Aquatint Landscape Prints

"Goricum", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest printe...

"Broversavia", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest pr...

"Burdigala", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest prin...

"Septa", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest printed ...

"Quiloa", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest printed...

Henrikson Harry, Duomo Turken B/W Aquatint and Drypoint on paper. Image Dim: cm 36x39; Dim: cm 40x45. Hand-signed, hand-dated and hand-numbered with pencil on lower-left margin "H. Henriksson 1960 n 3/10". In back a blue ink stamp "II Biennale della Grafica, Palazzo Strozzi, Firenze, 30 aprile, 29 Giugno 1970". Wonderful printing proof...

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...

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...

Untitled (Morris Car), 1996/1997 Howard Hodgkin Lift-ground etching with aquatint printed in ultramarine blue, with hand-colouring in cadmium orange, bone-black and green acrylic, o...

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...

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

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

From a series of large and impressive prints of St George's Chapel, the location for the Royal Wedding of Prince Harry and Megan Markle; to see some others, scroll down to "More from this Seller" and below it click on "See all from this Seller." Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis North East View of St George's Chapel, Windsor To the Right Reverend the Lord Bishop of Norwich and Dean of Windsor London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x40cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton...

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

Repetition 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 x 35 in. (71.12 x 88.9 cm)

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)

Night Flight Susan Hall, American (1943) Date: 1978 Etching with Aquatint, signed and numbered in pencil Edition of 78 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: Richard Haas, American (1936 - ) Title: Cities Services Building (Blue) Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 30 Image Size: 20 x 16 inches Size:...

This complete set of fifty etchings, aquatints and drypoints are each hand signed by the artist "Edgar Chahine" at the lower left margins. The folio was printed by A. Routy, Paris and published by Sagot, Paris in 1906. The justification page is additionally hand signed in ink by the artist “Edgar Chahine” and the paper type is handwritten “Hollande”. The impression is numbered in ink from the edition of 75 on the justification page. Each of the 50 plates are hand numbered in pencil to reflect their sequence and refers to the titles on the justification page. Note: In 1906 the Fiancé of Chahine Mary Jacobsen died and the artist lost all love for life. His friend and publisher Sagot send him to Venice, Umbria and Toscana for distraction. Edgard Chahine returned with a sensitive group of etchings from the Italian countryside. Literature: "Edgar Chahine: Catalogue de l'Oeuvre Grave", by M.R. Tabanelli, Published by IL Mercante de Stampe editeur, Milano, 1977. Reference: Tabanelli 180-229. Condition: Very good condition. The etchings, aquatints and drypoints in very good condition and printing with burr. The support pages and justification page with foxing staining. The folio cover...

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 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...

Direct to plate photogravure and aquatint. Edition of 40.

Direct to plate photogravure and aquatint. Edition of 40.

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 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...

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...