Art by Medium: Mezzotint

This image is from an edition of 50. The artist's subject matter was enigmatic: a recurring theme was that of anonymous packages tied with knots of rope; sometimes there are prison bars...

Magnificent print by Robert John Thornton. Aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. [London 1799] First state. Thornton was a prolific medical author and Doctor of Medicine, practicing at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the Sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect. This rare and celebrated plate of the Roses...

Signed, titled and numbered from the edition of 30. Most of his mezzotints are tiny, and his subjects are the simplest of everyday objects: an egg, seashell, carrot, potatoes. Simil...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century are evident in the palette of greens and grays, with additional touches of violet, eggplant and ochre. The suite of...

Medium: etching, engraving and mezzotint (after Claude Lorrain). This lovely impression on wove paper was engraved by G.H. Every for the "Beauties of Claude Lorraine" portfolio. The ...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Magnificent print by Robert John Thornton; aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. [London 1799] First state. Thornton was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle...

A magnificent print by Robert John Thornton; aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora...

Owl is an 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...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II Provenance: Heirs of Edmu...

Interior with a red shawl conveys a quite different mood and feeling: one of calm, and suspension of time. Here the suggestion is that the woman is waiting ...

Original aquatint engraving of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. ...

Le banc de jardin (The Garden Bench) Mezzotint and engraving on cream chine collé laid down on ivory wove paper, 1883 Signed in the plate (see photo) Condition: Brilliant impression...

WEINMANN, Johann Wilhelm. Melons Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (168...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

WEINMANN, Johann Wilhelm. Apples Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann (16...

WEINMANN, Johann Wilhelm. Java Apples Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Limited edition, one of 10 copies. KRYSTYNA JASZKE She graduated from the Academy of Fine Arts in Wrocław where she studied at the faculty of Painting and Sculpture at the atelier of...

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 is one of the smallest prints done by Siet...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

A fine 18th Century mezzotint, showing Lord William Newbottle and his sister, Lady Elisabeth Kar, as children, holding a dove. This mezzotint, by Valentine Green (1739-1813) is after the original painting by Catherine Read (1723-1778). The print has been attractively presented in a 19th Century Hogarth...

Beyond (sic) - IX Mezzotint, n.d. Signed, titled and numbered in pencil (see photos) Edition: Unique impression (i/I) Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: excellent Plate/Image size: 9.75 x 7.75 inches Sheet size: 12 1/2 x 9 5/8 inches Provenance: Ninion and Sheldon Landy, Hamanishi's patrons EXTREMELY RARE-UNIQUE Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker tool. Worked in all directions, this creates an even finely-grained texture over the surface of the plate. Each pit will hold ink and were the plate inked at this stage, it would print almost solid black. To create the design the artist smoothes out some of the pits with a burnisher so they will hold less ink. Where highlights are required the plate is burnished and polished quite smooth. A wide range of tones are possible in mezzotint and the process can usually be recognized by a light design on a velvety black background. Hamanishi is internationally known for his mastery of this medium. He creates images with both subtle detail and dynamic composition that explore spatial relationships. His genius is in balancing calm and meditative qualities with the energetic tensions of inanimate and natural objects. Early work had such things as pipes and branches wrapped with cloth, later rope, then straw. When he moved to a more rural area, rice fields became a common element. He has also been exploring the use of color and metallic leaf in his artwork. In 2005 Mr. Hamanishis began the Haze series exploring more abstract themes using the subtle differences between matte and black inks done in mezzotint and relief printing. There is always a sense of mystery and intrigue in the complex mezzotint prints that come from Hamanishi’s deft hands. They compel the viewer to do a slow, thoughtful examination in order to fully absorb the vision the artist intends. Exhibitions: Worcester Art Museum, Massachusetts --2 person show with Hamaguchi Ibiza Biennial, Spain--Grand Prize Original Colored Graphic Print Triennial, Switzerland--Grand Prize Cabo Frio International Print Biennial, Brazil--Grand Prize CWAJ Print Show, Tokyo--Art Grant winner Republic of China Print Exhibit--Gold Medal Graphic Arts Council, Achenbach Foundation, San Francisco--commissioned print Art Institute of Cleveland University of Alberta, Edmonton, Canada--visiting artist Shun-yo-Kai, Tokyo--prize winner Bhara Bhavan International Print Biennale, India Ren Brown...

Retained Time Color mezzotint, c. 1970's Signed, titled and numbered in pencil by the artist (see photos) Edition: 30 (15/30) Condition: Excellent Image size: 11 7/8 x 15 3/4 inches Sheet size: 30 x 22 inches Sonja Lamut: A contemporary illustrator, painter and mezzotint engraver, Sonja Lamut received her B.F.A. from the University of Arts, Belgrade, Yugoslavia, and her M.F.A. from Hunter College, City University of New York. She is presently Assistant Professor of Illustration at the Fashion Institute of Technology, New York City. During her career Sonja Lamut has illustrated numerous books, particularly in the field of children's literature. These include, Voyages of Doctor Dolittle, The Great Green Notebook of Katie Roberts, The Famous Adventures of Jack, Lemuel the Fool, Little Mermaid, Thanksgiving is for Giving Thanks (New York Times Children's Books list Bestseller), Love You, Soldier, . She is also the author and illustrator of the following works; Too Noisy!, Bugs and Halloween Costumes. Sonia Lamut's art has been the subject of solo and group exhibitions at institutions such as Gallery shows in New York, Boston Miami, Greenwich Stockholm, Ljubjiana and numerous other national and international group shows. Today her art is included in the following collections; the Brooklyn Museum, New York, the Museum of Modern Art , Fredrikstad, the Museum of Modern Art, Ljubljana, the Museum of Modern art, Belgrade, he National Museum, Krakow and many other important private and public institutions. For several decades, the American artist, Sonja Lamut has produced a number of striking works of art in the most demanding of all graphic media -- the mezzotint. In 1974 she was a participating artist in the exhibition, "International Mezzotint Today" in London, England. Utilizing the unique, black tonal values of this intaglio method she has created intriguing imagery, such as, "Cage". Courtesy: Art of the Print Collections Brooklyn Museum, New York Grafiska Sallskapet, Stockholm Museum of Modern Art, Fredrikstad Museum of Modern Art, Ljubljana College Board, New York Utubo Gallery, Kyoto Museum of Modern Art, Belgrade National Museum, Krakow Awards/Publications: “Grand Prix” in Mediterranean Art...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

“Chair & rooftop” is a mezzotint engraving created by Robert Kipniss in 2015. Printed in an edition of 30 this impression is signed in pencil and inscribed "27/30." The paper size i...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Medium: etching, engraving and mezzotint (after Claude Lorrain). This lovely impression on wove paper was engraved by G.H. Every for the "Beauties of Claude Lorraine" portfolio. The ...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Flower and Pot Color mezzotint, 1983 Signed, numbered, and dated in pencil John Szoke Graphics blindstamp, lower right Edition: 150 (100/150) Image si...

Play Ball! No. 27 unleashes a mighty swing at the ball. Both umpire and catcher are in their huddled crouch. "Swing" is an exclusive publication of Stone and Press Gallery by Art We...

Each print signed and numbered in pencil by the artist Total edition: 92: 75 with Arabic numerals; 10 Artist's proofs with Roman numerals; 7 Hors Commerce with Roman numerals Image...

Artist: Corson Hirschfeld, American (1941 - ) Title: American Bannerstones, 5000-1000 B.C. Year: circa 1979 Medium: Mezzotint, signed and numbered in pencil Edition: 170 Image Size:...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). This impression was printed in 1831 on laid paper for the "English Landscape" series. Image size: 5 1/2...

Combination-Cross No. 3 Mezzotint, 1979 Signed, titled and numbered in pencil Edition: 30 (9/30) Provenance: Ninion and Sheldon Landy, Chicago The Landy's donated a large collection of Hamanishi to the Art Institute of Chicago in 2013, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: Excellent Image size: 13 5/8 x 14 1/8 inches HAMANISHI Katsunori...

James Seymour (1702-1752) A horse being led from a stable Mezzotint by Thomas Burford Image size 10 x 14 in Framed size 13 x 17 in James Seymour was an English artist renowned for h...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

Michele Zalopany was born in Detroit, Michigan. She attended the Columbus College of Art and Design from 1973 to 1974 and the Cleveland Institute of Art from 1976 to 1978. She earned her Bachelor of Fine Arts degree from the School of Visual Arts in 1981. Through her labor-intensive mezzotints, Zalopany employs realism to depict fictitious scenes, bearing witness to the disintegration of what was once the fulcrum of the American economy in Detroit. Zalopany’s work is widely represented in many public and private collections in the United States and in Europe including The National Gallery of Art, The Yokohama Museum of Art, The Whitney Museum of American Art, The Walker Art Center, The Museum of Fine Art in Boston, The Cleveland Museum of Art, The Royal College of Art in London, and numerous others. Her work has been exhibited in galleries that include P.P.O.W., John Good...

W. Ward after George Morland. Title, artists and date inscribed in print. Presented in a part gilt frame. On paper.

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

'The Honourable Lady Stanhope' Anne Hussey (Delaval), Lady Stanhope (died 1811) was the wife of Sir William Stanhope of Whig Park. James Watson (c1739-...

Fernando Aceves Humana (Mexico, 1969) 'Lo que nos trajeron', 2007 mezzotint on paper 17.4 x 13.8 in. (44 x 35 cm.) Edition of 20 ID: ACE-101 Unframed

Price is for each framed print (nine available). From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...

Medium: mezzotint. Engraved by John Cother Webb after the J. M. W. Turner painting and signed in pencil by John Cother Webb. Printed in 1924 on chine-collé paper (china paper mounted...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

Price is for one framed print. Prints sold individually. Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised ...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

This French Quarter garden is a serene haven with a lighted statue of Christ that exists not very far from the raucous revelry of New Orleans' Bourbon S...

James Seymour (1702-1752) Digging for the Fox Death of the Fox A pair of Mezzotints Image size 10 x 14 in Framed size 12 1/2 x 16 1/2 in James Seymour was an English artist renowned...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...