Holly Downing

Peruvian Portal I

2005

"Sew What" is a color mezzotint with burin engraving created in an edition of 35. This impression is #6. I love sumptuously designed textiles in both real life and art. Patterns metamorphosing over fabric folds appeal to my interest in modulating rhythmic forms, particularly the swells and swirls of calligraphic stripes. I’m also fascinated by articulated wooden hand models, which appear in many of my paintings. Combining these passions with sewing paraphernalia from my seamstress days provided inspiration for my color mezzotint engraving "Sew What". Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer...

Finns always seek the solace of nature. Is this mysterious stairway an escape from the challenges of civilization? Vanttinen created this mezzotint in an edition of 100 and it is tit...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This mezzotint was created by Laurent Sckolnyk and was meant as an homage to the mo...

Carol Wax's mezzotint, "Singer 10101", is an image of Singer I as seen through a drafting template. It was issued as an edition of 40 and was printed at the Indiana University print...

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. ...

Resist ground etching and engraving on cream wove paper, 22 x 39 inches (558 x 990 mm), full margins. Signed, titled, dated, and numbered 27/160 in pencil, lower margin. With the blindstamp of the printer, Robert E. Townsend, in the lower left margin. A beautiful, richly inked impression of this highly detailed, large image. In very good condition with minor mat tone, extremely minor scattered light surface soiling, and one pin-point sized dot of brown discoloration on the lower left margin, recto, well outside of image area. [Milton 99]. Milton states that there is a metaphorical evolution at the root of his body of graphic work, and with Les Belles et la Bête, Before the Hunt, he found himself at a crossroads that he viewed as a sort of artistic adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. The image is brimming with fantastical images and metaphors for the confrontation of sexual exploration; a Freudian analyst appears in the left of the image, scattered tableaus of paired figures...

Resist ground etching and engraving on Rives heavyweight buff paper, 20 x 36 inches (508 x 914 mm), full margins. Signed, titled, dated and numbered 103/160 in pencil, lower margin. Minor mat tone. A rich and finely printed impression of this complex and iconic work by Milton. Framed handsomely under Plexiglas with archival materials in a solid wood frame with silver finish. [Milton 98]. Milton states that in the evolution of his body of graphic work he found himself at point that necessitated the exertion of nerve in his subject matter. He found it imperative for growth to explore whether his compositions had previously been too polite, and through this process he experienced a great burst of artistic and psychic liberation. Milton refers to this awakening as a sort of adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. Les Belles et La Bête...

'Elevation Geometralle d'Un Buffet D'Orgue d'Une Nouvelle Decoration' Copper-line engraving. C1770. 380mm by 420mm (platemark) 460mm by 560mm (sheet) From Roubo's 'L'Art du Menui...