Aquatint More Prints

Within this outstanding aquatint etching, Eduardo Chillida depicts his sculptural and structural ideas in a two dimensional artwork. By regarding it, the beholder gets an idea of Chi...

from "Fusées" - Joan Miró, one artwork out of "Fusées" portfolio Wonderful exemplar form the portfolio "Fusées". Aquatint etching from 1959 32 x 50 cm. Edition of 100

This large, striking color etching and aquatint is an artist's proof, aside from the edition of 20. Signed, titled and inscribed "AP" in pencil by Barnet.

"Banco", an aquatint from Robert Rauschenberg' s "Ground Rules" series is an exemplary piece where the window moldings become a metaphor for the formal role it plays in anchoring it into a simple, legible grid. A vivid palette with brilliant, translucent greens, blues, and oranges render discrete patches and the clarity of the printing seems more firmly "grounded" than the photographs in their grids. There is a recurrence of artistically self-referential motifs like the central white rectangle with a sign, YOUR NAME HERE, superimposed over the window rather obliquely. In the window of "Banco" reflections become opacities that destroy its translucency, bring back the surface; and across that surface, scraps of imagery drift, bringing back, in turn through their transparency, the illusion of depth. The sheet itself is 41 5/16 x 27 9/16" (105 x 70 cm). This is number 32 from an edition of 44 and has been numbered and signed by the artist. Robert Rauschenberg, the irrepressibly prolific American artist, is known as the one who time and again reshaped art in the 20th century. He was a painter, photographer, printmaker, choreographer, onstage performer, and set designer. In later years, it is said, he was even a composer. He defied the traditional idea that an artist must stick to one medium or style. He pushed, prodded and sometimes reconceived all the mediums in which he worked. Similar to the artists, Marcel Duchamp, Kurt Schwitters, Joseph Cornell, John Cage and others, Rauschenberg helped obscure the lines between painting and sculpture, painting and photography, photography and printmaking, sculpture and photography, sculpture and dance, sculpture and technology, technology and performance art. Per the art critic, Jerry Saltz: Rauschenberg invented a new form called the combine. It was not quite a painting nor was it considered sculpture. For Rauschenberg, though, it was like discovering fire it so transformed his art. He used bedding, doors, parachutes, a tire, a stuffed goat and combined them into new forms. One combine, Monogram, features a stuffed goat encircled by a tire atop a horizontal painting. Saltz says, “Rauschenberg is a mischievous Satyr grazing on art history, or the goat is a gargoyle protecting the art. Either way, the title suggests that Rauschenberg was leaving his mark.” And leave his mark he did. He became known as the giant of American Art. Jasper Johns, his sometime lover, said, “Rauschenberg was the man who in this century invented the most since Picasso.” Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the Pop art movement. He received numerous awards during his nearly 60-year artistic career. Among the most prominent were the International Grand Prize in Painting at the 32nd Venice Biennale in 1964 and the National Medal of Arts in 1993. He lived and worked in New York City and on Captiva Island, Florida, At 18, Rauschenberg was admitted to the University of Texas at Austin where he began studying pharmacology, but he dropped out shortly after due to the difficulty of the coursework—not realizing at this point that he is dyslexic—and his unwillingness to dissect a frog in biology class. He was drafted into the United States Navy in 1944. Based in California, he served as a neuropsychiatric technician in a Navy hospital until his discharge in 1945 or 1946. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met fellow art student Susan Weil...

The illusions and reflections in Sietins prints often bring M.C. Escher to mind, but his prints have a distinctive feel all their own. This print is a slight departure from other ser...

Falling Star is a 1989-1990 color aquatint and photogravure measuring 62 1/2 x 20 5/8 inches. Falling Star is an iconic example of Baldessari’s playful u...

from "Series II" - Joan Miró, Graphic artwork, Miró, Black and White Aquatint etching from 1947, printed in 1952-1953, 50,5 x 64,7 cm, Edition of 13, in complete approx. 20 Exemplars...

Boldly colored floral motif color aquatint. Signed and numbered 48/300 in pencil by Braque.

Large, scarce limited edition color aquatint by Alexander Calder, from a limited edition of 90. Signed by Calder and numbered in pencil. Printed and published by 2RC Edizioni d'Art...

"Marlowe and the s. o. raincloud" etching and aquatint is a complicated mixture of Native American head dress, notes by the artist, comic super he...

Louise Nevelson created the etching and aquatint entitled “CIRCUS WAGON” in 1953. This scarce EARLY impression was printed in an edition of 20. The imag...

Pair of Early 19th Century "Conchology" Color Etchings c.1802 Fantastic pair of hand colored etchings titled "Conchology". Published in London on December 24th, 1802. Each plate s...

This artwork titled "Master Arthur" from the suite "Cirque de l'Etoile Filante" created in 1934, printed in 1938 is an original color aquatint, etching and drypoint by renown French ...

Max Papart (1911-1994) "The Blue Rider" Original Etching with Aquatint, circa 1973 This is a rare artist proof. The artist proof is pencil signed and titled by the artist. The regu...

This is a colored aquatint and stipple engraving finished by hand entitled "Amicua Melon", drawn and engraved by George Brookshaw and published in London in 1812 as plate LXXII in hi...

Signed, titled and numbered from the edition of 25. The illusions and reflections in Sietens prints often bring M.C. Escher to mind, but his prints have a distinctive feel all their ...

French Revolution Bicentennial Suite is a set of four 1988 aquatints with photoengraving and collage elements by Robert Motherwell. The iconic Suite is hand signed in graphite by Mot...

Jean Miotte - Rare Original Aquatint Engraving Title: Abstract Composition Dimensions: 76 x 56 cm Jean Miotte, 1926 - 2016 Miotte came of artistic age in the decade after World War...

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 64/99 Signed and Numbered in pencil

The illusions and reflections in Sietens prints often bring M.C. Escher to mind, but his prints have a distinctive feel all their own. This print is from a recent series that explore...

Edition 37 of 50 prints, numbered and hand signed. Image dimensions: 43x58 cm. Wonderful proof on vélin in full margins, numbered lower left and signed lower right in pencil. Realize...

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: /66 Hand-Signed in pencil L'Oeil Constant, Vence, Pierre Chave, 2001.

This artwork titled "Paris, Le Pont Neuf" c.1990 is an original color aquatint by noted California artist Arnold A. Grossman, 1923-2016. It is signed with...

This artwork titled "Sunspot" c.1980 is an original color aquatint by noted California artist Arnold A. Grossman, 1923-2016. It is signed, titled, and numbered 3/30 in pencil by the ...

Image dimensions: 22 x 16 cm. This artwork by Henry Moore is hand signed, numbered and dated. This original aquatint is from an edition of 100 prints. This wonderful etching represe...

Born in Charleroi, Belgium, Christine Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed the black hills that dot the landscape of the ...

Plate size: 36.8 x 27. 3 cms (14 1/2 x 10 3/4 ins) Image size: 15.2 x 9.5 cms (6 x 3 3/4 ins) Edition of 20

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 98/150 Signed and Numbered in pencil Jean Miotte, 1926 - 2016 Miotte came ...

HELL GATE / OYSTER BAY AND HUNTINGTON / HUNTINGTON BAY. This aquatint and line engraved map was published according to Act of Parliament Novr. 19th, 1778. T...

Artist: SICA, American (1932 - ) Title: Karnak Medium: Aquatint Etching, Signed and numbered in pencil Edition: AP Image Size: 14.5 x 10.5 inches Size: 22 in. x 15 in. (55.88 cm x 38...

Aquatint on BFK Rives paper, Edition of 25 Paper size: 56 x 38 cms (22 x 15 ins) Image size: 34.8 x 27.7 cms (13 3/4 x 10 7/8 ins)

"Electro Magie Electro Image" is an original etching and aquatint by Man Ray. This piece depicts a pink magnet with the title written in cursive undernea...

Artist: SICA, American (1932 - ) Title: Armageddon Medium: Aquatint Etching, Signed and numbered in pencil Edition: 6/20 Image Size: 18 x 16 inches Size: 22 in. x 20 in. (55.88 cm x ...

After Henri Michaux - Moments - Original Aquatint Edition of 130 Dimensions: 34.2 x 30.5 cm Vellum paper BFK Rives 1996 Bibliography: Jørgen Ågerup, Zao Wou-Ki: The Graphic Work, A C...

An ex libris print with themes of ancient Greece and surrealist fantasy, showing elements from the Acropolis against a backdrop of the universe. Roman Sustov was born in 1977 in Minsk, Belarus. In 1995 he graduated from Minsk Art College and six years later he graduated from the Belarusian Academy of Arts (Department of Graphic). Through this long training he has become a master in etching, lithography and linocut prints. His works can be found in collections in the USA, Germany, Netherlands, Poland, Ukraine, Japan, Russia and Belarus, and in the Contemporary Fine Art Museum (Minsk, Belarus). Roman notes...

Aquatint and drypoint 75.9 x 60.6 cms (29 7/8 x 23 7/8 ins) paper size 60.3 x 45.4 cms (23 3/4 x 17 7/8 ins) plate size Edition of 5

Aquatint, monoprint with chine collé 84.5 x 68.6 cms (33 1/4 x 27 ins) Edition of 22 variants

91.4 x 81.6 cms (36 x 32 1/8 ins) Edition of 20

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

The reflection of reality on a metallic sphere is one of Sietins' most frequently used motifs. He is fascinated by the possibility of opening an extra dimension in the dialogue ...

Aquatint and lift-ground etching on Georges Duchêne Hawthorne of Larroque handmade paper, Edition of 70 1983 90.2 x 46.4 cms (35 1/2 x 18 1/4 ins)

Aquatint, lift-ground etching and aquatint on Auvergne a la Main Richard de Bas handmade paper 57.8 x 63.8 cms (22.75 x 25.1 ins) Edition of 34 Signed "Motherwell" in pencil ...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Aquatint, monoprint with chine collé 85.7 x 68.6 cms (33 3/4 x 27 ins) Edition of 19 variants

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

The illusions and reflections in Sietens prints often bring M.C. Escher to mind, but his prints have a distinctive feel all their own. Elements in his prints seem to defy gravity. Si...

Aquatint, lift-ground etching and aquatint on German Etching paper 53.3 x 73.7 cms (21 x 29 ins) Edition of 50

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

125.5 x 135.5 cms (49.41 x 53.35 ins) Edition of 58 Signed in pencil, inscribed 'Bon a tirer'. Published by 2RC Edizioni d'Arte, Rome Printed by Vigna Antoniniana, Rome, with t...

44.5 x 44.5 cms (17.5 x 17.5 ins) Edition of 70 Signature:Signed "Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; artist's chop mark lower right ...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Childhood memories of a red tricycle led to this print by Chicano artist Xavier Viramontes. In the 1970's, Viramontes designed the poster for the United Farmworkers Union, 'Boyco...