Art by Medium: Intaglio

Edward S. Curtis East Mesa Girls, 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #427, The North American Indian, on ...

GERHARD RICHTER b. 1932 Born in Dresden 1932 (German) Title: Canary Landscapes I b Kanarische Landschaften I b, 1971 Technique: Original Hand Signed and Numbered Heliogravure in C...

Edward S. Curtis Walpi Architecture 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #421, The North American Indian, o...

17 x 29.5 inch hand-pulled photogravure Image size 9 x 23 inches Signed, titled, dated and editioned on recto Edition 40

Sorel Etrog (1933- 2014) is arguably Canada's most famous sculptor. His work can be found in numerous museum and private collections around the world including the Tate, the AGO and...

Direct to plate photogravure and aquatint. Edition of 40.

Edition of 25 Colour soap ground and spit bite aquatints with photgravure and roulette on Somerset Satin White paper Published by Crown Point Press 87.6 x 64.8 cms (34 1/2 x 25 1/2...

Flatbite and color aquatint.

"Mankind" is an original one-color intaglio print over an 8-color digital pigmented inkjet graphic by Suzanne McClelland. The artist signed the piece lower right. It features blue ge...

Dario Tironi is the artist that evades the classic canons of Besharat Gallery's sculptures. But we could not remain indifferent to his fantastic, incredi...

Archival pigment print Signed and dated by the artist 16 x 20 - edition of 10 20 x 30 - edition of 5 Flickering in the Midday Silver Beyond the pane a glimmer, barely perceived...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a woman posing with her face covered, creating a beautiful shadow concealing her face, the background has an ominous and luminescent quality with all but a lone house in the distance, all these pieces come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea...

These images are available as hand-pulled polymer photogravures, made with bone black and warm sepia inks on Hahnemühle Copperplate paper. Edition of 109 7 x 9 photopolymer gravure Signed numbered and dated by the artist Framing options available The photographs and poem that evolved into this series of photographs and the accompanying book “Yesterday” were made during the summer of 2020. Although much of the country was in the midst of the Covid 19 pandemic, on this remote island off the coast of Maine, we still felt free from much of the toll that Covid was taking. Able to spend time outside, in nature, we had the illusion of safety, of normalcy almost, whilst at the same time being painfully aware of how the virus was increasingly touching everyone's lives. By then we all knew of people who had died, or become ill and we were managing the stress of futures shifting and plans that had been derailed, fearing what would come with the change of the seasons. That summer represented a pause in time, a moment where life could feel normal, when we were still holding on to a world of yesterdays. Maine-based photographic artist and writer Sal Taylor Kydd uses various photographic media in a personal narrative that explores themes around memory and belonging; combining her poetry with alternative processes of photography and object-making. Taylor Kydd’s fine art photographs have been exhibited throughout the country and internationally, including Barcelona, San Miguel De Allende, Portland, Boston and Los Angeles; and she has been featured in numerous publications, including Shots Magazine, Don’t Take Pictures Magazine, Lenscratch, Diffusion Annual and The Hand magazine. She has self-published a number of books combining her poetry with her photographs. Her books are in private and museum collections throughout the country including The Getty Museum, Bowdoin College, The Peabody Essex Museum and the Maine Women Writer’s Collection at the University of New England. Taylor Kydd’s latest book “Yesterday”, produced by Datz Press, is a limited edition book of poems and photographs that explores our sense of loss around the pandemic of 2020. Taylor Kydd is also a veteran workshop leader and educator and has led workshops and conducted portfolio reviews throughout the country and internationally with Maine Media, Santa Fe Workshops, Palm Beach Photography...

TECHNICAL INFORMATION: John Baldessari Two Figures (One with Shadow), from Hegel's Cellar Portfolio 1986 Photogravure and sugar-lift acquatint on torn Rives BFK deckle, printed almo...

Edition of 26 Signed, titled, dated and numbered on print margin. Photogravure

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a serene scene of a figure with a dog, next to a house creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited by Denis Diderot and Jean le Rond ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited by Denis Diderot and Jean le Rond ...

Jessica Carroll is an Italo- American sculptor (b. 1961), member of an artistic family (her father was a painter, her mother a writer and her grandfather directed the movie Totò, Pep...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a woman posing in front of what looks to be a window looking into an interior with wallpaper covered walls, all these pieces come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea markets

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a quiet scene divided in foreground, middle ground, and background that draws the viewer into the atmospheric perspective. In the foreground there is a haunting figure making eye contact, followed by some houses that create a gap to reveal another figure in the background that is out of focus, all if these aspects come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea markets"

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Signed on reverse Photogravure on paper 7 x 10 1/2 inches Provenance: Private Collection, Wisconsin

This photogravure in colour from the year 2000/2001 is the sixth sheet from Peter Doigs series ‘100 Years Ago’. This copy is signed and numbered in pencil below the image on the righ...

Edition of 7 With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into...

Social Climber, intaglio and mezzotint portrait on paper by Lisa Yuskavage, 90s - female nude stylized Social Climber 1996-1998 Signed, titled, and numbered in pencil, recto Intag...

Untitled (Jonathan) [Portrait of Jack Pierson], Photograph by Mark Morrisroe 1978/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 i...

A black and white picture of two men Untitled (Stephen and Jonathan) [Portrait of Stephen Tashjian and Jack Pierson]. 1979/1996 Editioned in pencil, verso Photogravure (Edition o...

Untitled (Lady Hamlet), black and white portrait photograph by Mark Morrisroe 1984/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 ...

Untitled (Lynelle), black and white photograph by Mark Morrisroe Untitled (Lynelle) 1986/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x...

Untitled (Lynelle, Close-up) 1985/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 inches, plate Contact gallery for price. “Mark w...

Untitled (Still Life with Chanel Bag), black+white photography by Mark Morrisroe Untitled (Still Life with Chanel Bag) 1986/1996 Editioned in pencil, verso Photogravure (Edition o...

A black and white self portrait by Mark Morrisroe printed as a photogravure in 1996. Self Portrait 1980/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inche...

Untitled (View from Jersey City Apartment), Black and White Photograph by Mark Morrisroe 1986/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4...

John Baldessari Life's Balance (with Money) 1989-90 Etching, aquatint and photogravure in colors, on irregularly shaped Somerset paper 51 x 42 3/4 in. Edition of 45 Pencil signed and...

John Baldessari Rollercoaster 1989-90 Color aquatint and photogravure on Somerset paper 38 3/4 x 67 1/4 in. P.P. (Printer's Proof) Pencil signed and numbered

Street Palm by Howard Hodgkin, 1990-91 Additional information: Medium: intaglio print with carborundum from three aluminium plates printed in green, green and yellow (mixed), ultramarine blue and white (mixed), with hand-colouring in vermillion red egg tempera 160 x 137 cm 63 x 54 in signed with initials, numbered and dated Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

John Baldessari (June 17, 1931 - January 2, 2020, American) Two Sets (One with Bench) 1989-1990 Photogravure with aquatint 47 3/8 29 5/8 in. Artist's Proof (A.P) Pencil signed and nu...

John Baldessari (June 17, 1931 - January 2, 2020, American) Helmsmen (With Various Fires) 1989-1990 Sugar lift, spit bit, aquatint and photogravure in colors on three sheets of Somer...

Tom Friedman Vanishing Point, 2006 Photogravure from 25 shaped plates and five blind embossments on Somerset satin paper Paper Dimensions: 42 7/8 x 40 3/8 inches (108.9 x 102.6 cm)...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

Edition of 7 With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into...

Pickaxe (Spitzhacke) Superimposed on a Drawing of the Site by E.L. Grimm, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Unframed: 26" x 20" Framed: 28.75" x 22.75" Signed and Dated Lower Right Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

Created by the Alex Katz in 2018, Laura x4 is a photoengraving and aquatint on Saunders Waterford paper. Hand-signed in pencil and numbered, the artwork measures 42 x 168 in. (107 x ...

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Edition of 200 Contact gallery for price This work is offered by ClampArt in New York City.

Signed in pencil, l.r. Edition of 200 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price. This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Photogravure (Edition of 50) Contact gallery for price This work is offered by ClampArt in New York City

Photogravure (Edition of 200) Contact gallery for price. This work is offered by ClampArt in New York City.

High Gloss Aluminum