Aquatint Landscape Prints

Medium: hard ground etching and aquatint, with hand-coloring Image size: 7.5" x 5.5" Paper size: 13" x 11" Printing element: 1 copperplate Edition Size: 135 Beautiful etching and aq...

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To see our other views of Oxford and Cambridge, or Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message ...

Julian Trevelyan (English, 1910-1988), "Piazza Signoria", Etching and Aquatint, signed in pencil lower right, titled lower center, and numbered "64 /100" lower left, inscribed and st...

Signed, titled and numbered aquatint print, Printed on Arches Cover Paper. Fishing boats docked in Squalicum Harbor on a foggy October morning. This is a great example of McMillan's...

The present artwork is an original color aquatint by the Sag Harbor-based artist Nicolette Jelen, and is a particularly rare Hors Commerce. It presents a view of what is probably a N...

An original aquatint in colours by the listed British artist Joseph Kirkpatrick (1872-1936). Elegantly housed in a gilt-effect frame with original a...

A gathering of of birds and ducks on a foggy morning make for a meditative water scene from the artist's northwestern landscapes. Signed, titled and numbered (AP III/XXV). Born in B...

Private Act Susan Hall, American (1943) Date: 1978 Etching with Aquatint, signed and numbered in pencil Edition of 78 Image Size: 28 x 21.5 inches Size: 35 x 28 in. (88.9 x 71.12 cm)

The Magic Pencils Susan Hall, American (1943) Date: 1978 Etching with Aquatint, signed and numbered in pencil Edition of 78 Image Size: 28 x 21.5 inches Size: 35 x 28 in. (88.9 x 71....

Afternoon Sun Susan Hall, American (1943) Date: 1978 Etching and Aquatint, signed and numbered in pencil Edition of 78 Image Size: 28 x 21.5 inches Size: 35 x 28 in. (88.9 x 71.12 cm)

Flight Susan Hall, American (1943) Date: 1978 Aquatint Etching, signed and numbered in pencil Edition of 78 Image Size: 21.5 x 28 inches Size: 28 in. x 35 in. (71.12 cm x 88.9 cm)

Artist: Manuel Robbe, French (1872 - 1936) Title: Carrot Harvest Year: circa 1955 Medium: Etching with Aquatint, signed in pencil Image Size: 17.5 x 23 inches Size: 24 x 28.5 inches

William Tillyer William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms ...

William Tillyer William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms ...

William Tillyer The Ruswarp Suite 4 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms (15 3/4 x 15 3/4...

William Tillyer The Ruswarp Suite 5 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

William Tillyer The Ruswarp Suite 1 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms (15 3/4 x 15 3/4...

William Tillyer The Ruswarp Suite 2 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

William Tillyer The Ruswarp Suite 6 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

William Tillyer William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms ...

Born in Germantown, Pennsylvania, Earl Horter was a self-taught artist who began his career working in New York City as a draftsman at an advertising agenc...

William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms (15 3/4 x 15 3/4...

William Tillyer William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms ...

William Tillyer The Ruswarp Suite 3 2023 Etching, aquatint on paper, Edition of 35, Set of 6 Plate size: 39.4 x 39.4 cms (15 1/2 x 15 1/2 ins) Paper size: 57.2 x 57.8 cms (22 1/2 x 2...

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

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...

Created in 2007, this color soft ground etching with aquatint on paper is hand-signed and dated by Robert Bechtle (San Francisco, 1932 - Berkeley, 2020)...

The Sacramento River deltas and levees near Thiebaud’s studio became a source of inspiration starting in the mid-1990s where he would sketch en plein air and then work combined ideas...

Created in 2002, this Wayne Thiebaud Hill River, 2002 drypoint and aquatint in color on wove paper is hand signed by Wayne Thiebaud (Mesa, 1920 - Sacramento, 2021) in pencil in the l...

Yellow Flags 4 - 21st Century, Alex Katz Landscape Print, Orange, Yellow, Flowers, "Yellow Flags 4" is one of Alex Katz's famous flower prints. His flowers are the most reduced form...

Executed by the artist between 1979 and 1985, David’s Pool at Night is an etching and aquatint with hand-coloring by British colorist, Howard Hodgkin.  The artwork measures  25 1/8 x...

John William Hill (1812-1879) "Boston" 1857 Hand-Colored Engraving Site Size: 29 x 41 inches Framed Size: 39 x 52 inches Born in London, England, John William Hill came to America with his family at age 7. His father, John Hill, was a well-known landscape painter, engraver, and aquatintist. John William had a career of two phases, a city topographer-engraver and then, the leading pre-Rafaelite school painter in this country. Employed by the New York Geological Survey and then by Smith Brothers...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...