Aquatint More Prints

Jean Miotte - Rare Original Aquatint Engraving Title: Abstract Composition Dimensions: 76 x 56 cm Jean Miotte, 1926 - 2016 Miotte came of artistic age in the decade after World War...

A very good impression of this color aquatint on Richard de Bas cream wove paper. Signed and numbered 23/96 in pencil by Tobey. Published by Edition de Beauclair, Frankfurt am Main.

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...

Leon Rene Pescheret (American, 1892 - 1971) Signed: Leon Pescheret (Lower, Right) " The Chicago Water Tower ", 1932 (Titled, Lower, Left) Etchin...

Edition of 30, sold unframed. This print is part of the ‘Berkeley:Suite’ series, which includes various layered combinations of McArthur Binion’s 1970s self-portrait, a snapshot of...

Edition of 30, sold unframed. This print is part of the ‘Berkeley:Suite’ series, which includes various layered combinations of McArthur Binion’s 1970s self-portrait, a snapshot of...

Edition of 35, sold unframed. This print is part of the ‘Berkeley:Suite’ series, which includes various layered combinations of McArthur Binion’s 1970s self-portrait, a snapshot of...

Francesco BARTOLOZZI & François JANINET Florence 1730 † 1813 Lisbonne & Paris 1752 † 1813 Vertumme et Pomone. & Zéphire et Flore. 1776. Deux gravures aux outils et à l’aquatinte d’a...

Fred Mershimer created "Above the Rush" in 2003 using mezzotint and aquatint printmaking techniques. The edition of 120 pieces is printed in color. It is signed, titled, and dated ...

"Red Poppies, Gray Target" is an etching and woodcut in red and silver inks, printed on Hahnemühle Copperplate paper in an edition of 20. Artist's signature, title, date and edition ...

A very good impression of this large, scarce print, color aquatint on white wove Fabriano paper. Artist's proof, aside from the edition of 35. Signed and inscribed "artist's proof" ...

"Silk Stocking Poppies" is an etching and aquatint in orange and black inks, printed on Hahnemühle Copperplate paper in an edition of 20. Artist's signa...

Keys Largo Jean Sariano, Algerian/American (1943) Date: 1979 Intaglio Etching and Aquatint, signed and numbered in pencil Edition of 300 Size: 24 in. x 21 in. (60.96 cm x 53.34 cm)

A very good impression of this color aquatint and lift-ground etching and aquatint on Arches Cover paper. Signed and numbered 15/100 by Motherwell. There are 20 artist proofs, number...

Signed, titled artist proof. Edition of 135. Royal Palm with Turkish Design maintains the interplay between the twodimensionality of the architectural rendering and the modeled line work of the palm. The addition of a subtle fade of sky-like blue in the upper left-hand corner works with the atmospheric marks to further emphasize the illusion of volume in the palm. Conversely, by bordering the upper half of the print with a pattern from an early Ottoman brocade, Smith-Harrison reminds us that we are not to take a representation of three dimensions as realism. The small medallion in the lower center of the print, although it also is taken from an Ottoman brocade, doubles as an architectural element. The shape resembles the glyph-like mark used to represent a palm tree in plan view drawings. The ornate, curvilinear large medallion is the third of the Ottoman elements. Placed in the lower left of the print, both the shape and the etching in deep reds and blues create an allusion to a polychrome roundel. Both the shape and the placement provide balance to the colonnade and the angular rendering in the center of the right side of the print. 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...

By: David Smith-Harrison Medium: Intaglio Year: 2005 Image Size: 4.5" x 3.5" Paper Size: 8" x 6.25" Portrait of a citrus tree with a single lemon from an ...

Ernst Fuchs (Austrian, 1930 - 2015) Sphinx in Pharao Sheet Nr. 6 from the Folio “Die Sieben Bilder und Sprüche der Sphinx”, published in Autumn of 1967 by Galerie Sydow in Frankfurt, Germany. • Aquatint Etching • Ed. 79/99 • Sheet ca. 59 x 41.5 cm • Plate signed • Signed & numbered by the artist in pencil Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Ernst Fuchs was an Austrian painter, draftsman, printmaker, sculptor, architect, stage designer, composer, poet, and one of the founders of the Vienna School of Fantastic Realism. I discovered him through H.R. Giger ‘s work, who himself was greatly inspired by the creations of Fuchs and on several occasions exhibited his friend ‘s art in his museum, the Château St-Germain, Gruyères, Switzerland. I actually own the original folio box...

According to Gesine Tosin, Richard Hamilton irritated contemporary critics in the 1970s with a series of works -- romantic images of flowers, still lifes and landscapes, interspersed...

This artwork titled "Seated Figure" c.1970 is an original color etching, aquatint and embossing on brown hand made paper by noted Spanish artist Jose Garcia...

The nature explode * 1986. Aquatint, etching on paper 9/13. 41x58 cm Ivars Poikans 1952. Riga Ivars Poikāns works in painting, graphics, book illustration, cinema art. Born on Oct...

A very good, richly-inked impression of this scarce color aquatint on Arches Cover. Initialed and numbered 15/28 in pencil by Motherwell. Printed by Catherine Mosley at the artist's ...

Signed, numbered, and titled by the artist from the edition of 200. Winter scene of cottonwoods in a field with a dusting of snow. Smith-Harrision's work very often features architectural elements, along with trees. This is one his largest prints, which took him two years to complete. The ornate imagery of spanish tile that borders the lower half of the print needs to be seen in person to be fully appreciated. The two palms are specific trees that Smith-Harrison encountered on a trip to Spain. David Smith...

A very good impression of this color aquatint and lift-ground etching on Arches cover paper. Initialed and numbered 3/32 in pencil by Motherwell. Printed by Catherine Mosley at the a...

A very good, richly-inked impression of this aquatint on Arches Watercolor paper. Initialed, dated, titled numbered 42/54 in pencil. Printed by Gregory Burnet and Maurice Payne, I.M.E. Studios, New York. Published by the Jewish Museum...

According to Gesine Tosin, Richard Hamilton irritated contemporary critics in the 1970s with a series of works -- romantic images of flowers, still lifes and landscapes, interspersed with scatological motifs. "Once exhibited, the critics regarded the paintings as evidence either of a kinky sexual aberration or an early onset of senility." (Hamilton 1982, p.79. ) Trichromatic flower-piece is one of these works, which questioned the categories of high and low art through its appropriated imagery. In the words of Richard Hamilton: “The Shit and Flowers series was was inspired in a sense by Barcelona, walking on the Ramblas where thousands of postcards are displayed. (…) I bought three pictures of flowers. I took them back to Cadaqués and began to play about with them, at first by putting a little paint on the surface.” According to Andrew Kim Tyler: “Working at Atelier Crommelynck, Paris in 1973-4, Hamilton used a traditional still life subject, a bouquet of flowers, to pursue his interest in the combination of photographic images with planes of color and hand-drawn aspects, but subverting the image with addition of a large turd. Perversely he set out to produce by manual means an etching with the characteristics of a commercially made reproduction resulting in Trichromatic flower-piece.” In addition to the edition of Trichromatic Flower-piece, Hamilton printed...

from "Fusées" - Joan Miró, one artwork out of "Fusées" portfolio Wonderful exemplar form the portfolio "Fusées". Aquatint etching from 1959 32 x 50 cm. Edition of 100

A superb, richly-inked impression of this color aquatint and etching. Signed and numbered 67/125 in pencil. Printed and published by Grafica dei Greci, Rome.

This is a rare example of Shaler's early work. This piece was exhibited in Associated American Artists' exhibition on the Prints of New York City...

Artist: Squeak Carnwath American (1947- ) Title: Intelligence of a Three Year Old Date: 1997 Media: Color Sugarlift And Soapground Aquatint With Hardground, Scrape And Burnish Dimen...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "Silver Rock Melon", drawn and engraved by George Brookshaw and published in London in 1812 as plate 67 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a Silver Rock Melon still on the vine, but the melon lies on a heater green mat. A wedge of the melon has been dissected to reveal its inner anatomy, including the seeds. The melon skin is a heather and light green color, while the inner portions are a light peach color. The vine and leaves are shown attractive shades of light green and there are soft yellow flowers. The plant is displayed on a light brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There are wide white margins. The title and inscription lies within the lower border. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick heather green mat. The frame measures 25.75" high, 21.5" wide and 1.13" deep. It is glazed with UV conservation glass. There is a short thin vertical line of discoloration in the lower margin through the word "melon" and a tiny spot in the upper margin on the left. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. t depicts a cluster of grapes. The two prints would make a striking display pairing...

Aquatint in colours by Zao Wou-Ki No Title Sheet 2 from "Canto Pisan" (portfolio with poems by Ezra Pound), 1972 50,5 x 33 cm Copy 52/150 Edition of 254 ...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "White Hamburgh Grape", drawn and engraved by George Brookshaw and published in London in 1812 as plate 60 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a cluster of pale green grapes still on the vine. The vine and leaves are shown in attractive shades of green and brown. The plant lays on a brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There is a light brown title rectangle in the lower center which is blank, suggesting this may be a more rare preproduction proof. There are wide white margins. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick light beige mat. The frame measures 26" high, 22" wide and 1.13" deep. It is glazed with UV conservation glass. There is a tiny spot in the lower margin on the left and another in the left margin. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. It depicts a Silver Rock Melon. The two prints would make a striking display pairing...

Etching in colours by Max Ernst. "Bonjour", 1966 66,5 x 50,1 cm Copy 7/99 Edition of 111 copies (approx.)

Set of 3 etchings and aquatints in colours by Marino Marini "Triade", 1976-1978 73,7 x 57,5 cm Copy 4/90 Edition of 125 Marino Marini (Pistoia 1901–1980 Viareggio 1980) - Hardly an...

Thomas Sutherland (1785-1838) after Thomas Whitcombe (1760-1824) 'Capture of the La Vengeance, Aug 21st, 1800' Colour aquatint engraving from 'The N...

A very good impression of this color etching and aquatint with strong colors. Signed and numbered 80/100 in pencil. Printed and published by Il Bisonte, Florence.

Aquatint in colours by Wou-Ki Zao Untitled Sheet 5 from "Canto Pisan" (portfolio with poems by Ezra Pound), 1972 50,5 x 33 cm Copy 52/150 Edition of 254 ...

A very good impression of this extremely scarce color aquatint and etching on cream wove paper. Signed and numbered 6/20 in pencil by Nevelson.

A very good impression of this color etching and aquatint on Pescia Italia paper. Signed, dated, titled and numbered 37/78 in pencil by Rosenquist. Printed by Charles Levien, Aripeka...

A superb, richly-inked impression of this very scarce, early proof color aquatint on Arches. Artist's proof, aside from the edition of 180. Signed, dated and inscribed "H II fer pass...

James Rosenquist ( 1933 - 2017 ) - Tide - Hand-Signed etching and aquatint, 1979 Additional information: Material: Color etching with aquatint in colors with pochoir on Pescia Itali...

"Banco", an aquatint from Robert Rauschenberg' s "Ground Rules" series is an exemplary piece where the window moldings become a metaphor for the formal role it plays in anchoring it into a simple, legible grid. A vivid palette with brilliant, translucent greens, blues, and oranges render discrete patches and the clarity of the printing seems more firmly "grounded" than the photographs in their grids. There is a recurrence of artistically self-referential motifs like the central white rectangle with a sign, YOUR NAME HERE, superimposed over the window rather obliquely. In the window of "Banco" reflections become opacities that destroy its translucency, bring back the surface; and across that surface, scraps of imagery drift, bringing back, in turn through their transparency, the illusion of depth. The sheet itself is 41 5/16 x 27 9/16" (105 x 70 cm). This is number 32 from an edition of 44 and has been numbered and signed by the artist. Robert Rauschenberg, the irrepressibly prolific American artist, is known as the one who time and again reshaped art in the 20th century. He was a painter, photographer, printmaker, choreographer, onstage performer, and set designer. In later years, it is said, he was even a composer. He defied the traditional idea that an artist must stick to one medium or style. He pushed, prodded and sometimes reconceived all the mediums in which he worked. Similar to the artists, Marcel Duchamp, Kurt Schwitters, Joseph Cornell, John Cage and others, Rauschenberg helped obscure the lines between painting and sculpture, painting and photography, photography and printmaking, sculpture and photography, sculpture and dance, sculpture and technology, technology and performance art. Per the art critic, Jerry Saltz: Rauschenberg invented a new form called the combine. It was not quite a painting nor was it considered sculpture. For Rauschenberg, though, it was like discovering fire it so transformed his art. He used bedding, doors, parachutes, a tire, a stuffed goat and combined them into new forms. One combine, Monogram, features a stuffed goat encircled by a tire atop a horizontal painting. Saltz says, “Rauschenberg is a mischievous Satyr grazing on art history, or the goat is a gargoyle protecting the art. Either way, the title suggests that Rauschenberg was leaving his mark.” And leave his mark he did. He became known as the giant of American Art. Jasper Johns, his sometime lover, said, “Rauschenberg was the man who in this century invented the most since Picasso.” Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the Pop art movement. He received numerous awards during his nearly 60-year artistic career. Among the most prominent were the International Grand Prize in Painting at the 32nd Venice Biennale in 1964 and the National Medal of Arts in 1993. He lived and worked in New York City and on Captiva Island, Florida, At 18, Rauschenberg was admitted to the University of Texas at Austin where he began studying pharmacology, but he dropped out shortly after due to the difficulty of the coursework—not realizing at this point that he is dyslexic—and his unwillingness to dissect a frog in biology class. He was drafted into the United States Navy in 1944. Based in California, he served as a neuropsychiatric technician in a Navy hospital until his discharge in 1945 or 1946. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met fellow art student Susan Weil...

"Marlowe and the s. o. raincloud" etching and aquatint is a complicated mixture of Native American head dress, notes by the artist, comic super he...

Color etching with carborundum by Antoni Clavé "No Title", 1975 75,5 x 55,5 cm Copy 32/60 Edition of 60 (approx.). Antoni Clavé (Barcelona 1913 - 2005 ...

A superb, richly-inked impression of this extremely scarce, early etching, aquatint and engraving with hand coloring in watercolor on cream wove paper. Colors are strong with crisp, ...

Sam Francis ( 1923 - 1994 ) - Mehrfarbige spirale - hand-signed etching and aquatint - 40/40, 1970 Additional informaion: Material: Etching and aquatint on paper Edited in 1970 Limi...

Color etching with carborundum by Antoni Clavé "Servando V", 1973 66 x 57 cm Copy Artist's Proof Edition of 95 Antoni Clavé (Barcelona 1913 - 2005 Sain...

A very good, richly-inked impression of this aquatint with scraping, burnishing and drypoint on Rives BFK. Initialed, dated and numbered 8/15 in pencil by Diebenkorn. Printed and pub...

A very good impression of this color etching and aquatint on Pescia Italia white wove paper. Signed, dated, inscribed "2 state" and numbered 10/78 in pencil. Printed by Aripeka, Ltd....

A superb impression of this color aquatint, etching and pochoir on Pescia Italia white wove paper. Signed, titled, dated and numbered 68/78 in pencil by Rosenquist. Printed by Flatst...

Etching and aquatint in colours by Marino Marini From "Marino from Goethe", 1979/1980 90 x 62,8 cm Copy 10/125 Edition of 195 Marino Marini (Pistoia 1901–1980 Viareggio 1980) - Ha...

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 64/99 Signed and Numbered in pencil

This is one of the most important motifs in the graphic oeuvre of Chillida. The Spanish artist is very well known for his large-scale sculptures which can be found in public as well ...

A 6"x 6" etching on a 11"x 15" paper, made by the Artist in a limited edition of 6 Framing + 75$ About the Series: Gilliam began the series Life Lines in 2017 after recently coming ...

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 98/150 Signed and Numbered in pencil Jean Miotte, 1926 - 2016 Miotte came ...

A very good impression of this color aquatint on Arches. Signed and numbered 3/48 in pencil by Chamberlain. Published by Novak Graphics, Toronto, with the black ink stamp, verso, and...

A very good impression of this etching and aquatint on vellum after Suzanne Duchamp. Signed and numbered by Duchamp.