Mychael Barratt

Mychael Barratt, The Serpentine, Hyde Park – Autumn, after Bruegel, Dutch Art

2020

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...

Sarah Duncan Coriolis Effect Limited Edition Etching on Zerkall German Etch 350gsm Paper Edition of 20 Image Size: H 60cm x W 60cm Sheet Size: H 70cm x W 70cm x D 0.1cm Sold Unframed...

Thames Bridge East is a limited edition etching by John Duffin. The monochromatic palette of this work allows you to look at all of the detail that Duffin has added to the piece. The...

Storm Spectres I’ is a unique monotype made at the artist’s studio in Cadiz, southern Spain. Much of Tim’s work takes the land or the sea as a starting point – a vast unending springboard where he explores concepts of human mortality, perceptions of life and death, emotions and colour. Although the pieces are clearly some sort of landscapes there is always ambiguity allowing the viewer to make a personal interpretation of what is directly in front of them. Tim’s monotypes are completely unique pieces of work made from inking up several copper etching plates...

Tim Southall Destination Unknown Limited Edition Print Edition of 45 Image Size: H 15cm x W 20cm Sheet Size: H 26cm x W 32cm x D 0.1cm Sold Unframed Pleas...

Sunrise. 1965, paper, etching, 53x52 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began her studies at the ...

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

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...

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...