Etching Still-life Prints

Artist: Mark Adams (American, 1925-2006) Title: Pink Poppy Year: 1980 Medium: Color aquatint Paper: Wove Image size: 11.25 x 8.5 inches Sheet size: 18 x 13.5 inches Framed size: 20....

Rufino Tamayo, Mexican (1899 - 1991) - Sandias, Year: 1977, Medium: Mixographia, signed and numbered in crayon, Edition: 31/100, Size: 29 x 20.75 in. (73.66 x 52.71 cm), Publishe...

ARTIST: Salvador Dali TITLE: Florals Narcissus (Phones) Andalou MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 1/350 MEASUREMENTS: 21.75" x 29.5" YEAR: 1972 FRAMED: No...

In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...

This image is from an exclusive edition published by Stone + Press in 1994 in an edition of 100. This impression is #98. It brings to mind the Robert Frost poem, Stopping by Woods on a Snowy Evening. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. Mary Teichman...

A pair of French classical romantic prints original created in the 18th century by Jacques-Firmin Beauvarlet (1731-1797) after paintings by Francois Boucher (1703-1770), utilizing ...

Amsterdam IX is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade is both ...

Violets is a modern artwork realzied by Luigi Bartolini in 1936 Black and white etching. Hand signed, titled and numbered on the lower margin. Includes frame Edition of 13/50 Go...

Still Life #2 Juan Manuel Gomez-Quiroz Chilean (1939–2021) Date: 1981 Hand-Colored Etching, signed, titled, numbered and dated in pencil Edition of 19/65 Image Size: 19.75 x 29 inc...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Aquatint and mezzotint, printed in colours and finished by hand, heightened with gum arabic, from The Temple of Flora. Framed and glazed. London, 1...

This piece titled "Because the Night VE 1/5" is a variable edition piece by Kate VanVliet and is made from two-plate etching with aquatint, soft ground and relief chine colle on Rive...

Engaging French etching of dinner party scene, 1963. Signed lower right. 78/115 Original artwork on paper displayed on a white mat with a gold border....

Etching, aquatint and sugarlift print of a Still-Life on a table. Edition of 100.

Going Home By Phil Greenwood [2021] Going Home by artist Phil Greenwood is a limited edition print made using aquatint and etching. A figure is depicted walking through dense woodla...

Paintbrushes in a Pitcher - Still Life Etching by Don Weygandt (#20/150) Elegant lithograph of a pitcher holding paintbrushes by Don Weygandt (American, 1926-2018). This piece has a...

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...

Dine, Jim (American, born 1935). YELLOW CALLA LILLIES. D'Oench and Feinberg 19. Etching, soft-ground, drypoint, photogravure and electric tools, with hand-...

Neula is a limited edition signed etching print on paper by Sarah Duncan of a black and white snowy forest in the winter with the trees bare and snow on the ground. This work is in a...

ED BAYNARD (American, 1940-2016) Flowers, Flowers in a Vase, Etching. 1979/1980, Hand signed, dated l.r., Hand numbered from small edition 12/24, Dimensions: 23 by 19 in. Framed 25 by 21 in Born in Washington, D.C. in 1940. Raised in Washington, D.C. and newly graduated from high school, he flew to Europe living off and on in Paris and London. During this time, he designed costumes for Jimi Hendrix, worked as a graphic designer for the Beatles as well as Elizabeth Taylor and Richard Burton. Returning to New York, he dedicated his life to art after a surprise success with his first show in 1971 at the Willard Gallery in NYC. Ed's images are Zen-like in their simplicity and grace rendered in a flat, graphic style that recalls Japanese Ukiyo-e prints. His watercolors are luminous, like the rest of his representations regardless of the medium. The Japanese inspired ukiyo-e style woodblock prints and lithograph works he created at Tyler Graphics in 1980 contain a 20th century "floating world" sensibility. Ed's wish was to bring harmony, color, and a meditative stillness to this chaotic planet. He did so in a gentle and powerful way, always as an expression of his deep gratitude for the love and beauty, friendship, and concerns he held dearest. His first solo exhibition was in 1971 at New York's legendary Willard Gallery on the recommendation of Agnes Martin. Baynard went on to have exhibitions at galleries including Betty Parsons Gallery, New York (1973); Marian Goodman Gallery, New York (1977); John Berggruen Gallery, San Francisco (1980); and Barbara Gladstone Gallery, New York (1980/81).. Baynard manages to retain a simplicity of form inspired by a love of Japanese Woodblock prints. His new works reflect the same poetry of his earlier paintings, retaining his stylized compositions with their Zen like minimalism and Oriental calm, along with a new sense of rhythm and movement. Baynard uses familiar themes such as flowers, plants, pots, and vases, incorporating them into his delicate watercolor still lifes, thus creating stunning visual feasts. He was included in the 1972 Landscape exhibition at MoMA NY alone with other luminaries James Boynton...

Still Life from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Fiorillo in the 18th Century. Signed on the plate. Good conditions with some folding and foxi...

In "Late Night", Frederick Mershimer created a winter scene where Berkeley Place meets Seventh Avenue in Brooklyn's Park Slope. This image, the seventh in t...

Salvador Dali - Woman Holding a Veil - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : F...

"Iris" Botanical Etching on Heavy Paper Realistic etching of an iris by Nancy Nevin (American, b. 1963). An elegant bearded iris is shown against a white background, in the style of...

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif & Salzer and is in the permanent collection of the Museum of City of New York...

Medium: Carborundum, intaglio Year: 2018 Image Size: 12 x 12 inches Paper size: 24 x 22 inches Edition Size: 25 Signed and numbered by the artist. Tachibana’s prints take their ins...

ARTIST: Salvador Dali TITLE: FlorDali/Les Fruits Cherries MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Jean Schneider, Basel EDITION NUMBER: 109/200 MEASUREMENTS: 22" x 30" ...

By: Yuji Hiratsuka Medium: Intaglio and Chine Colle Year: 2023 Image Size: 18 x 12 inches A celadon decorated Chinese vase with flowers, with a full moon and clouds in the backgroun...

Salvador Dali - Original Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : Field 68-6 (p. 40-41). Salvador Dal...

Signed, titled and numbered by the artist. Born in 1966, Lanfranco Quadrio is a draftsman and engraver whose work fuses the ability of the Old Masters with a contemporary vision. He...

Bodegon by Juan Manuel Gomez-Quiroz, Chilean (1939–2021) Date: 1979 Etching, signed, titled, numbered and dated in pencil Edition of 65 Image Size: 29.5 x 23.5 inches Size: 35.75 x 2...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘Fundevogel’. One of just a few in the series that depicts a single form with such complexity, drawn directly on the plate by Hockney. This is certainly an ode to Giorgio Morandi’s etchings...

Salvador Dali - The Winged Demon - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

Signed, titled, and numbered by the artist. A young woman with with an elaborate necklae holds a flower hiding her face. While Hiratsuka's images have some resemblance to traditiona...

Guy Allen Grazing Horse Study Gold An etching, aquatint and hand finished gold leaf on 300gsm Somerset paper. Edition Size: 75 Year Completed: 2017 Image Size: H 19.5cm x W 13.5cm Paper Size: 56 x 39 cm Sold Unframed (Please note that in situ images are purely an indication of how a piece may look)Please note the price is for the unframed original etching . Grazing Horse Study Gold is an original etching, engraved onto a copper plate, from which Guy Allen creates an impression of ink onto paper. To create his pieces, Guy Allen marries the traditional technique of etching with timeless subject matter and print making processes, for a more contemporary twist. This etching is a study piece for the large Grazing Horse artwork...

This piece titled "All the Small Things III" is a unique monoprint piece by Kate VanVliet and is made from hand-colored etching with soft ground on Rives BFK. This piece is a unique ...

This artwork titled "Pomegranates" c.1970 is an original color aquatint on Japan paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered XXII/LXXV in White pencil by the artist. The Size is 22 x 29.25 inches. Printed to the edge. It is in excellent condition, some hanging tape remaining on the back from a previous framing. About the artist: Born (Kaikobad Motiwalla) in Bombay, India on December 15, 1921, Moti was first educated at the Bombay School of Fine Arts but his talent led him onwards to study at the University College in London (on scholarship) and at the Slade School of Fine Arts, London, where he received a Master's degree in Painting and Sculpture. While still in London he studied under MacWilliam and Reginald Butler. Eventually moving to Paris in 1950, Moti attended the Academie de la Grand Chaumiere, Atelier Zadkine, to pursue his love of sculpture but lack of space soon compelled him to turn his attention to working on copper plates and he studied engraving with William Stanley Hayter...

Etching and aquatint on vélin Magnani Pescia paper. Paper size: 22.75 x 40 inches. Inscription: Hand signed and numbered, 62/78, as issued. Notes: Published by Multiples, Inc., New Y...

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Salvador DALI (1904-1969) Casanova : A Pear for Thirst, 1967 Original etching Printed signature in the plate On vellum Rives 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog r...

John Duffin Thames Bridges Limited Edition Etching Edition of Sheet Size: H 76cm x W 56cm x D 0.1cm Sold Unframed Please note that in situ images are pur...

This piece titled "Like a Pen VE 10/18" is a variable edition piece by Kate VanVliet and is made from hand-colored etching on Rives BFK with an artist-made frame. This piece is an ed...

Original etching by Giorgio Morandi. Hand signed lower right and hand numbered lower left. Edition of 40 prints. The artwork is also signed and dated on plate. Image dimensions: 24 x...

portrait of a young woman admiring her small bonsai tree. Intaglio with Chine Colle print signed, titled and numbered by the artist While the images have some resemblance to traditi...

This piece titled "The Second Coming of Ophelia" is an original piece by Kate VanVliet and is made from intaglio with aquatint and soft ground on Rives BFK. This piece is an edition ...

From the Piranesi's series “Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal cav. Gio. Batt. Piranesi pubblicati l’anno MDCCLXXIIX” (1778). Antiche urne cinerarie e lampade" is an artist proof, printed on contemporary laid paper, large margins, representing antique marble cinerary urns - “found into antique graves...

"Moonlight Glade", a small intimate etching of a New England graveyard, is a remembrance of the artist's roots. There is a quiet reverent calm to this moonlit scene,. William Woodward, born in Seekonk, Massachusetts, received his art training at the Rhode Island School of Design and the Massachusetts Normal Art School. He taught at the Rhode Island School of Design while still a student there. At the behest of William Preston...

Artist: David Hockney Title: Two Peppers (S.A.C. 156) Year: 1973 Medium: Etching printed in colors on Arches paper Sheet: 15 × 20 in (38.1 × 50.8 cm) Edition: 5/100; signed, numbered...

By: Yuji Hiratsuka Medium: Intaglio and Chine Colle Year: 2024 Image Size: 16 x 11 inches Edition: 15 A Japanese celadon decorated vase with flowers hiding the face of a young woman...

This color intaglio of the "New York Stock Exchange" was issued in a limited edition of 100. This impression is one of the Artist Proofs from the edition. The Stock Exchange is seen from Federal Hall...

Framed: 39 3/8 x 30 1/8 x 1 1/2 inches, 3/4 inch face, Wood frame Wayne Thiebaud was born Mesa, Arizona in 1920, and his family soon moved to Los Angeles in 1921. In high school he ...

This framed original 18th century etching is entitled "Fregio antico di marmo con Ippogrifi, nel cortile del palazzo della Valle" (Ancient Marble Frieze with Hippogriffs in the Courtyard of The Palace of the Valley). The etching is by Giovanni Battista Piranesi, published in Rome in 1778. It is from Piranesi's monumental work "Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne, Ed Ornamenti Antichi", (Vases, candelabra, grave stones...

Signed, titled and numbered in pencil, 28/30. Imaginary landscape with waterfalls, incredibly fine line work in this small etching. François Houtin was...

Izzy, a charming characterful terrier stands alert, holding her ball in her mouth. Colour etching hand made and printed by the artist. Helen Fay's art for sale online and in our gall...

HIDDEN PEAR, color etching, signed in pencil, numbered 7/50, Jerusalem Print workshop blind stamp, image 7 ½ x 5 ½”, sheet 15 x 10 ¼”. Samuel Bak (born 12 August 1933) is a Polish- American painter and writer who survived the Holocaust and immigrated to Israel in 1948. Since 1993, he has lived in the United States. Samuel Bak was born in Wilno, Poland, Bak was recognized from an early age as having an artistic talent. He describes his family as secular, but proud of their Jewish identity. By 1939 when Bak was six years old, the war began and Wilno was transferred from Poland to Lithuania. When Wilno was occupied by the Germans on June 24, 1941, Bak and his family were forced to move into the ghetto. At the age of nine, he held his first exhibition inside the Ghetto. Bak and his mother sought refuge in a Benedictine convent where a Catholic nun named Maria Mikulska tried to help them. After returning to the ghetto, they were deported to a forced labour camp, but took shelter again in the convent where they remained in hiding until the end of the war. By the end of the war, Samuel and his mother were the only members of his extensive family to survive. His father, Jonas, was shot by the Germans in July 1944, only a few days before Samuel's own liberation. As Bak described the situation, "when in 1944 the Soviets liberated us, we were two among two hundred of Vilna's survivors--from a community that had counted 70 or 80 thousand." Bak and his mother as pre-war Polish citizens were allowed to leave Soviet-occupied Wilno and travel to central Poland, at first settling briefly in Lodz. They soon left Poland and traveled into the American occupied zone of Germany. From 1945 to 1948, he and his mother lived in Displaced Persons camps in Germany. He spent most of this period at the Landsberg am Lech DP camp in Germany. It was there he painted a self-portrait shortly before repudiating his Bar Mitzvah ceremony. Bak also studied painting in Munich during this period, and painted "A Mother and Son", 1947, which evokes some of his dark memories of the Holocaust and escape from Soviet-occupied Poland. In 1948, Bak and his mother immigrated to Israel. In 1952, he studied art at the Bezalel Academy of Arts and Design in Jerusalem. After serving in the Israel Defense Forces, he continued his studies in Paris (from 1956 at the École nationale supérieure des Beaux-Arts) and spent various periods of time in Rome, Paris, Switzerland and Israel before settling permanently in the United States. In 2001, Bak returned to Vilnius for the first time and has since visited his hometown several times. Samuel Bak is a conceptual artist with elements of post-modernism as he employs different styles and visual vernaculars, i.e. surrealism (Salvador Dali, Rene Magritte), analytical cubism (Picasso), pop art (Andy Warhol, Roy Lichtenstein) and quotations from the old masters. The artist never paints direct scenes of mass death. Instead, he employs allegory, metaphor and certain artistic devices such as substitution: toys instead of the murdered children who played with them, books, instead of the people who read them. Further devices are quotations of iconographical prototypes, i.e. Michelangelo's "Creation of Adam" on the Sistine Ceiling or Albrecht Dürer's famous engraving entitled "Melencholia" . In the late 1980s Bak opened up about his paintings, stating they convey “a sense of a world that was shattered.” He turns these prototypes into ironical statements. Irony in the art of Samuel Bak does not mean parody or derision, but rather disenchantment, and the attempt to achieve distance from pain. Recurring symbols are: the Warsaw Ghetto Child, Crematorium Chimneys or vast backgrounds of Renaissance landscape that symbolize the indifference of the outside world. These form a disturbing contrast with the broken and damaged images in the foreground. Samuel Bak's paintings cause discomfort, they are a warning against complacency, a bulwark against collective amnesia with reference to all acts of barbarism, worldwide and throughout the ages, through his personal experience of genocide. In Bak's piece entitled Trains Bak creates a vast grey landscape with large mounts creating the structure of a train. Massive taper candles burn in the distance further down the train tracks, surrounding an eruption. The smoke from the candles and volcano pour into a sky of dark ominous clouds that lurk over the landscape. Here Bak has created a whole new meaning for “trains.” Many of Bak’s pieces incorporate aspects of Jewish culture and the holocaust with a dark and creative twist, such as Shema Israel...

Magnificent print by Robert John Thornton. Aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. [London 1799] First state. Thornton was a prolific medical author and Doctor of Medicine, practicing at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the Sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect. This rare and celebrated plate of the Roses...

Signed, titled and numbered by the artist. A young woman playing with crane. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, sa...