Valley House Gallery & Sculpture Garden Still-life Prints

large scale original photograph from the body of works 'Persephone', a series of environmental still-life photographs of timeless palimpsest impressions Persephone III by Erik Pawassar 40 x 31 inches (102 x 79cm) signed edition of 25 62 x 48 inches (157 x 122cm) signed edition of 7 archival fine art pigment print signed & numbered by artist on label custom/larger sizes are available on request ____________________________ Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian Salgado...

In "Still Night", Frederick Mershimer depicts a row of brownstone houses on Seventh Avenue near Flatbush Avenue between Park and Stirling Places. Mershimer remembers that as he was ...

Rio Osmarin shows boats on the canal Rio de S. Provolo o de l'Osmarin in Venice) It was created in 2006 and this impression is #31 of 75 It is signed, titled, numbered and dated by...

GOLDEN by Frank Schott from a series of photographic observances - environmental still life capturing found objects in urban cityscapes 40 x 32 inches (102 x 81cm) signed edition ...

A play on words provides the title for this image -- a circle created out of the deconstructed parts of Singer IV This image is #37 from an edition of only 50, referenced as Firos 78...

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...

CHATEAU is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches p...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "a. Phaseolus Americanus purgans, b. Phaseolus Brasilianus". It is plate 8...

Salvador Dali - Woman on Horse - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

TREMOR is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches pa...

Lithograph on vélin paper. Paper Size: 12 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, View, Surrealism in Belgium, vol. V, n°1, March 1945. Pu...

CLIFF-HANGER is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arc...