Kate Heiss Still-life Prints

Billy Childish, Tree – Seattle, 38.3 x 30.5 cm, edition of 200, 2022 hand-signed and numbered by the artist Billy Childish is a prolific British artist, musician, and writer know...

With hand-deckled edges. Obey publishing chop in lower left corner. "Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhyth...

This image is #17 of an edition of 35 Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed see more . . . th...

Billy Childish Light through Trees , 2022 Archival print on heavy matt stock 39 x 30.5 cm Edition of 200 signed and numbered by the artist Billy Childish is a prolific British artis...

"The Scar by China Miéville is a novel which has been a part of my life for many years, and has travelled as my companion through since adolescence. I've attempted to depict the Avan...

Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg. While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting. Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked. Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium. Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print. There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers. But making mezzotints was not a paying job. Marchant and his South African wife...

This colored botanical mezzotint and line engraving finished with hand coloring by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Ephemerum Virginianu flore Purpureo, B. Ephemer...

Screen print on Saunders Waterford 300gsm paper Hand-signed, dated, and numbered by the artist 28 × 32.8 cm Edition of 150 FRAMED The print was editioned by master printer, Kip Gresham at The Print Studio, Cambridge for Kettle's Yard. It was made using an original drawing ‘cut’ into an acrylic sheet. The image is then reversed when printed. Description from the publisher: "Drawing has been fundamental to Ai Weiwei’s artistic practice from an early age. He also has a longstanding love of cats, and they appear frequently in the artist’s social media posts. Many cats used to roam his studio in Beijing. As part of the Kettle’s Yard exhibition, Ai’s ‘Cats wallpaper...

Exclusive limited edition cyanotype diptych. Details: + Title: Duo of Egyptian Palms + Year: 2024 + Edition Size: 20 + Medium: Cyanotype on Watercolor Paper...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

Screen print on Saunders Waterford 300gsm paper Hand-signed, dated, and numbered by the artist 45 x 62 cm Edition 78 of 300 The print was editioned by master printer, Kip Gresham at The Print Studio, Cambridge for Kettle's Yard. It was made using an original drawing ‘cut’ into an acrylic sheet. The image is then reversed when printed. Description from the publisher: "Drawing has been fundamental to Ai Weiwei’s artistic practice from an early age. He also has a longstanding love of cats, and they appear frequently in the artist’s social media posts. Many cats used to roam his studio in Beijing. As part of the Kettle’s Yard exhibition, Ai’s ‘Cats wallpaper...

This high-quality print on aluminum dibond, hand-numbered and signed by the artist, features a surreal scene of a tabby cat atop a table, set against a floral background that evokes ...