Etching Landscape Prints

Heath Land, Heath Pond and Heath View Diptych Overall image size cm : H28 x W32 Overall sheet size cm : H52 x W52 Phil Greenwood Heath Land Limited Ed...

Artist: Richard Ballard, British (1951 - ) Title: Loire Year: 1992 Medium: Aquatint Etching, Signed and numbered in Pencil Edition: 35 Paper Size: 41 x 29 inches [104.14 x 73.66 cm]

Final trial proof before edition for the black and white version of this print. Signed, titled and numbered by the artist. Smith-Harrision's work very often features architectural elements, along with trees. This is a uniqued trial proof from the edition that is sold out. David Smith-Harrison studied at Utah State University and served as studio assistant to Adrian Van Stuchelen and Moishe Smith. In 1983 he traveled in Europe and studied at the Art and Design Faculty of South Glamorgan Institute in Cardiff, Wales. Before leaving for Europe, Smith-Harrison began an intense professional association as a studio assistant to artist Trevor Southey. Smith-Harrison’s imagery is distinctive for its meticulous and studied execution and rigorous, demanding craftsmanship. The results are generally rich in subtle articulations and poetic spirit. His work is located in private collection in Japan, Taiwan, Republic of China, Spain and the United States. COLLECTIONS: The Fine Arts Museums of San Francisco, Achenbach Foundation for the Graphic Arts, SF, CA Long Beach Museum of Art, Long Beach, CA Springville Museum of Art, Springville, UT Tama Art University Museum, Tokyo, Japan Utah State University, Logan, UT Brigham Young University Southwest Texas State University, San Marcos, TX Cadence Corporation, San Jose, CA Cooper and Lybrand, St. Louis. MO George Lucas, Lucasfilms Ltd., San Raphel, CA Michael Richards...

Landscape is a beautiful black and white etching on paper, realized around the 80s by the Italian artist Fiorella Diamantini (Cingoli, 1931-2019). Signed in pencil on the lower right margin and with the abbreviation "P.d.a." in pencil on the lower left margin. Our original etching, an artist proof, confirms the artist's love for classic style in the wake of another great artist from the region Marche: Luigi Bartolini. The hills and the trees clearly emerge among the often rampant whites, but on closer inspection there is no sign that the view is not built, everything is defined by a fabric of lines that thickens for the contours, and it is made rarer for the shadows. She seems to draw her landscapes from absolute white, where the edges of the real irrepressible by a single line are defined by the hatching. A real skilled hand demonstrates a full mastery of the artistic technique and a real suggestive hatching that has something of the geometrical rigor. In very good conditions, except for a minor stain on the lower left margin and some imperceptible signs of time. Fiorella Diamantini was born in Cingoli in 1931 and graduated from the Book School of Urbino and the Academy of Fine Arts in Rome. She studied engraving with Leonardo Castellani in Urbino and Mino Maccari in Rome. Since 1958, she has taught in Rome Techniques of Engraving, first assistant of Mino Maccari, then of Arnoldo Ciarrocchi. From 1951, she lived in Rome. In 1980, she moved to Umbria, in Spello. She has been invited to the most important engraving reviews: the Venice Biennale (1956), the Venice Black and White Biennial, the Rome Quadrennial and the national and international exhibitions organized at the National Chalcography of Rome. His works have been presented at the Michel Gallery in Paris, at the Stockholm National Museum, at the National Chalcography of Rome, at the International Rossetti Library in Rome, at the Prandi Library in Reggio Emilia. Her works are present at the InClub Publishing House in Florence and the Galaverni Saletta in Reggio Emilia. The following wrote about Fiorella Diamantini: Mino Maccari, Italo Cremona, Valeria Vecchia, Arnoldo Ciarrocchi, Lorenza Trucchi, Alberto Manfredi...

BREWSTER , Martyn (b.1952) Winter Trees 1 Image: 8.0 x 8.0 cm (3 1/8 x 3 1/8 ins.) Paper: 15.0 x 18.0 cm (6 x 7 1/8 ins.) Edition 60 Etching photogravure, 2009 Martyn Brewster’s...

Limited Edition of 25 prints plus some artist's proof.

View of Scilla, Calabria, Italy. Etching and Watercolour (hand coloured) Very good conditions.

Abstract etching with layers of indecipherable text by Michael Pauker (American, b. 1957). Tan block in the center of the piece is an applied piece of paper. This piece is an artist'...

Signed and numbered etching and aquatint from the edition of 250. By the end of February the the rows of still dormant grape vines are delineated by bright yellow mustard flowers. These vineyards are in the hills southwest of Napa. Born in Berkeley, California, on December 21, 1949, he was raised in a home that had a sweeping view of the San Francisco Bay. This scene kindled his interest in landscape and was one of his earliest drawing subjects. Stephen McMillan's etchings and aquatint prints capture the landscapes of California...

La Alba (Dawn) by Karen Keogh [2020] original Etching on Paper Image size: H:30 cm x W:40 cm Complete Size of Unframed Work: H:58 cm x W:65 cm x D:0.1cm S...

Medium: hard ground etching and aquatint Image size: 7.5" x 5.5" Paper size: 13" x 11" Printing element: 1 copperplate Edition Size: 135 Beautiful etching and aquatint from an artis...

This is beautiful piece of the Cotswolds, England. Image 10 x 16 in. on paper with about 1.5 in. all around Signed, titled and editioned Unframed Brand new Gallery curates a seri...

Signed, titled and numbered from the edition of 30. Imaginary topiary and garden scene, with incredibly fine line work in one of Houtin's earliest etchings. François Houtin was born in Craon en Mayenne, France in 1950. He has lived and worked in Paris since 1971. He was trained as a landscape architect, and worked on such prominent projects as the renovation of the Jardin des Tuilleries in 1991. It wasn't until 1973 that he learned printmaking from Jean Delpech, and by 1979 he had become a full-time artist known for his highly detailed prints...

Signed, titled and numbered by the artist. This intaglio print shows a plum tree in full bloom, with the architectural details that often accompany Smith-Harrison's portraits of trees. David Smith...

Landscape of Sonoma, CA vineyards in their full autumn colors. Born in Berkeley, California, on December 21, 1949, he was raised in a home that had a sweeping view of the San Fran...

Signed, titled and numbered in pencil, 3/50. Imaginary topiary and garden scene, with incredibly fine line work in the etching. François Houtin was born in Craon en Mayenne, France...

Delicate print of Fishing and sailboats on the Wharf In San Francisco from the collection of Patricia Pearce by one of her contemporaries or students, at the College of San Mateo, sh...

Signed, titled and numbered aquatint print, Printed on Arches Cover Paper. A gentle fog descending on Lake Whatcon on a December morning. A walking m...

Beth Ganz, 'Humphrey's Peak, Arizona', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Humphreys Peak (Hopi: Aaloosaktukwi, Navajo: Dookʼoʼoosłííd) is the highest natural point and the second most prominent peak after Mount Graham in the U.S. state of Arizona, with an elevation of 12,637 feet (3,852 m) and is located within the Kachina Peaks Wilderness in the Coconino National Forest, about 11 miles (17.7 km) north of Flagstaff, Arizona. Humphreys Peak is the highest of a group of dormant volcanic peaks known as the San Francisco Peaks. Humphreys Peak was named in about 1870 for General Andrew A. Humphreys, a U.S. Army officer who was a Union general during the American Civil War and who later became Chief of Engineers of the United States Army Corps of Engineers. The San Francisco Peaks are a sacred place for Hopi, Navajo, Havasupai, Zuni, Apache, and other Native American tribes. A place of sacred shrines and ancestral dwellings, The Peaks are associated with emergence, deities, ancestors, life-giving moisture, and spiritual ceremony and are still actively utilized today. Numerous medicinal herbs and other plants used in traditional ceremonies and to treat ailments are found at several levels of the Peaks. The plants are said to have place-specific energies—that is, they must come from these sacred sites to fulfill their proper function. To the Hopi, the Peaks are Nuvatukaovi, “The Place of Snow on the Very Top,” home for half the year to the ancestral kachina spirits who live among the clouds around the summit. When properly honored through song and ceremony, it is believed that the kachinas will bring gentle rains to thirsty crops. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson...

Beth Ganz, 'Adam's Peak, Sri Lanka', copperplate photogravure etching, edition 10, 2020. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. Archivally sleeved, unmatted. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Adam's Peak is a 2,243 m (7,359 ft) tall conical mountain located in the southern reaches of the Central Highlands of Sri Lanka. Revered as a holy site by Buddhists, Hindus, Muslims, and Christians, it is well known for the Sri Pada, "sacred footprint," a 1.8 m (5 ft 11 in) rock formation near the summit, which in the Buddhist tradition is held to be the footprint of the Buddha, in Hindu tradition that of Hanuman or Shiva, i.e., "Mountain of Shiva's Light." Some Muslims and Christians in Sri Lanka ascribe it to where Adam, the first ancestor, set foot as he was exiled from the Garden of Eden. The legends of Adam are connected to the idea that Sri Lanka was the original Eden, and in the Muslim tradition, Adam was 60 cubits tall. A shrine to Saman, a Buddhist "deity" (seekers who have devoted their lives to spiritual values are deified by Sri Lankan Buddhists) charged with protecting the mountaintop, can be found near the footprint. A bell lies on top of the temple, and tradition holds that pilgrims ring it as many times as they have achieved the pilgrimage to the top of the peak. Sri Pada is first mentioned (as Samanthakuta) in the Deepawamsa, the earliest Pali chronicle, (4th century), and also in the 5th-century register Mahawamsa, where it is stated that the Buddha visited the mountain peak. The log Rajavaliya records that King Valagamba (1st century BCE) had taken refuge in the forests of Adam's Peak against invaders from India, and later returned to Anuradhapura. The Mahawamsa again mentions the visit of King Vijayabahu I (1058–1114) to the mountain. The famous Chinese pilgrim and Buddhist traveler Fa Hien stayed in Sri Lanka in 411–12 CE and mentions Sri Pada. The Italian merchant Marco Polo in his Travels of 1298 CE, noted that Adam's Peak was an important place of pilgrimage. The Arab traveler Ibn Battuta climbed to the summit, which he called Sarandīb, in 1344 CE. In his description, he mentions a stairway and iron stanchions with chains to aid pilgrims in the climb. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson...

This print is part of a small series of works to investigate the use of layering, colour blends and texture in screen print to elicit an ethereal, eerie and potentially dizzying sens...

Jan Dingle Summer Meadows Limited Edition Etching Edition of 100 + 10 Artist Proofs Image Size: H 26cm x W 36cm Sheet Size: H 37.8cm x W 52.5cm x D 0.1cm Sold Unframed Please note th...

Seascape with boat, West from Taylor Dock, Bellingham, WA. Signed and titled by the artist, one of 25 artist proofs aside from the edition. Born in Berkeley, California, on December...

Dogs on a Beach By Tim Southall [2017] Limited Edition Etching Edition number 75 Image size: H:15 cm x W:20 cm Complete Size of Unframed Work: H:25 cm x W:30 cm x D:0.1cm Sold Unfram...

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

Winter Skate by Rebecca Denton [2021] limited_edition Etching Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:27 cm ...

Chuckanut Mountains, Bellingham, Washington. . Scene of forest path shrouded in mist. Signed and numbered etching and aquatint. Born in Berkeley, California, on December 21, 1949, h...

An etching is an intaglio printmaking process in which lines or areas are incised using acid into a metal plate in order to hold the ink. In etching, the plate can be made of iron, copper, or zinc. Once etched, the plate is then printed onto paper. David Becker Light Rail...

Color spitbite aquatint and aquatint with drypoint. Edition of 35

Breathe [2019] limited_edition Etching and aquatint Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:26 cm x W:26 cm x D:0.1cm Sold Unframed Please...

'King's Cross Station is a place of great significance to me, many departures and arrivals have taken place at this station. I love it's gothic architecture and sheer drama right in the centre of London. Eternal thanks to Poet Laureate John Betjeman for campaigning to save it from demolition, I look forward to many future journeys from this cathedral of travel.' John Duffin is a painter and printmaker whose work is based on the modern environments of cities and towns, creating dynamic, cinematic images of contemporary urban life. His unique images of architecture, lighting and figures have been greatly praised and awarded, recently receiving The Most Outstanding Print Award from Sir peter Blake, he has a distinctive artistic voice and has much to say in his work about contemporary life in all of it’s manifestations. His work is in the tradition of LS Lowry in Britain and Edward Hopper in America and like these artists he creates unique views of contemporary urban life, a combination of his ability as a draughtsman, his imagination and his personal use of perspective and colour. He makes drawings and watercolours in front of his chosen subject and takes these sketches back to his London studio where he creates from them his own imaginative interpretation of the site, recreating the place anew via his own imagination. His work is redolent with influences from cinema, graphic novels and the history of figurative painting, but from this comes a vision that is his alone. Kings Cross...

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...

Donald Baechler, Sea World, 1999: A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Soft-ground etching and aqu...

Color spitbite aquatint and sugarlift aquatint. Edition of 35

See-saw, Margery Daw, 1994 Paula Rego Etching with aquatint and hand-colouring, on velin Arches Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford P...

Brauerei is a  contemporary artwork realized by the artist Fifo Stricker in 1985. Mixed colored aquatint and etching.

Tim Southall Deer in Winter Limited Edition Etching Edition of 75 Image Size: H 20cm x W 30cm Sheet Size: H 35cm x W 42cm x D 0.1cm Sold Unframed (Please note that in situ images are...

The Serpentine, Hyde Park – Autumn, after Bruegel is a limited edition etching by Mychael Barratt. Barratt uses Ravilious’ The Vale of the White Horse as inspiration for this witty e...

George Trakas Isle of View, 2006 Aquatint and dry point etching printed on Lana Gravure paper Signed, titled and numbered X/X in pencil; bears publishers' blind stamp on the front 18...

This soft ground etching was made using natural plants. Printed with etching inks on Fabriano paper. This print is a variable edition of 100, so each print is unique. Charlie Davies,...

Waterloo Bridge Sunset. John Duffin Limited Edition Etching Printed on White 300g Somerset Paper Edition of 90 Signed – John Duffin Image Size: H 24cm ...

Ronnie Scott’s – Soho Rain [2022] limited_edition Etching on paper Edition number 10/150 Image size: H:38 cm x W:25 cm Complete Size of Unframed Work: H...

Pavel Mora (Mexico, 1985) 'Escultura en el paisaje ', 2017 etching on paper Guarro Biblos 250g. 26.8 x 34.1 in. (68 x 86.5 cm.) ID: MOP-102 Unframed

Alexis Kcho Leiva (Cuba, 1970) 'La Jungla 2', 2003 aquatint on paper Guarro Biblos 250g. 24.1 x 29.2 in. (61 x 74 cm.) Edition of 50 Unframed ID: KCH-103 Hand-signed by author

Roman Forum is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbere...

The large view of St Mark's Square in Venice was created by Federica Galli from five different etched plates and as many points of view of the lagoon city. She overcame these difficu...

This soft ground etching was made using impressions of natural plants and printed with etching inks on Fabriano paper. This print is a variable edition of 100, and is signed, numbere...

Tim Southall Kings Limited Edition Print Etching and Aquataint made on a Copper Plate (Please note that in situ images are purely an indication of how a p...

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

View of Trinità dé Monti is an artwork realized by Giuseppe Malandrino in the 1970s. Hand colored Etching on paper. Hand-signed and numbered on the lower margin. Edition of 3/199....

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

The first visible phase after the New Moon. The Moon has had an importance in human culture since the dawn of history and likely before. Often revered as a feminine deity and count...

A young Moon occurs between a new Moon and waxing crescent, when the first slivers of illumination appear. The Moon has had an importance in human culture since the dawn of history ...

The first visible phase after the New Moon. The Moon has had an importance in human culture since the dawn of history and likely before. Often revered as a feminine deity and count...

Waxing means that it is getting bigger. Gibbous refers to the shape, which is less than the full circle of a Full Moon, but larger than the semicircle shape of the Moon at Third Quar...

The full moon is the lunar phase when the Moon appears fully illuminated from Earth’s perspective. This occurs when the Earth is located between the Sun and the Moon. This means tha...

During the Waning Crescent Moon phase, the illuminated part of the Moon decreases from the lit up semicircle at Third Quarter until it disappears from ...

View of Trinità dé Monti is an artwork realized by Giuseppe Malandrino in the 1970s. Black and white Etching on paper Hand-signed and numbered on the lower margin. Edition of 5/19...

Tim Southall Ravens at the Tower Limited Edition Etching and Aquatint Edition of 75 Image Size: H 10cm x W 15cm Sheet Size: H 20cm x W 24cm x D 0.1cm Sold Unframed Please note that i...

Charlie Davies From the depths Original botanical etching Soft ground etching on paper Image Size: 35 cm x 35 cm x 1 cm Sheet/Canvas Size: 50 cm x 50 cm x 1 cm Unframed Free Shipping...