Aquatint Prints and Multiples

Untitled (Undertow Variant) Etching and aquatint printed in colors Signed and numbered in pencil (see photos) Edition: 30 (9/30) see photo Condition: Excellent Image: 7 7/8 x 7" She...

This serigraph print is for sale from Roy Fairchild's Personal Collection. This print will come with a certificate of authenticity from London Contemporary Gallery and a unique signed letter from Roy Fairchild himself authenticating the work and detailing that this is from his personal collection. Roy Fairchild-Woodard was born in 1953 in Surrey, England. He currently lives and works most of the year in the peaceful environment of his Country home. The rest of the year he travels throughout Europe; Italy in particular, to obtain new sources of inspiration. His affinity with Italy is the painters of the Renaissance, especially their frescos, tapestries and paintings. The plasterwork of the frescos is alluded to in his use of plaster as a base for his acrylic and oil overpaints. Also the influence of Egon Schiele and Gustave Klimpt can be seen in his occasional reference of line and decoration. He received a degree in graphic design and started working under the name Woodard to produce more commercial...

Signed, titled, and numbered from the edition of 15. Image of a young girl i Kimono. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whi...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form foun...

Senza Titolo 11 by Victor Pasmore, 1989 Additional information: Medium: etching with aquatint 40 x 57 cm 15 3/4 x 22 1/2 in signed with initials, dated and numbered 78/90 in pencil ...

Georg Baselitz (German, b. 1938) Untitled #7 (from Farewell Bill), 2013 Medium: Aquatint and line etching on wove paper Dimensions: 85.1 x 64.9 cm Edition of 15: Hand-signed and numb...

Etching and aquatint on cream paper. Signed in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Plate in excellent co...

Curarlos y a otra is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original etching on paper. The artwork belongs to the famous print collection L...

Origin-Beginning-6 presents one of the most vertically structured compositions in the series. Elongated clusters of pale forms rise through the center, flanked by darker shapes that ...

Genre: Modern, Modernist Subject: Abstract Medium: Print, Aquatint with metal foil Hand signed dated 1988, limited edition Surface: Paper Country: Italy Dimensions: 26" x 20" approxi...

Hank Laventhol, American (1927 - 2001) - Pear, Year: Circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, AP XXXV, Image Size: 24 x 16 inches, Size:...

Artist: Matteo Negri, Italian (1982 - ) Title: Lego (Blue) Year: 2009 Medium: Aquatint Etching with Gold Leaf, Signed and numbered in pencil Edition: PA Image Size: 23.5 x 23.5 ...

Salvador Dalí Hamlet, 1973-4 The complete portfolio, comprising 10 etchings and aquatint in colors with hand-coloring on Arches paper Each hand signed lower right Each numbered 96/1...

Obsequio a el Maestro is an original artwork realized by Francisco Goya and published for the first time in 1799. Etching on wove paper. This artwork belongs to the Third Edition p...

Sevillanas Etching and color aquatint on laid watermarked paper, c. 1900 Signed by the artist in pencil lower right (see photo) Editioned in pencil lower left corner of sheet Publish...

Akio Wakasa Miyakawa - The Primitive Toy B, Medium: Etching and Aquatint, signed, titled and numbered in pencil, Edition: 5/20, Image Size: 8.75 x 11.75 inches, Size: 11 x 14.5 in....

Artist: Terry Winters, American (1949 - ) Title: untitled 5 from Album Year: 1988 Medium: Etching with Aquatint, signed and numbered in pencil Edition: HC 2/2 Image: 20 x 16 inches S...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

Signed, titled and numbered in pencil by the artist. Edition size 50. An evocative etching and aquatint that distills landscape and narrative into a restrained, abstract composition...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

Drypoint, aquatint and heliogravure, 1965. Signed by the artist and dated in pencil, lower right margin. Numbered 42/150 in pencil, lower left margin. Printed by Robbe, Paris. Pub...

Karl Kasten, American (1916 - 2010) - Money Tree, Year: 1967, Medium: Etching and Aquatint on Rives, signed, titled, numbered and dated in pencil, Edition: 7/20, Image Size: 15.7...

Countessian Barry Nelson, British/American (1937) Date: 1983 Etching with Aquatint on Arches, signed, titled, numbered and dated in pencil Edition of AP Image Size: 29.5 x 20.25 inch...

"Voices VI (A)" Aquatint Etching • Image: 12”x 14” • Paper: 30”x 22” • 2001 Hand signed and numbered 1/2 on BFK Rives paper. Joe Novak (1930-2019) California Contemporary Minimalist. His work is about the exploration of color and light through abstraction, with tonal gradations that infuse them with a meditative quality. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. His artistic background and work link him closely with the first generation abstract expressionists of the New York School. Major influences include Jackson Pollock and Mark Rothko, and his mentors, Peter Busa and Esteban Vicente, whom he met and befriended during the eighties while living and painting in East Hampton. During the nineties, while living and working in Santa Fe, New Mexico, Novak initiated a project called "Light Emanations", in which he created digital computerized programs of changing light levels and configurations on a selection of his large paintings, dramatically illustrating the effect of light changes on color perception. Novak's body of work is extensive and include painting on canvas, panel and paper as well as monotypes, drawings, assemblages, mixed media and prints. He has often worked in series, focusing on a particular medium for years. Among these are "Meditations" (color pencil drawings), "Voices" and "Voices 2" (color aquatint etchings), "Echoes" (painting assemblage with minerals) and "Colors" (350 miniature panel paintings). In recent years his paintings have become more gestural, often with musical allusions. His work bears a relationship to the Light & Space Movement and Minimalism artists James Turrell, Larry Bell, Craig Kauffman, Billy Al Bengston, Peter Alexander, Laddie John Dill, Lita Albuquerque. these are also anticipative of the aquatint etching works by Anish Kapoor. Color Gradient, Abstract Art, Land Art. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. Critic Christopher Knight wrote, Novak is an unabashed Color Field painter. His paintings and aquatints at Bert Green Fine Arts — the Santa Fe artist's third show there — feature works that will call to mind abstractions as diverse as those by Helen Frankenthaler, Mark Rothko and Morris Louis and the landscape abstractions of Joe Goode. Novak's work is in many public and private collections, including numerous museum collections. He spent his last years living in Palm Springs. Selected Group Exhibitions Bert Green Fine Art, Chicago, Illinois "Joe Novak/Huck Lewis-Bennett: A Collaboration", Stephen Archdeacon Gallery, Palm Springs Melissa Morgan Fine Art...

Delightful and bright aquatint etching of a sweet faced sun rising over a red terrain by Mexican artist Lidoyne, 2009. Signed and dated lower right, titled lower center, numbered 1 o...

Katz, Alex Serena 1984 Vernis mou and aquatint on Hahnemuehle paper 18 1/8 x 15 1/2 in. 24 from the limited edition of 40 Hand Signed and Numbered Mint Condition

SALVADOR DALI (1904-1989) THE BELOVED FEEDS AMONG THE LILIES, 1971 Board for the series "The Song of Songs hymns" Aquatint and dry point on wove paper...

John McNulty, Irish/American (1949 - ) - Waves, Year: 1984, Medium: Aquatint Etching, signed and titled in pencil, Edition: 175, Image Size: 18 x 24 i...

Untitled (Landscape), 1996/1997 Howard Hodgkin Lift-ground etching with aquatint printed in ultramarine blue, with hand-colouring in green and raw Sienna acrylic, on Aquarelle Arche...

Considered a major force in the op art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric ...

Etching and aquatint in colours on wove paper Edition 73 of 250 + 30 AP's 73.7 x 106 cm (29 x 41.7 in) Excellent. Only visible on the reverse of the print under studio lighting, mino...

Martin Barooshian, American (1929 - 2022) - Mother Goose (Red), Year: circa 1979, Medium: Etching and Aquatint on Arches, signed, titled and numbered in pencil, Edition: HC, Ima...

Meduse Etching and aquatint printed in colors, 1958 Signed, titled, numbered and dated in pencil (see photos) Edition: 50 (25/50) Etching and aquatint printed in colors ...

A Dialect of Paradise Tighe O’Donoghue, American (1942–2023) Date: 1979 Etching with Aquatint, signed in pencil Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: John Baldessari Title: Cavalry Year: 1986 Medium: Etching with aquatint on Rives B.F.K paper Sheet: 29 3/4 x 22 inches (75.56 x 55.88 cm) Edition: 35; signed, numbered and da...

Artist: Janez Bernik, Yugoslavian (1933 - ) Title: No. 9 Year: 1968 Medium: Etching, signed and numbered in pencil Edition: 28/100 Image Size: 18.5 x 9.5 inches Size: 21.5 x 17 in. (...

Sans Titre buy Jacqueline Debutler, French (1928) Date: circa 1968 Aquatint Etching, Signed and numbered in pencil Edition of 114/120 Size: 29 in. ...

Linda Plotkin, American (1938 - ) - Mountain Ridge, Year: circa 1965, Medium: Etching and Aquatint on BFK Rives, signed, titled and numbered in pencil, Edition: 67/120, Image Size...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

his Sam Francis Senza Titollo, 1987 is etching, aquatint and drypoint in colours hand-signed by Sam Francis (San Mateo, 1923- Santa Monica, 1994) in pencil in the lower right and num...

Jack Zajac, American, born 1929 1964 Etching and aquatint hand printed on Fabriano paper, pencil signed and editioned. Edition Roman Numeral III Image: 12 9/16 x 8 5/8 in. (31.9 x 2...

John Baldessari Love and Work 1991: Baldessari’s Love & Work 1991, photogravure and color aquatint, features clasped hands clutching surrealistically amidst a black background. Classic, timeless Baldessari imagery that is sure to work well in any setting. Medium: Color photogravure and aquatint on wove paper. 1991. Dimensions: 26 x 11.5 inches. Well-preserved and in very good overall condition. Framed in acrylic plexiglass. One of the 15 numbered artist's proofs, aside from the general edition of 60. Signed, inscribed "A.P." and numbered 12/15 in pencil, lower margin. Published by Brooke Alexander, Inc., New York. Collections: MoMa New York John Baldessari: It is hard to characterize John Baldessari's varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his approach of good-humored irreverence. Baldessari is commonly associated with Conceptual or Minimalist art, though he has called this characterization “a little bit boring.” His two-dimensional works often incorporate found images, composed in layers or presented as distinct pieces with an element of surprise, like a brightly colored geometric shape in the place of a face or a starkly printed sardonic caption. Baldessari has demonstrated a lasting interest in language and semantics, articulating these concerns through the use of puns or the juxtaposition of seemingly unrelated images and words, as in his 1978 work Blasted Allegories. His self-referencing photomontages and use of text have been sources of inspiration for countless artists, including Cindy Sherman, David Salle, and Barbara Kruger. Baldessari identifies his own artistic lineage, saying, "I would prefer to go to the source with Duchamp rather than credit Warhol as an influence." Related Categories: Surrealist. Ed Ruscha. Los Angeles. Conceptual art. Photography. Minimalist. John Baldessari prints.

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art Gallery of Ontario, Toronto, Canada 1976 R.C.A.Printmakers,Waddington Gallery,London 1988 'Exhibition Road',R.C.A,London 1989 Berkeley Square Gallery, London 1989,90 Austin Desmond Gallery, london 1990 Scottish Gallery, London 1991 Big Little Picture-Show,W.Jackson,London 1992 'Winter Seen III',W.Jackson Gallery,London 1993 1 st Egyptian Print Triennale, Giza, Egypt 1994 Art '94, london, with Art First La Galerie du Touquet (with Alain Morcot) 1995 Art...

Salvador Dali Pastorale, from Historia de Don Quixote de la Mancha, 1980 Etching and aquatint on Arches paper Hand signed and blind stamp lower right  Numbered HC 3/65 lower left...

SHIPS THAT PASS IN THE NIGHT, (Barcos que Passan na Noite) 1999, color screenprint, signed in pencil, numbered 1/60, sheet 22 ½ x 27 ½”. From Jerusalem print workshop. Asaf Ben Zvi, Israeli contemporary artist, was born in Kfar Yehezkel, Israel, 1953. Studied at the Bezalel Academy of Arts and Design, Jerusalem and the Pratt Institute, New York. Laureate of numerous awards, notably the Rappaport Prize for an Established Artist for 2011, Tel Aviv Museum of Art. Lives and works in Jerusalem. He did his army service in a commando unit and fought in the Yom Kippur War. After his discharge from the army he settled in Jerusalem and became interested in bird-watching. In 1981 he began to study architecture at Bezalel, but transferred to the art department. During the period of his studies, he worked primarily in sculpture, but after a period of study in New York, he began to paint as well. From the mid-1980s he made use of simple figures, so abstracted in their form that they became symbolic figures. Some of these figures were connected to biographical baggage, while others were based on trivial events. Many of his works are based on poetic texts that show his interest in esthetics and in the relationship between the painter and society. Education 1981-1985 Bezalel School of Art and Design, Jerusalem, BFA 1985 Pratt Institute, New York.City, USA Teaching 1933 Bezalel School of Art and Design, Jerusalem. Since 1989 Kalisher School, Tel Aviv. Awards And Prizes 1981-82, The America-Israel Cultural Foundation, Sharett Fund Grant 1982-83, The America-Israel Cultural Foundation, Sharett Fund Grant 1987 Beatrice Kolliner Prize for a Young Israeli Artist, Israel Museum, Jerusalem 1989 Mendel Pundik Prize for Israeli Art, Tel Aviv Museum of Art, Tel Aviv 1991 Rafael and Hadassah Klatchkin Prize, America-Israel Cultural Foundation 1992 Prize for Plastic Arts, Ministry of Education 1994 Bank Discount Prize for an Israeli Artist, Israel Museum, Jerusalem 1997 Eugene Kolb Prize for Israeli Graphic Arts, Tel Aviv Museum of Art, Tel Aviv 2011 Prize for an Established Israeli Artist, Tel Aviv Museum of Art, Tel Aviv Environmental Sculptures 1982 Tel-Haisaf Ben Zvi was involved in ornithology until the early 1990s. In 1981, he enrolled in the Art department at Israel’s Bezalel Academy of Arts and Design. During his studies, he participated in a student exchange program at the Pratt Institute in New York. From the outset, Ben Zvi’s focus has been on nature and the environment. Ecological and human disasters and natural disasters initially played an main role in his work and received expression through various fields of color, with motifs such as a cross, a water flask, a wasp, butterfly or bird, symbolizing the fragile human existence steeped in an eternal struggle. In his later work, words penetrate the space of his paintings and art, reflecting on the private, public, local and universal realms. "Ben Zvi at his best is a visual poet, one who places words with great sensitivity to their tone and sometimes relinquishes the splendor of an image in favor of text and message." The Printer's Imprint: Twenty Years with the Jerusalem Print Workshop, Jerusalem Israel Museum, Jerusalem 15 November, 1994 - 14 February, 1995 Artists: Avraham Ofek, Fima (Roytenberg, Ephraim), Michael Kovner...

Joe Durante - Metamorphosis. Year: 1982, Medium: Etching with Aquatint, signed, dated, titled and numbered in pencil, Edition: AP, Image Size: 9.75 x 17.5...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream la...

Antoni Tapies (Spain, 1923-2012) 'Oval i blanc', 1982 etching, aquatint, carborundum on paper Guarro Biblos 250g. 22.1 x 30 in. (56 x 76 cm.) Edition of 99 Unframed ID: TAP1162-018 H...

Ira Moskowitz, Polish/American (1912 - 2001) - Dancing Group, Year: circa 1960, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 3/150, Image Size: 11.75 x 13...

While McNeil was a pioneer of the New York Abstract Expressionism movement, later in his life his work became more figurative, he focused on dancers and discos, like this piece. Alth...

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192...

To see our other views of London and our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Julian Trevelyan (1910-19...

Artist: Gilou Brillant (1935- ) Title: Untitled 23 Year: 1975 Medium: Aquatint Etching with Carborundum, signed in pencil Size: 22 x 14.5 in. (55.88 x 36.83 cm) Frame Size: 29 x 21....

Andre Masson, French (1896 - 1987) - Dragon vert, Medium: Etching and aquatint, signed and numbered in pecnil, Edition: 14/50, Image Size: 10.5 x 8 inches, Size: 16.25 x 13 in. (41....

Rendered in vibrant hues of blue, yellow, and red, Tighe O'Donaghue's intriguing arrangement of Classical and contemporary motifs generates a mystical and atmospheric mood. Le Mist...

Pencil signed by both Luce and Jacques Villon (Villon etched the image) and numbered 120/200 in pencil, lower margin. Published by Galerie Bernheim-Jeune, Paris. Catalogue Raisonne:...

Etching and aquatint Edition : 130/150 85.00 cm. x 70.00 cm. 33.46 in. x 27.56 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (image) LCD3599

Reynold Weidenaar (American, 1915-1985) Signed: Reynold Weidenaar (Lower, Left) " Ten O'Clock in Taxco " Etching and Aquatint Plate Size: 17" x 13" Housed in a 1 1/8" Black and...