Richard Haas

Minneapolis at Dusk

1993

Piazza Navona allagata solito farsi nelle Feste di Agosto Etching, 1752 Signed in the plate lower right (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificen...

Galleria grande di Statue Etching, 1743 Signed lower left corner of the plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 2 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

The Great Church, Nashville Etching & aquatint, c. 1936 Signed in pencil lower right A very rare trial proof Annotated "2" lower left corner recto Three total impressions in the esta...

untitled (Fishing Boats, Normandy) Soft Ground Etching, 1930 Signed and dated in pencil by the artist Sealed by the artist Annotated "Paris" Possibly a view of a fishing port in Norm...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows one of the mountains in beautiful Yosemite National park in California. Details: + Title: Yosemite Blue Mountain + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Carbonous by Sarah Duncan [2021] limited_edition Etching print on paper Edition number 10 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:0.2cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Carbonous is a limited edition signed etching print on paper by Sarah Duncan of a black and white forest...

Etching in colours, 2000-2001, on Hahnemühle etching paper, signed and numbered from the edition of 46 (there were also 6 artist’s proofs), published by Paragon Press, London, sheet:...

Richard Haas Manhattan View, Governor's Island (Szoke 87, 89), 1999 Aquatint & Photo Etching in Colors on Arches Cover Paper with full margins Pencil signed from the limited edition ...