Watercolor Figurative Prints

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

Titled: Thou Swell Ann Chernow (Connecticut b. 1936) etching. hand signed 'Ann Chernow' in pencil lower right. Numbered '5/15' in pencil lower left. Titled in pencil lower center. Sh...

Titled: Rodeo rose Ann Chernow (Connecticut b. 1936) etching. hand signed 'Ann Chernow' in pencil lower right. Numbered '5/15' in pencil lower left. Titled in pencil lower center. Sh...

The rich blue color bursts from the page in Georges Braque Untitled (Fleur Tombe), 1962, overtaking the black lettering and white background. Drawn onto the title page of the book “Braque Le goût de notre temps” by Albert Skira this hand applied watercolor is striking. In several strong stokes, a flower is presented with its blue petals seeming to float down the page until almost reaching the bottom.  The delicate blue touches the page which in turn lights up with brilliant flowers. The petals are slightly smudged, and you can see the brushstrokes that Braque applied to the page. PArt of what makes this unique watercolor so wonderful is that the viewer can so clearly see and feel the hand of the artist. Caught in between the flower and falling petals is the black hand...

In this lithograph we can find several fundamental stylistic points of the work of the maestro Salvador Aulestia. The subject of the Christ is presented in figure, but accompanied by...

Salvador Aulestia produce an important exhibition dedicated to the music composer Giuseppe Verdi. The exhibition was in tour in several important locati...

This is an exceptional edition that the artist has dedicated to various subjects of bullfighting. Salvador Aulestia published several books on the subject, and his drawings are consi...

Katie Eleanor, St Medard and the Devil, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovingly...

Hand-coloured portrait of a bird-like spirit, immobilised in marble, cleansing in a spring-time bath. A character formed from Naiads (a Greek nymph of flowing water), and exploring the idea of a ritualistic cleansing to wash away sombre deeds. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture...

Hand-coloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo...

Handcoloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo’s desire. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: Daphne II...

Katie Eleanor, St Medard and the Devil II, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovin...

Katie Eleanor, ‘Your Hand, Your Tongue’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Handcoloured portrait of otherworldly lovers, immobilised in marble, dancing in blooming meadows. A whimsical tale of adoration, Ursa and her spiritual partner take visual cues from Titania and Bottom in Dieterle and Reinhartd’s 1936 interpretation of A Midsummer Nights Dream. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: URSA LOVES YOU, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

In Acts 2:3 of the Bible, flaming tongues lap at the disciples, conferring upon them the ability to speak languages not their own. These fiery tongues have signified the power of speech, persuasion, and the ability to preach to the masses. Ingrid Bachmann’s tongues in Pinocchio’s Dilemma are glossy as if sugarcoated and boiled into hard candies—a crystallization process. They are the only of her works that people have tried to lick. Alternately seductive and repulsive, they wag mechanically at eye-level, emitting a small wind-up machine language of their own. The tongue gives the impression an attempt to tell, a revealing of secrets. On the opposing side of the room, a rod extends slowly from a hole in the wall, inching out, then back in. Pinocchio’s nose is an instantly recognizable stand-in for lies, liars, fakes. Pinocchio originated as the protagonist of a 19th-century children’s book by the Italian writer Carlo Collodi, and was most famously adapted by The Walt Disney Company. The pre-Disney Pinocchio is unruly, violent and mischievous; his story was originally intended to be a tragedy in which the marionette is hung from an oak tree branch by his enemies. Angry Work contains a latent violence—that which is found in childhood games, stories, myths, novels, and in the tools of the everyday. Two 14-foot-long knitting needles—domestic weaponry—lean as dead as stones, cool and silent, against the wall. These weighted objects commune with three bronze tongues, pre-vocalizations, embalmed. Bronze is a silent material. Two drawings invoke Cassandra, who was promised the gift of prophecy by Apollo. When Apollo appeared to her, she refused his sexual advances. In some iterations of the story, Apollo appeared as a wolf surrounded by mice and spat on her tongue. She awoke with a taste on her tongue. Maybe metallic, maybe red. She had been granted the gift of prophecy, with one condition: no one would believe her. This burdened us with one of the earliest models of hysteria—speaking in tongues, speaking marred truths. Bachmann maintains that Angry Work is not limited to women’s anger, or to personal anger. It’s about generalized anger. “The red world And corresponding red breezes.” [1] A cloud of anger, hints of red. An amorphous unknown. “The Airborne Toxic Event” [2] that encapsulates truth, lies, histories repeated, struggle, strife, shock, grappling and anger, anger, anger. I am told that The Angry Machine weighs 400 pounds and emits a mechanized hum. It will be fenced in, for the protection of both viewers and itself. It will not perform on demand, but at scheduled intervals, only occasionally. It has a projectile that is red. Red is the memory of a children’s game, trying to avoid hitting yourself, to avoid the smack of something against your skin. Red is interiority: the tongue, cheeks, throat and kisses. One can “see red” in a fit of rage. Red is blood, and red is romance — “roses being burned alive.” [3] [1] Anne Carson...

Scena di Battaglia (Battle Scene) is a wonderful hand-watered etching, made in 1760 by Luigi Guidotti ( Bologna, 1751 -1800 c.a), after Francesco Antonio Simonini. On lower margin u...

Artist : Jolynn Reigeluth Title : These Are My Legs Materials : Etching, collage and watercolor Date : 2015 Dimensions : 18" x 13" in. Jolynn Reigeluth is an artist and freelance Gr...

Artist : Jolynn Reigeluth Title : The Charmers Materials : Etching, collage and watercolor Date : 2017 Dimensions : 20" x 15" in. Jolynn Reigeluth is an artist and freelance Graphic...

Artist : Jolynn Reigeluth Title : Forbidden Fruit: Adam Materials : Etching, collage and watercolor Date : 2018 Dimensions : 19" x 13" in. Jolynn Reig...

Artist : Jolynn Reigeluth Title : It's for the Birds Materials : Collagraph, collage and watercolor Date : 2019 Dimensions : 13" x 18" in. Jolynn Reigeluth is an artist and freelanc...

Artist : Jolynn Reigeluth Title : Woe to You Materials : Collagraph, collage and watercolor Date : 2018 Dimensions : 15" x 12" in. Jolynn Reigeluth is an artist and freelance Graphi...