Etching Landscape Prints

This piece titled "The Secret Life of Plants VE 2/8" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of...

This piece titled "The Secret Life of Plants VE 1/8" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of...

This piece titled "Wish I Was the Moon VE 6/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 mea...

This piece titled "Wish I Was the Moon" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 measures 1...

The Horseshoe is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in 1943. Etching and watercolor. Original title: Il ferro di cavallo Hand-signed, t...

Alluvions is an original artwork by the artist Paulette Humbert during the 1980s. Hand-signed on the lower right. Etching and drypoint on paper. Titled on the lower left. Edition o...

Landscape is a beautiful black and white etching and aquatint on paper, realized in 1962 by the Italian artist Fiorella Diamantini (Cingoli, 1931-2019). Signed and dated in pencil on the lower right margin and with the autograph note "Prova di stampa" 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. In this original rpint 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 grey backgrounds. A real skilled hand demonstrates a full mastery of the artistic technique and a real suggestive landscape that has something of the geometrical rigor and of the unmaterial of memory. In very good conditions, this is a very touching landscape, a landscape with the typical emotions of the memory places. 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...

Landscape is an original etching realized in the half of 20th Century by Enrico Paulucci. Black and white etching. Hand signed on the lower margin. Numbered on the lower left. E...

Foggy scene in a forest, inspired by landscape near Bellingham, WA. Signed and numbered etching and aquatint, signed, titled and numbered from the edition of 120. Born in Berkeley, ...

Surreal Scene is an original etching realized in the 1970s by the Italian Contemporary artist Leo Guida. Good conditions. The artwork is depicted through soft strokes in a well-ba...

La spiaggia is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in 1950. Black and white Etching. Hand-signed, titled and numbered ( 7/50 ) in pencil ...

Bold black and white print by David Mar (American, 20th Century). An abstract print of wartime imagery is layered over the poem "Suicide in the Trenches" by Siegfried Sassoon...

Landscape is an original etching artwork by an anonymous artist. Hand-signed on the lower right (illegible) Numbered, edition 36/99. The state of preservation is very good. Sheet...

Signed, titled and numbered from the edition of 120. Alder trees reflect in the waters of Bear Creek in Ashland, Oregon. The first green of spring graces the shore. 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 McMillans etchings and aquatint prints capture the landscapes of California...

Landscape is an original contemporary artwork realized by Miguel Angel Ibarz (Barcelona, 1958). Original etching on paper. Hand-signed Artist's proof Passpartout is included: ...

Signed, titled and numbered by the artist. Image size: 4 x 16 inches Glacier Divide from Humphreys Basin, John Muir Wilderness, California. Scene of sunlight on snow-capped mountain...

Landscape is an original modern artwork realized by Giuseppe Giorgi in 1980s. Original etching on paper. Hand-signed on the lower right. Numbered. ...

Flowers is an original etching realized by Eduard Bargheer in 1975. Not signed. Good conditions. Dimensions: 39 x 50 The artwork represents the scenery of the flowers of Ischia t...

The Full Moon is an original etching and drypoint print on paper realized by Gian Paolo Berto. Good conditions, except for some foxing. Hand-signed on the lower right in pencil. T...

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

This is the LAST one from a series of limited edition (of 175) original etchings of New York City - from respected European artist and ex-New Yorker, Cuca Romley. Ms Romley made a se...

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 is an original etching on paper realized by P.Ziliken Hand-signed on the lower right. Image Dimensions: 25 x 18.5 cm The state of preservation of the artwork is good exc...

Landscape is an original etching artwork by an anonymous artist. Hand-signed on the lower right (illegible) Numbered, edition 36/99. The state of preservation is very good. Sheet...

The valley is an original modern artwork realized by Andre Roland Brudieux. Original etching on ivory paper. Image Dimensions: 30.5 x 24.5 CM. Hand-signed on the lower right. Numb...

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...

Caught on a Breeze #1 – Green by Charlie Davies [2021] limited_edition Soft ground etching Edition number 100 Image size: H:22 cm x W:30 cm Complete Size of Unframed Work: H:36 cm x...

Signed, titled and numbered by the artist, edition of 50. Imaginary topiary and garden scenes, with incredibly fine line work in the etching in this image of a suspended garden. Others in this series are available. 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...

Over the Hill and Far Away by Karen Keogh [2018] limited_edition Etching on Paper Edition number 75 Image size: H:16 cm x W:20 cm Complete Size of Unframe...

Jan Dingle Still Gybe Limited Edition Etching Print Edition of 180 Image Size: H 8.5cm x W 6.5cm Sheet Size: H 18.5cm x W 15.5cm Signed and Numbered Sold Unframed Please note that an...

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...

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...

This print of a pine tree uses kitakata Japanese tissue chine collé to depict the warmth and colour of early autumnal light. It is then backed onto Hahnemule printmaking paper. The subject matter is from Ashton Court Estate in Bristol. This body of work is based on the book by Suzanne Simard, 'Finding the Mother Tree'. Trees communicate via mycorrhizal fungi to trade water and other nutrients. Ancient and mature trees nurture their offspring via these networks, as well as trading nutrients between other species. Botanist Simard has spent years working on this theory as part of a wider body of work, discovering what it means for forests, the climate and the wider Anthropocene. My work explores the ecological sublime and an appreciation of the majesty of nature. I use detailed intaglio etching, drypoint, lithography and chine collé to draw the viewer into an ethereal landscape that has an impact on our sense of place in relation to the natural world. I use primarily black and white with natural tones of chine collé and sometimes layers of lithographic texture to introduce warmth to the stark palette and to invoke a sublime emotional connection. I work from sketches, photographs, notes and memory to create my prints. ADDITIONAL INFORMATION: Black & White, Chine Collé, Drypoint, Drypoint print, Etching, Etching print on Paper Edition of 20 44 H x 32 W x 1 D cm (17.32 x 12.60 x 0.39 in) Sold unframed Image size: Height: 30cm (11.81 in) Width: 20cm (7.87 in) Complete size of sheet Height: 44cm (17.32 in) Width: 32cm (12.60 in) Depth: 1cm (0.39 in) ARTIST BIOGRAPHY: Fiona Hamilton is a printmaker based in Bristol. Interested in process she uses a combination of mediums, both traditional and contemporary, to produce unique imagery, often as one off pieces or in small limited editions. She currently works in silkscreen, cyanotype and foil. Fiona’s artwork draws on a lot of natural themes such as plants, leaves, trees and creatures including lots of birds. She mostly works directly from nature or from photographs she has taken. She regularly lugs a heavy telephoto lens about to get photos of birds...

Palm trees in Spanish landscape with architectural designs. This intaglio print was further developed with a watercolor wash and pencil embellishment. Smith-Harrison is known for h...

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...

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...

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...

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...

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,...

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...

An evocative view of the Church of Santa Maria della Salute, Venice. The image is framed by the stone window and geometric pattern of iron over the window. Signed and numbered from the edition of 100. Engraver, sculptor and painter, Edo Janich...

Depiction of the Salish Sea from Skyline Divide, Washington, highlighting the type of seascapes for which McMillan is so well known. Signed in pencil from ...

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...

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...

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...

Mudlarking By Tim Southall [2021] Limited Edition Etching Image size: H:15 cm x W:20 cm Complete Size of Unframed Work: H:25 cm x W:30 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look At low tide on a stormy day in London, people rummage around in the muddy shores of the River Thames. Dominating the scene is the formidable Tower Bridge. These ‘mudlarkers’ are searching for scraps and broken bits of history - rummaging in the muddy shore of the river. Who knows what treasures will be discovered. Originally a mudlark was someone who scavenged in river mud for items of value, a term used especially to describe those who scavenged this way in London during the late 18th and 19th centuries. The practice of searching the banks of rivers for items continues in the modern era, with newer technology such as metal detectors...

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...

Tim Southall A Feast Etching Print on Paper Image Size: H 7.5cm x W 10cm Paper Size: H 17.5cm x W 20cm Edition of 75 Signed Sold Unframed but Mounted (Ple...

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...

Primrose Hill - London by John Duffin is a limited edition print. The scene depicts a stunning panoramic view of Londons greatest sights. John Duffin is a painter and printmaker whos...

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...

Color spitbite aquatint and aquatint with drypoint. Edition of 35

Kit Boyd The Sacred Grove Unique hand-coloured etching and aquatint from the standard edition of 60. Imaginary coastal landscape with birds and a figure. hand printed on Hahnemuhle e...

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...

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 ...

Spanish Steps is an artwork realized by Giuseppe Malandrino in the 1970s. Blak and white Etching on paper Hand-signed and numbered on the lower margin. Edition of 9/199. God cond...

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