Laurent Schkolnyk

Grande coupe de mangues

This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

This is a three-plate color mezzotint. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

This is a three-plate color mezzotint, edition 74/90. The mat dimensions are 20 x 16 inches. Signed "Schkolnyk" at lower right.

épreuve d'artiste 2/5

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...

“Chair & rooftop” is a mezzotint engraving created by Robert Kipniss in 2015. Printed in an edition of 30 this impression is signed in pencil and inscribed "27/30." The paper size i...

Kazuhisa Honda (b. 1948) "Lemon Tree" c. 1980s Mezzotint Signed Lower Right Numbered Lower Left 81/250 Site Size: approx. 8 x 5 inches Framed Size: approx...

This is the first image in which the artist used back lighting. "The Old Clothesline" is an edition of 75 and was featured on the cover of Carol Wax's book "The Mezzotint, History a...

Marc Balakjian was enigmatic in his subject matter creating images that are disturbing in their ambiguity. Is this image just striped fabric tied with ropes on a platform or is this is a flag-draped coffin symbolizing those who passed "in memory of an historic phrase"? Politicians may turn the phrase but a price must be paid. This small edition mezzotint was created in 1975 in an edition of only 5. Armenian by descent, Marc Balakjian was raised in Lebanon. He spent his early years in the small town of Rayak, before moving to Beirut at the age of 10. He came to England in 1966, initially to study architecture with a firm in Oxford. He then decided to study art at Hammersmith College of Art and took up a postgraduate degree in printmaking at the Slade School of Art in 1971. After graduating he began working at Studio Prints in 1973, just as it was establishing itself in Queen’s Crescent. By 1976 he had become a full time partner, collaborating with other artists as well as continuing his own work, much of which is inspired by his Armenian and Lebanese culture and heritage. By the 1980s work was falling off, so Balakjian and Studio Prints introduced in-house plate-making to serve painters and sculptors who had little experience with printmaking. Artists such as Leon Kossoff, Frank Auerbach, Lucian Freud and Ken Kiff...

Carol Wax deconstructs a Singer sewing machine in this mezzotint created in an edition of 75. The image gives equal weight to the steel of the machine and the silk of the fabric. It...

Carol Wax's "Vertical Zydeco" reflects a fascination with ways to suggest sound and movement through rhythmic patterns of light and shadow. It is an edition of 75. The image is real...