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The Guin Library’s extensive art collection was established, and is continuously enhanced, through gift funds raised by generous supporters.
Artwork found at the Guin Library generally share one or more characteristics: coastal landscapes, marine life, Oregon, maritime, and Pacific Northwest Indigenous American themes are prominent within the collection. The Guin Library celebrates our vibrant local art community and displays works by several artists who call Lincoln County their home.
Stop by today, check out a notebook with more information, and take a self-guided tour to admire all of the incredible art inside the beautiful Guin library! For information about OSU’s Northwest Art Collection located at Valley Library, visit: library.oregonstate.edu/nwart |
Barry Fisher
Marion Moir
(Newport, OR)
watercolor
2002
Crab
Unknown Artist
acrylic
n.d.
.
Fish Box #88
Ben Soeby
(Otis, OR)
wood
2014
Rooster
Tom Hardy
(Portland, OR)
woodcut
n.d.
Fish
Rick Bartow
(Newport, OR)
wood and metal
n.d.
Crab 1
James Jordan
(Ranier, OR)
giclee
1988
Down to the Sea
Elton Bennet
(Hoquiam, WA)
serigraph on paper
n.d.
Fossil Beds
Jack Wennstrom
(Newport, OR)
watercolor
1992
Raven and Salmon Woman
David Boxley
(Seattle, WA)
color lithograph
1996
Sea Creatures
Marion Beck
(Halibut Cove, AK)
batik on silk
1987
Winter Light III
Jack Wennstrom
(Newport, OR)
watercolor
1993
Untitled
Drake Deknatel
(Seattle, WA)
oil
n.d.
Unknown
Demetrios Jameson
(Sebastapol, CA)
watercolor
n.d.
Red Chimneys
Annelis Schiebel
(Astoria, OR)
acrylic
1992
Wood Wave Chart of Marshall Island Atoll
Unknown
bamboo, shells, and thread
1970
.
Chinook Plate
Frank Boyden
(Otis, OR)
wood fired stoneware and porcelain
1989
L.A. Dunton
John Mecray
(Jamestown, RI)
color lithograph
1996
Sailing Edge of the Moon
Jackie Niemi
(South Beach, OR)
salmon skin and wood
1995
Seascape
John Rock
(Corvallis, OR)
oil
n.d.
Boat
Rick Bartow
(Newport, OR)
wood and nails
1998
Koi
Unkown Artist
watercolor on silk
n.d.
.
Tuna Hunter
Mimi Cerynar Fox
(Newport, OR)
pastel
2003
Mad River
Martha Hawkes
(Siletz, OR)
carved walnut
1993
Plate
Kurt Weiser
(Helena, MT)
glazed stoneware
1990
Stream
Jay Cruson
(Eugene, OR)
acrylic
1991
Rockfish
Diane O'Leary
(Newport, OR)
giclee
2010
Ling Cod
Diane O'Leary
(Newport, OR)
giclee
2010
Bycatch
Jackie Niemi
(South Beach, OR)
wood, twine
1997
Maple Seed Bench
Anne Storrs
(Portland, OR)
concrete and Alaska yellow cedar
1994
Fish Market
Cristine Rutledge
(Seal Rock, OR)
monoprint
1990
Oregon Harvester
Mimi Cernyar Fox
(Newport, OR)
pastel
2002
Blu Sol Tide
Mimi Cerynar Fox
(Newport, OR)
acrylic and sand
2012
Clouded Tide & Stones
Mimi Cerynar Fox
(Newport, OR)
acrylic and sand
2012
The Norwind
Tomm Hannen
(Astoria, OR)
watercolor print
1992
Cranes
Jean-Baptiste Sebukangaga
(Butare, Rwanda)
wood carving
1989
Dance of the Jellyfish
Jacqueline Hewitt
(Newport, OR)
pastel
2007
Night Blooms
Robert Coghill
(Siletz, OR)
pastel and pencil
1991
Self Portrait with Red Nose
Rick Bartow
(Newport, OR)
oil
1989
Art Forms in Nature by Multitude of strangely beautiful natural forms: Radiolaria, Foraminifera, Ciliata, diatoms, calcareous sponges, Siphonophora, star corals, starfishes, Protozoa, flagellates, brown seaweed, jellyfishes, sea-lilies, moss animals, sea-urchins, glass sponges, leptomedusae, horny corals, trunkfishes, true sea slugs, anthomedusae horseshoe crabs, sea-cucumbers, octopuses, bats, orchids, sea wasps, seahorse, a dragonfish, a frogfish, much more. All images in black and white.
Eye for Detail by Image-transforming techniques such as close-up, time lapse, and layering are generally associated with the age of photography, but as Florike Egmond shows in this book, they were already being used half a millennium ago. Exploring the world of natural history drawings from the Renaissance, Eye for Detail shows how the function of identification led to image manipulation techniques that will look uncannily familiar to the modern viewer. Egmond shows how the format of images in nature studies changed dramatically during the Renaissance period, as high-definition naturalistic representation became the rule during a robust output of plant and animal drawings. She examines what visual techniques like magnification can tell us about how early modern Europeans studied and ordered living nature, and she focuses on how attention to visual detail was motivated by an overriding question: the secret of the origins of life. Beautifully and precisely illustrated throughout, this volume serves as an arresting guide to the massive European collections of nature drawings and an absorbing study of natural history art of the sixteenth century. 
Fish in Art by From the Dutch artist Jacob Gillig's many still lifes to Renoir's The Fish Monger and Manet's Fishing, fish have inspired artists for thousands of years. They appear in the work of the old Dutch and Flemish masters as well as in the creations of French, English, and American painters. Yet the social and cultural significance of fishes' representation in art has been overlooked. Christine E. Jackson remedies this deficiency in Fish in Art, an original perspective on the artistic legacy of fish and the fishing industry. Surveying paintings from 2000 B.C. to the present, Jackson examines how representations of fish in art have evolved. She also delves into depictions of fish in kitchenware and tableware. Alongside her analysis of these artworks, she explores the social and historical issues that have engaged artists, including religious decrees on when to eat fish, the legacies of cod wars, and the rise and fall of particular ports. Widening her scope, she considers the ethics of catching fish and the ongoing industrial changes in the canning, ice, and salt industries, grounding her artistic study in the physical conditions of fishing and the fish trade, as well as the preparation, cooking, eating, and storage of these gilled creatures. Packed with over two hundred images, Fish in Art will capture the interest of fishermen, natural historians, and art students alike.
Haeckel's Embryos by Pictures from the past powerfully shape current views of the world. In books, television programs, and websites, new images appear alongside others that have survived from decades ago. Among the most famous are drawings of embryos by the Darwinist Ernst Haeckel in which humans and other vertebrates begin identical, then diverge toward their adult forms. But these icons of evolution are notorious, too: soon after their publication in 1868, a colleague alleged fraud, and Haeckel's many enemies have repeated the charge ever since. His embryos nevertheless became a textbook staple until, in 1997, a biologist accused him again, and creationist advocates of intelligent design forced his figures out. How could the most controversial pictures in the history of science have become some of the most widely seen? In Haeckel's Embryos, Nick Hopwood tells this extraordinary story in full for the first time. He tracks the drawings and the charges against them from their genesis in the nineteenth century to their continuing involvement in innovation in the present day, and from Germany to Britain and the United States. Emphasizing the changes worked by circulation and copying, interpretation and debate, Hopwood uses the case to explore how pictures succeed and fail, gain acceptance and spark controversy. Along the way, he reveals how embryonic development was made a process that we can see, compare, and discuss, and how copying--usually dismissed as unoriginal--can be creative, contested, and consequential. With a wealth of expertly contextualized illustrations, Haeckel's Embryos recaptures the shocking novelty of pictures that enthralled schoolchildren and outraged priests, and highlights the remarkable ways these images kept on shaping knowledge as they aged.
Images of Science by This spectacularly illustrated book chronicles the exciting progress of scientific investigation through the ages as it has been mirrored in the art used to document its ideas and breakthroughs. From the cave paintings of prehistory through the ancient civilizations of Egypt, Assyria, and Greece to Renaissance drawings and modern microscopy, these images reveal the hidden influences and cultural pressures of their times in addition to chronicling and communicating a wealth of contemporary observation and knowledge. The author has organized each section of this survey by taking some of the earliest surviving examples of illustration, and moving through time to the present. Thus separate chapters focus on the animal world, herbs and the birth of botany, physics and the science of non-living matter, mankind in the world; the world in space; and other seminal topics. This organization, and its freedom from a fixed chronology, has enabled the author to show science actually shaping its own story, with surprisingly sophisticated images emerging centuries in advance of today's high-tech instrumentation. The illustrations--most of which are from the British Library collections--have been chosen from among the best preserved in the world, some never before reproduced. All help to show how scientific illustration first arose; how it mirrored in many ways the value systems of the science of its time; how images were borrowed, transformed, and occasionally came to predict future discoveries; and how science evolved from one breathtaking era to the next. This is a work that will stimulate and inspire all readers interested in art and science, and the ingenuity of the scientific mind.
Rapture of the Deep by For more than two decades, Ray Troll has been luring, hooking, and landing fans around the world with his zany, irreverent, and often surreal art. Featured in museums, galleries, and books, as well as on immensely popular T-shirts, his work--part natural history adventure and part underground comic--depicts beautiful and accurately drawn fish of all kinds, Northwest Coast totems, Freud and Darwin, fossils, resurrections of extinct animals, and much more. Rapture of the Deep collects some of Troll's best-known art along with many images never before published. The book makes powerful connections between biological diversity, the evolution of life on earth, and the careless habits of people. Rapture of the Deep celebrates Troll's vision with legendary works including "Spawn Till You Die," "Life's a Fish and Then You Fry," and "Bassackwards," in which fish use money, liquor, and literature as bait to lure humans. Troll's running commentary reveals the thought and inspiration behind his art. Writer Brad Matsen, Troll's longtime coconspirator, adds a lively introduction to the art and life of his "sole" brother.
Surveying the Record by 
The Tragic Sense of Life by Prior to the First World War, more people learned of evolutionary theory from the voluminous writings of Charles Darwin’s foremost champion in Germany, Ernst Haeckel (1834–1919), than from any other source, including the writings of Darwin himself. But, with detractors ranging from paleontologist Stephen Jay Gould to modern-day creationists and advocates of intelligent design, Haeckel is better known as a divisive figure than as a pioneering biologist. Robert J. Richards’s intellectual biography rehabilitates Haeckel, providing the most accurate measure of his science and art yet written, as well as a moving account of Haeckel’s eventful life.
Visualizations by Martin Kemp's provocative essays on the interplay between art and science have been entertaining readers of Nature, the world's leading journal for the announcement of scientific discoveries, since 1997. These short, illustrated, highly regarded essays generally focus on one visual image from art or science and provide an evocative and erudite investigation into shared motifs in the two disciplines. Gathered together here with a delightfully rich introduction by the author, the essays take our understanding to an exciting new level as they transgress the traditional boundaries between art and science. The images under consideration cover Western art from the Renaissance to the present day, and the science ranges from abstract mathematics to the illustrative modes of natural history and medicine. Kemp skillfully discusses the Mona Lisa as well as horror films, Galileo's moon drawings and diagrams in modern physics, Renaissance pottery and logos on trucks, the invention of perspective, and contemporary masterpieces. Rather than charting the mutual influence of art and science upon each other, these essays look to the deeper structures that find expression in art and science; they reveal the "structural intuitions" shared by artists and scientists when confronting the world. This volume contains all the pieces published in Nature under the banners of "Art and Science" and "Science and Image," together with some from Kemp's recent "Science and Culture" series. The essays are presented thematically rather than chronologically, arranged to stimulate critical ideas about the nature of the image at the intersection of art and science, now and in the past.
A Guide to the World of Jellyfish by 
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Contact Us:
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541-867-0108
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