frequently asked questions

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.

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

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 August 2019, there are approximately 740 print titles listed. Despite this site described as an on-going work-in-progress, it's likely that DeArmond – in her expansive 50 year artistic lifetime – 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:

A/P refers to:
T/P refers to: 
P/P refers to:
B.E. refers to:
E.A. refers to:

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, and their print runs may be different than the first.

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:

Artist's Proof (note: DeArmond created these for most of her prints.) 
Trial Proof
Presentation, Printer's or Progressive Proof

Book Edition
Épreuve D'Artiste Proof 

Note: known to only exist for her 1975 stone lithographs, as they were printed in France, and a handful of other titles.

Please refer to the about tab for more information on this artist.

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:

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.

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 may derive from: past sales; number in the edition (rarity); size; subject matter; appeal; age of the art; and its complexity (for example, the number of colors in a woodcut). Her works can 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.

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.

The intended 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.

There may only be "D. DeArmond," or just "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 indicates 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.

A woodblock is from an original piece of wood (DeArmond tended to favor maple blocks). Both wood engraving and woodcut prints are often referred to as being a woodblock print. Some softer woods are easier to cut into, but are also easier to damage or unintentionally carve a piece away. Harder woods are easier for carving details but are more difficult to carve.

Woodcuts are made from a block of plank-wise cut wood. It is relatively easy to carve into but is not practical for finer details. Woodcuts allow the artist to take advantage of the natural grain in the plank-wise block and incorporate these striations into their art. Color woodcuts may require several different blocks, each to represent a color in the final art. Engravings are cut from the body of an end-grain woodblock, allowing for finer details. After the 1970s, DeArmond found it easier to carve wood engravings than woodcuts. Original woodblocks are unique – they were kept by the artist; given to family or friends; or sold, often paired with an original print.

  • 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. DeArmond sometimes, but not always, used different sized papers for her prints.
  • If you see deckle edges (also known as feathering – see below) on a print, this is intentional. 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.

Who was Dale DeArmond?

What is the intended purpose of this website?

What is the difference between a woodblock, woodcut and wood engraving?

What is the correct spelling of the artist's name?

I have a print of Dale DeArmond's, and attached to it is a certificate of authenticity (COA). Does it add value?

As is standard with many valuable collectables, should I be concerned about "fake" prints or bootleg copies?

Regarding individual prints, I’ve noticed the text AP, T.P., or P/P. What do they refer to? 

What is hand written on most of the prints?

I have a print that has a slightly different title than is listed. Is this normal?

Which mediums did DeArmond work with?

I'm looking for a particular print, yet I cannot find it. Any reason?

What dictates value for DeArmond’s prints?

Where can DeArmond's work be purchased?

What is a "second state" when referring to her prints?

Anything else not yet mentioned?

Raven Making the World                        22/35                        Dale DeArmond – imp – 1963

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, and their phone number is 907-789-7449.

DeArmond's art is not available for purchase on this website.

She has worked in many mediums, including oil, pastel, ink and pen, pencil, stone lithographs, woodcuts, wood engravings, etchings, silkscreens (serigraphs) and even textiles, in addition to literary works.

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.


Except where noted, all images contained herein this website are copyright © Estate of Dale DeArmond. Used with permission. All rights reserved.

Website design and content is copyright © Davin Anderson 2015-2019.

This website is under copyright. Any unauthorized commercial usage of anything contained herein is unlawful. Except in cases where noncommercial uses are permitted by law, no part may be used, copied, reproduced, distributed, or transmitted in any form or by any means – to include copying, photocopying, recording, or other electronic or mechanical methods – without the prior written permission of the copyright owner. For permission requests, email

Simple illustration describing woodcuts vs. wood engravings.

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. Proofs may be uncolored and/or appear "unfinished." 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. Proofs 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's proofs were produced, regardless of the number in the regular edition.

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."