(230) Rivendell Bicycle Works:

Edition of 1526 of which 125 copies are signed 1-125, 26 copies are signed A-Z as artist's proofs.
Three sets of progressives are signed.

June 16, 2012

17-3/4" x 24"
14 Colors

Paper: Starwhite Vicksburg Sirius 110# Cover

Model: Milo Chan Mowen

Client: Rivendell Bicycle Works

1-125: Saint Hieronymus Press
A-Z: Artist's own use

Progressives: One set to Rivendell Bicycle Works, 2 sets to Saint Hieronymus Press

Dedication copies: Grant Petersen; John and Darby; Mark and Amy; Keven and Dynelle; Mary and Grant; Rich and Jenny; Robert Kurosawa; Dave and Marcy; Miesha and Fred; Jenny Klug; Elizabeth McCarthy; Brian Tester; Spencer Chan; Harry and Kara; Vince Nivolo; Joe Bunik; Scott and Elizabeth; Milo Chan Mowen

Second printing August 7, 2019
Roman Numeral II in a circle next to the signature block
Edition size: 1426

In 1957 I was 12 years old. I had a paper route for the Sacramento Bee; I had a bicycle; I had money; I had freedom. That's pretty much what the bicycle meant in the pre-automobile era: freedom. Freedom from parental supervision, to be precise. Pre-automobile in the 1890s meant that there weren't any automobiles yet. Pre-automobile in the 1950s meant that you weren't old enough to drive. When you reached 16 and got your driver's license, you left your bike to your kid brother and cranked up the family Ford. Bicycles were children's toys, something you left behind when you attained a man's estate.

In the 1960s, college students rode bicycles because they were fast, cheap, and campus parking was free. The bicycle again became a symbol of youthful exuberance, anti-establishment hipness and freedom, only this time of freedom from the tyranny and expense of the automobile.

We have become as little children again, riding our bikes and having fun.

June 21, 2012