Drypoint Mixed Media

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Horse Study Fuchsia [2020] Limited Edition Figurative Etching, Aquatint, and Screen Print on Paper Edition of 45 Image size: H:53.5 cm x W:56 cm Work: H:76...

By: Yuji Hiratsuka Medium: Intaglio and Chine Colle Year: 2024 Image Size: 16 x 11 inches Edition: 15 A Japanese celadon decorated vase with flowers hiding the face of a young woman...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

By: Yuji Hiratsuka Medium: Intaglio and Chine Colle Year: 2023 Image Size: 18 x 12 inches A celadon decorated Chinese vase with flowers, with a full moon and clouds in the backgroun...

Bernar Venet Acute Uneven Angles (A), 2016 Direct gravure, aquatint, burnishing and drypoint. Pencil signed and numbered 42 from the limited edition of 75 by the artist on the front ...

Salvador Dalí, 1904–1989 (Spain) Portfolio: Hamlet, 1973 Salvador Dalí’s Hamlet (1973) is a stunning portfolio of ten drypoint etchings with aquatint and ...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

After the Storm is a contemporary landscape print by Phil Greenwood. The serene combination of earthy green, blue and white tones gives the work a calming feel and Greenwood’s attent...

PROPOSITION is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in white matte wood with spacers under glass to maintain the de...

CYCLOPS is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in black matte wood with spacers under glass to maintain the deckle edge of paper. The print floats on museum board using archival Hayaku Japanese Hinging Paper. Like Wortsman's sculptures, the abstract components here seem to possess both organic and geometric forms. Note the four corners of black, bracing the center serpentine shape of copper and black speckled white – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. CYCLOPS was exhibited at Harold Wortsman...