Christine Ravaux

Vertical Branch

1995

Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted with grasses and ferns that lie beneath. Christine Ravaux is a Belgian artist who uses nature in m...

Christine Ravaux created Bout a Bout which is signed by pencil. This impression is #4 of 35 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted with ...

Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted with grasses and ferns that lie beneath. Christine Ravaux is a Belgian artist who uses nature in m...

Christine Ravaux created Une Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted wi...

Christine Ravaux created Peau d' Are which is signed by pencil. This impression is #2 of 15 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted with ...

Christine Ravaux created Deux Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted w...

Mill Near the Grand Chartreuse -- Dauphiny (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Mezzotint. Hardie 9.ii. Image 7 3/8 x 10; plate 9 x 11 7/8; sheet 12 5/8 x 17 ...

Each print signed and numbered in pencil by the artist Total edition: 92: 75 with Arabic numerals; 10 Artist's proofs with Roman numerals; 7 Hors Commerce with Roman numerals Image...

David Shapiro (American, b. 1922) Waterfall I (de-accessioned from the Denver Art Museum), 1979 Spit-bite etching, drypoint and carborundrum on Lanaquerelle...

’Labyrinth’ By William Crozier Medium - Carborundum printmaking, collagraph process Edition - 47/80 Signed - Yes Size - 509mm x 407mm Date - 2007 Condition - Excellent. 10 out of 10....

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

Farmyard. c. 1925. Etching and drypoint. 5 1/2 x 11 (sheet 10 x 15 1/4). Edition 75, #54. A rich impression with plate tone printed on cream wove paper. Signed and numbered in pencil...