Art by Medium: Engraving

These 19th Century hand-carved hall chairs from Mexico are reminiscent of a Renaissance style in the design of the faces of the angels and ornamentation. This native wood is walnut colored with a stain that gives the chairs a caramel glow. The cushions are upholstered in a, light yellow silk brocade fabric. There are pin-sized holes from an earlier exposure to termites, a desirable element in antique Mexican furniture...

Landscape with Window and Chair Mezzotint on wove paper, 2000 Signed in pencil lower right (see photo) Edition: 150 (93/150) (see photo) Special Presentation Print for the Print Club of Albany, 2000 Condition: Mint Image/Plate size: 4 1/2 x 3 1/2 inches Sheet size: 7 x 5 1/2 inches From the Print Club of Albany: "Kipniss states that it is part of his working process to explore an image in pencil, in paint and in print. As the image evolves, its ramifications lead to hints of the next work. This image is well-suited for this medium since in mezzotint the artist literally draws the light as he burnishes the tiny rocked copper pinholes that trap the ink and become the image." From 1968 into 1990, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. Kipniss's first lithographs were done in black and white, but by 1970 he was also working in color. He taught himself "to lay in the most delicately light silvery tones on the surface of the limestone by maintaining an exceptionally sharp point on the lithographic pencil and drawing with no pressure other than the weight of the pencil itself." He built up a support so that his hand and wrist could "dangle" over the stone. By 1990 Kipniss had completed about 450 editions of lithographs, usually of 90 to 250 impressions, at the Burr Miller studio in Manhattan. He worked from 1969 with master printer Burr Miller and then with Steve and Terry, his sons. Works by the artist are in the following public collections: • Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, California Palace of the Legion of Honor* • Albertina Museum, Vienna, Austria* • Albright-Knox Art Gallery, Buffalo, NY • Arkansas State University Permanent Collection, State University, AR • Art Institute of Chicago, Chicago, IL • Art Museum of Western Virginia, Roanoke, VA • Art Students League of New York, New York, NY • Bates College Museum of Art, Lewiston, ME • Berkshire Museum, Pittsfield, MA • Bibliothèque nationale de France, Paris* • Boston Athenæum, Boston, MA • Bowdoin College Museum of Art, Brunswick, ME* • British Museum, London, England* • Brooklyn Museum of Art, Brooklyn, NY* • Butler Institute of American Art, Youngstown, OH • Canton Art Institute, Canton, OH • Carnegie Museum of Art, Pittsburgh, PA • Century Association, New York, NY • Cleveland Museum of Art, Cleveland, OH* • Columbus Museum of Art, Columbus, OH • Coos Art Museum, Coos Bay...

The sixth of 20 of this limited edition Marielle Guégan engraving created in 2011. Marielle Guégan is a French painter and engraver. During her studies as an interior designer, she...

This is a hand-colored copper plate engraving entitled "Matricaria Flore Simplici, Matricaria Flore Pleno, depicting flowering Feverfew and Double-flowered Feverfew plants, from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. The feverfew plant is also known as featherfew, featherfoil, or bachelor’s buttons...

Cherry is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. Ed...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

Jack Levine, American, 1915–2010 The Feast of Pure Reason, 1970 Etching, mezzotint and aquatint on copper in black ink. 20 w. 25 in., sight overall: 27 x 31.75 in., matted. Depict...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwd...

Burnt lines on paper

This 17th century hand-colored engraving of a lemon entitled "Limon Straitus Amalphitanus" is Plate 249 from Giovanni Baptista Ferrari's publication "Hesperides, sive, De Malorum Aur...

Maize by Scholnyk is a mezzotint of ears of corn in a woven basket. This impression is #25 of an edition of 80. Schkolnyk was born in Paris, France in 1953 and currently resides in...

A hand-colored copper plate engraving depicting flowering "Melocactos" (Turk's Cap Cactus or Mother-in-law's Cushion), "Rosa Hiericontea aperta" (Rose of Jericho Unfolded), "Rosa Hie...