocking collage, 19th century book end pages, book engraving (View in the Valley of the Mohawk, James Duthie, c. 1870), 20th century map, map graticules, gummed star labels (recto), stamps (verso), Xerographic transfers, watercolor, graphite, document repair tape, Yes glue, artist made frame
Promise and Threat (Terror Comes After Territory)
2016
burnished interlocking collage, 19th century book end pages, book engraving (View in the Valley of the Mohawk, James Duthie, c. 1870), 20th century map, map graticules, gummed star labels (recto), stamps (verso), Xerographic transfers, watercolor, graphite, document repair tape, Yes glue, artist made frame
14.5 x 25.125 inches

LV 8
todd bartel Landscape Vernacular burnished interlocking collage, 19th century book end pages, book engraving (View in the Valley of the Mohawk, James Duthie, c. 1870), 20th century map, gummed star labels (recto), stamps (verso), map graticules, Xerographic transfers, watercolor, graphite, document repair tape, Yes glue, artist made frame
Promise and Threat (Terror Comes After Territory) [verso]
2016
burnished interlocking collage, 19th century book end pages, book engraving (View in the Valley of the Mohawk, James Duthie, c. 1870), 20th century map, gummed star labels (recto), stamps (verso), map graticules, Xerographic transfers, watercolor, graphite, document repair tape, Yes glue, artist made frame
14.5 x 25.125 inches

LV 8 verso
todd bartel Landscape Vernacular recto: burnished interlocking collage, 19th and 20th century book end-pages, dictionary definitions, 20th century map, 1880 Italian letter remnant, Xerographic print on 20th century book end-page (R. Dodd, engineer, Design for a Stonebridge, 1799, Plate III, “Report (1800) from the Select Committee Upon the Improvement of the Port of London,” proposal for the refurbishment of the London Bridge), Xerographic transfers, watercolor, graphite
Water Over the Bridge
2017-2018
recto: burnished interlocking collage, 19th and 20th century book end-pages, dictionary definitions, 20th century map, 1880 Italian letter remnant, Xerographic print on 20th century book end-page (R. Dodd, engineer, Design for a Stonebridge, 1799, Plate III, “Report (1800) from the Select Committee Upon the Improvement of the Port of London,” proposal for the refurbishment of the London Bridge), Xerographic transfers, watercolor, graphite
11.825 x 16.75 inches

LV 9
todd bartel Landscape Vernacular verso: paper bandaid repairs, Xerographic transfers, watercolor, graphite, Yes glue, document repair tape
Water Over the Bridge [verso]
2017-2018
verso: paper bandaid repairs, Xerographic transfers, watercolor, graphite, Yes glue, document repair tape
11.825 x 16.75 inches

LV 9 verso
todd bartel Landscape Vernacular burnished interlocking collage, recto: W. H. Bartlet’s 1838 engraving (The Willey House), Xerographic transfers, digitally interpreted reproduction of Caspar David Friedrich’s “Wanderer Above the Sea of Fog,” 19th & 20th-century endpapers, weathered construction paper with staple-rust, map graticules, pencil
Gateway to the American Sublime—The Crawford Notch 1826
2018
burnished interlocking collage, recto: W. H. Bartlet’s 1838 engraving (The Willey House), Xerographic transfers, digitally interpreted reproduction of Caspar David Friedrich’s “Wanderer Above the Sea of Fog,” 19th & 20th-century endpapers, weathered construction paper with staple-rust, map graticules, pencil
22 x 21.875 inches

LV 10
todd bartel Landscape Vernacular paper bandaid repairs, Xerographic transfers, pencil, document repair tape, Yes glue, antique masking tape
Gateway to the American Sublime—The Crawford Notch 1826 [verso]
2018
paper bandaid repairs, Xerographic transfers, pencil, document repair tape, Yes glue, antique masking tape
22 x 21.875 inches

LV 10 verso
todd bartel Landscape Vernacular burnished interlocking collage, 19th-century end paper with leeched book title, 1899 map, title page (Weather) Life Science (1965), stamps, graphite, xerographic prints on nineteenth- and twentieth-century end-pages, Webster’s dictionary definitions, excerpts from August 8, 2019 NPR report, artist-made frame
Common Geography—The Earth and Its Inhabitants, August 9, 2019
2019
burnished interlocking collage, 19th-century end paper with leeched book title, 1899 map, title page (Weather) Life Science (1965), stamps, graphite, xerographic prints on nineteenth- and twentieth-century end-pages, Webster’s dictionary definitions, excerpts from August 8, 2019 NPR report, artist-made frame
11.625 x 9.25 inches

LV 11
todd bartel Landscape Vernacular burnished, interlocking collage, water-damaged title page and end page from “Anatomy” by William Rimmer, Little Brown and Co., Boston 1877, joined together/repaired with the title page from “Ordinary People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904; xerographic prints on 19th- and 20th-century end-ages—“Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), two definitions of “tiller” (Merriam-Webster; Dictionary Macintosh OSX)—two ink drawings on silk c. 1877 presumed to be drawn by the original owner of Rimmer’s “Anatomy”; antique straight pins, gouache, watercolor, pencil
Anima Hominis (Corporeal Gestures Amidst Open Horizons)
2019
burnished, interlocking collage, water-damaged title page and end page from “Anatomy” by William Rimmer, Little Brown and Co., Boston 1877, joined together/repaired with the title page from “Ordinary People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904; xerographic prints on 19th- and 20th-century end-ages—“Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), two definitions of “tiller” (Merriam-Webster; Dictionary Macintosh OSX)—two ink drawings on silk c. 1877 presumed to be drawn by the original owner of Rimmer’s “Anatomy”; antique straight pins, gouache, watercolor, pencil
13.5 x 35.5 inches

LV 12
todd bartel Landscape Vernacular burnished, interlocking collage, xerographic prints on 20th-century end pages, pencil, watercolor, Yes glue, title page from “Everyday People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904 (with missing artifact), “Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), definitions of “tiller” and “rudder” (Merriam-Webster)
Anima Hominis (Bonum Electum)
2020
burnished, interlocking collage, xerographic prints on 20th-century end pages, pencil, watercolor, Yes glue, title page from “Everyday People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904 (with missing artifact), “Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), definitions of “tiller” and “rudder” (Merriam-Webster)
11.125 x 17 inches

LV 13
todd bartel Landscape Vernacular burnished, interlocking collage, xerographic prints on 20th-century end pages, pencil, watercolor, Yes glue, title page from “Everyday People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904 (with missing artifact), “Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), definitions of “tiller” and “rudder” (Merriam-Webster)
Anima Hominis (Bonum Electum)
2020
burnished, interlocking collage, xerographic prints on 20th-century end pages, pencil, watercolor, Yes glue, title page from “Everyday People,” by Charles Dana Gibson, Collier’s Weekly, New York 1904 (with missing artifact), “Bellman's Map,” from Charles Dodgson aka Lewis Carroll’s 1874 “The Hunting of the Snark”, “Anima Hominis” pp. 54-54 of the “Orbis Pictus” 1658 (the first children’s book ever published in Europe), rudder diagram’s of the Mayflower and a Boeing 767 (the plane flown into the twin towers), definitions of “tiller” and “rudder” (Merriam-Webster)
11.125 x 17 inches

LV 13 verso
todd bartel Landscape Vernacular burnished interlocking collage, xerographic prints on nineteenth- and twentieth-century end-pages (left: How a Tree is Made into Lumber—lumberjack cutting a tree trunk into rectangular sections, Le Magasin Pittoresque, Larive and Fleury 1874; right: Clysmatica Nova, Joannes Sigismund Elsholtz 1667), pencil, map frame cuttings, wax paper transfer, Yes Glue, document repair tape
Glorious Mutualism, Asymmetrical Yet Reciprocal — Twenty-first Century Commensalism (A Call for A Massive Transfusion for Major Arboreal Trauma)
2020
burnished interlocking collage, xerographic prints on nineteenth- and twentieth-century end-pages (left: How a Tree is Made into Lumber—lumberjack cutting a tree trunk into rectangular sections, Le Magasin Pittoresque, Larive and Fleury 1874; right: Clysmatica Nova, Joannes Sigismund Elsholtz 1667), pencil, map frame cuttings, wax paper transfer, Yes Glue, document repair tape
8.75 x 17.125 inches

LV 14
todd bartel Landscape Vernacular burnished interlocking collage, xerographic prints on nineteenth- and twentieth-century end-pages (left: How a Tree is Made into Lumber—lumberjack cutting a tree trunk into rectangular sections, Le Magasin Pittoresque, Larive and Fleury 1874; right: Clysmatica Nova, Joannes Sigismund Elsholtz 1667), pencil, map frame cuttings, wax paper transfer, Yes Glue, document repair tape
Glorious Mutualism, Asymmetrical Yet Reciprocal — Twenty-first Century Commensalism (A Call for A Massive Transfusion for Major Arboreal Trauma)
2020
burnished interlocking collage, xerographic prints on nineteenth- and twentieth-century end-pages (left: How a Tree is Made into Lumber—lumberjack cutting a tree trunk into rectangular sections, Le Magasin Pittoresque, Larive and Fleury 1874; right: Clysmatica Nova, Joannes Sigismund Elsholtz 1667), pencil, map frame cuttings, wax paper transfer, Yes Glue, document repair tape
8.75 x 17.125 inches

LV 14 verso
todd bartel Landscape Vernacular burnished interlocking collage, nineteenth- and twentieth-century end-pages, xerographic prints, pencil, Yes Glue, document repair tape, dictionary definitions
Clearcut for Industry (Geomorphology)
2020
burnished interlocking collage, nineteenth- and twentieth-century end-pages, xerographic prints, pencil, Yes Glue, document repair tape, dictionary definitions
22.625 x 24 inches

LV 15
todd bartel Landscape Vernacular burnished interlocking collage, Italian Letter (dated 1998 verso), xerographic prints on nineteenth- and twentieth-century end-pages, pencil, Yes Glue, document repair tape, dictionary definitions
Clearcut for Industry (Climate)
2020
burnished interlocking collage, Italian Letter (dated 1998 verso), xerographic prints on nineteenth- and twentieth-century end-pages, pencil, Yes Glue, document repair tape, dictionary definitions
24 x 16.75 incheS

LV 16
todd bartel Landscape Vernacular burnished interlocking collage, xerographic-transfers on 19th century end papers and rain-washed, weather-beaten bulletin board paper with staple rust, map graticules, dictionary definitions of “pastoral,” pencil, wax paper transfer, Yes glue, document repair tape
Terrain, Scream and Cede—Industrial Locomotion 1844
2021
burnished interlocking collage, xerographic-transfers on 19th century end papers and rain-washed, weather-beaten bulletin board paper with staple rust, map graticules, dictionary definitions of “pastoral,” pencil, wax paper transfer, Yes glue, document repair tape
27.5 x 16.5 inches

LV 17
todd bartel Landscape Vernacular
Terrain, Scream and Cede—Industrial Locomotion 1844
2021

LV 17 verso
todd bartel Landscape Vernacular burnished interlocking collage, xerographic-transfers on 19th-century and 20th-century end papers and rain-washed, weather-beaten bulletin board paper, dictionary definitions of "clearing," “paradise,” "oasis," "light tower," Martin Heidegger's description of "clearing," pencil, watercolor, wax paper transfer, Yes glue, document repair tape
At the Precipice, A Clearing, A Lighting
2021-22
burnished interlocking collage, xerographic-transfers on 19th-century and 20th-century end papers and rain-washed, weather-beaten bulletin board paper, dictionary definitions of "clearing," “paradise,” "oasis," "light tower," Martin Heidegger's description of "clearing," pencil, watercolor, wax paper transfer, Yes glue, document repair tape
26.3.75 x 13.5 inches

LV 18
todd bartel Landscape Vernacular

2021-22

LV 18 verso
todd bartel Landscape Vernacular burnished interlocking collage, xerographic-transfers on 19th-century endpapers and rain-washed, weather-beaten bulletin board paper; Vermont map graticules; etymology and definition of "community" (OED), Merriam-Webster's definition of "community"; xerographic transfer of "The Hiawatha Wampum Belt"; xerographic reproductions of "Middlebury Falls" engraving and page 29 of Samuel Swifts, 1859 "Statistical and Historical Account of the County of Addison, Vermont"; Henry Sheldon Museum's LS24946_000 "A Giant Tree Burl," 1870-1940 interpreted as an engraving; pencil;
A Group of Nations Claiming Unity of Purpose or Common Interests
2022-23
burnished interlocking collage, xerographic-transfers on 19th-century endpapers and rain-washed, weather-beaten bulletin board paper; Vermont map graticules; etymology and definition of "community" (OED), Merriam-Webster's definition of "community"; xerographic transfer of "The Hiawatha Wampum Belt"; xerographic reproductions of "Middlebury Falls" engraving and page 29 of Samuel Swifts, 1859 "Statistical and Historical Account of the County of Addison, Vermont"; Henry Sheldon Museum's LS24946_000 "A Giant Tree Burl," 1870-1940 interpreted as an engraving; pencil;
21.75 x 14.5 inches

LV 19

Collection of Henry Sheldon Museum of Vermont History
Middlebury, VT
todd bartel Landscape Vernacular verso: partial revealing of paper ground exposing Rimmer’s Anatomy (1877) with facial features of "Plan of the disposition of the Features in the Offensive Passions," quote at top from Amity Ghosh,'s The Nutmeg's Curse-Parables for a Planet in Crisis, Grangerized facsimile of pages 1-3 of Cyrus B. Stow's 1833 notebook pages highlighting drawings of "Indian relics," Yes glue, document repair tape, artist-made frame
A Group of Nations Claiming Unity of Purpose or Common Interests
2022-23
verso: partial revealing of paper ground exposing Rimmer’s Anatomy (1877) with facial features of "Plan of the disposition of the Features in the Offensive Passions," quote at top from Amity Ghosh,'s The Nutmeg's Curse-Parables for a Planet in Crisis, Grangerized facsimile of pages 1-3 of Cyrus B. Stow's 1833 notebook pages highlighting drawings of "Indian relics," Yes glue, document repair tape, artist-made frame
21.75 x 14.5 inches

LV 19 verso

Collection of Henry Sheldon Museum of Vermont History
Middlebury, VT
todd bartel Landscape Vernacular burnished interlocking collage; recto: xerographic prints on 19th- and 20th-century endpapers and Economic Map of South America" (The New•World Loose Leaf Atlas, C. S. Hammond & Company, Inc. 1926) and map graticule cuttings inserted into weathered library bulletin board paper
Surrender to Commensalism
2022-24
burnished interlocking collage; recto: xerographic prints on 19th- and 20th-century endpapers and Economic Map of South America" (The New•World Loose Leaf Atlas, C. S. Hammond & Company, Inc. 1926) and map graticule cuttings inserted into weathered library bulletin board paper
25.875 x 20 inches

LV 20
todd bartel Landscape Vernacular burnished interlocking collage; verso: xerographic transfers on weathered library bulletin board paper, pencil and xerographic prints on 19th and 20th-century end-page cuttings, document repair tape, pencil, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made hinged frame
Surrender to Commensalism
2022-24
burnished interlocking collage; verso: xerographic transfers on weathered library bulletin board paper, pencil and xerographic prints on 19th and 20th-century end-page cuttings, document repair tape, pencil, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made hinged frame
25.875 x 20 inches

LV 20 verso
todd bartel Landscape Vernacular burnished interlocking collage; verso: document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made frame
Two Trees
2023
burnished interlocking collage; verso: document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made frame
30.25 x 13.125 inches

LV 21
todd bartel Landscape Vernacular burnished interlocking collage; recto: weathered library bulletin board paper, inset xerographic print on 19th-century endpaper, xerographic prints on vintage endpapers, ink, pencil
Two Trees
2023
burnished interlocking collage; recto: weathered library bulletin board paper, inset xerographic print on 19th-century endpaper, xerographic prints on vintage endpapers, ink, pencil
30.25 x 13.125 inches

LV 21 verso
todd bartel Landscape Vernacular burnished interlocking collage; ; recto: 19th- and 20th-century end-papers inserted into weathered library bulletin board paper, watercolor
Dangerous Dualism
2023
burnished interlocking collage; ; recto: 19th- and 20th-century end-papers inserted into weathered library bulletin board paper, watercolor
26 x 20.5 inches

LV 22
todd bartel Landscape Vernacular burnished interlocking collage; verso: xerographic transfers on weathered library bulletin board paper, pencil, document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made hinged frame
Dangerous Dualism
2023
burnished interlocking collage; verso: xerographic transfers on weathered library bulletin board paper, pencil, document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made hinged frame
26 x 20.5 inches

LV22 verso
todd bartel Landscape Vernacular burnished interlocking collage; recto: xerographic prints on 19th- and 20th-century end-papers inserted into weathered library bulletin board paper, xerographic transfers; verso: document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made frame
Gravity Roads—America Learns to Shoot 1829 - 1888
2023
burnished interlocking collage; recto: xerographic prints on 19th- and 20th-century end-papers inserted into weathered library bulletin board paper, xerographic transfers; verso: document repair tape, 19th- and 20th-century endpaper cuttings for seam-support, Yes Glue; artist-made frame
20 x 26 inches

LV 23
todd bartel Landscape Vernacular burnished interlocking collage; recto: India ink, watercolor, pencil, xerographic prints and transfers on endpaper cuttings,19th- and 20th-century end-paper cuttings inserted into the reverse side of maps of New Jersey, Ohio, and Rome (The New•World Loose Leaf Atlas, C. S. Hammond & Company, Inc. 1926)
Magnificent Desolation
2023-24
burnished interlocking collage; recto: India ink, watercolor, pencil, xerographic prints and transfers on endpaper cuttings,19th- and 20th-century end-paper cuttings inserted into the reverse side of maps of New Jersey, Ohio, and Rome (The New•World Loose Leaf Atlas, C. S. Hammond & Company, Inc. 1926)
19.875 x 40.5 inches

LV 24
todd bartel Landscape Vernacular burnished interlocking collage; verso: India Ink, pen, pencil and xerographic transfer on maps, document repair tape; artist-made frame
Magnificent Desolation
2023-24
burnished interlocking collage; verso: India Ink, pen, pencil and xerographic transfer on maps, document repair tape; artist-made frame
19.875 x 40.5 inches

LV 24 verso
todd bartel Landscape Vernacular Interlocking collage; recto: rust transfer on blank 19th-century sketchbook pages and weathered aviary book page cuttings set into John James Audubon’s American Robin No. 27, Lithograph 1832 (printed by R. Havell) with pencil and inset xerographic transfers; verso: xerographic transfers, pencil and document repair tape on back of John James Audubon’s American Robin No. 27, lithograph, artist-made frame
Earth’s Green Mantle (Feedback)
2024
Interlocking collage; recto: rust transfer on blank 19th-century sketchbook pages and weathered aviary book page cuttings set into John James Audubon’s American Robin No. 27, Lithograph 1832 (printed by R. Havell) with pencil and inset xerographic transfers; verso: xerographic transfers, pencil and document repair tape on back of John James Audubon’s American Robin No. 27, lithograph, artist-made frame
18 x 16 inches

LV 25
todd bartel Landscape Vernacular Interlocking collage; recto: rust transfer on blank 19th-century sketchbook pages and weathered aviary book page cuttings set into John James Audubon’s American Robin No. 27, Lithograph 1832 (printed by R. Havell) with pencil and inset xerographic transfers; verso: xerographic transfers, pencil and document repair tape on back of John James Audubon’s American Robin No. 27, lithograph, artist-made frame
Earth’s Green Mantle (Feedback)
2024
Interlocking collage; recto: rust transfer on blank 19th-century sketchbook pages and weathered aviary book page cuttings set into John James Audubon’s American Robin No. 27, Lithograph 1832 (printed by R. Havell) with pencil and inset xerographic transfers; verso: xerographic transfers, pencil and document repair tape on back of John James Audubon’s American Robin No. 27, lithograph, artist-made frame
18 x 16 inches

LV 25 verso
todd bartel Landscape Vernacular Interlocking collage; recto: rust transfer on joined 19th-century end pages, inserted xerographic faux engraving of Thomas Cole’s 1836, The Course of Empire—The Arcadian or Pastoral State, inserted red division lines from Bridge scoresheet, xerographic prints on 21-century end page papers of the definition of “watershed” (Webster’s 1974, New Oxford Dictionary of English 1998), pencil; verso: xerographic transfers, pencil and color pencil, artist-made frame
Another Scapegrace Turning Point (Cole’s Erratics)
2025
Interlocking collage; recto: rust transfer on joined 19th-century end pages, inserted xerographic faux engraving of Thomas Cole’s 1836, The Course of Empire—The Arcadian or Pastoral State, inserted red division lines from Bridge scoresheet, xerographic prints on 21-century end page papers of the definition of “watershed” (Webster’s 1974, New Oxford Dictionary of English 1998), pencil; verso: xerographic transfers, pencil and color pencil, artist-made frame
22.375 x 16.625 inches

LV26
todd bartel Landscape Vernacular Interlocking collage; verso: xerographic transfers, pencil and color pencil, artist-made frame
Another Scapegrace Turning Point (Cole’s Erratics)
2025
Interlocking collage; verso: xerographic transfers, pencil and color pencil, artist-made frame
22.375 x 16.625 inches

LV 26 verso