showing 73 results matching medium:"Aquatint and drypoint"

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two soldiers with rifles surrounded by skulls and bodies

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Die Sappenposten haben nachts das Feuer zu unterhalten (The Trench Sentries Must Maintain the Fire During the Night), plate 48 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
head and torso of man with large wounds on head on PR side, PR eye, chin, PR side of neck, chest and PR hand and arm

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Sterbender Soldat (Dying Soldier), plate 26 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
seated soldier eating from a can at L; parts of skeleton at R

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Mahlzeit in der Sappe (Lorettohöhe) (Mealtime in the Trenches [Loretto Heights]), plate 13 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
heads of two corpses, partially decomposed; body at R wears dog tag

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Tote vor der Stellung bei Tahure (Corpses Before the Position near Tahure), plate 50 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
fence posts and barbed wire, impaled with bodies and body parts

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Totentanz anno 17 (Höne Toter Mann) (Dance of Death, the year 17 [Dead Man's Hill]), plate 19 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
head of a dead man with tongue hanging out, wound to PL cheek and head wound on PR side, with brains spilling out

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Toter (St. Clément) (Dead Man [St. Clément]), plate 42 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
abstracted city landscape with black night sky; thin, dark man with wild eyes and bared teeth in LRC

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Nächtliche Begegnung mit einen Irrsinnigen (A Nocturnal Encounter with an Insane Man), plate 22 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
two seated dead men; man on L has lost his PR hand; man on R has dislocated PL leg and has lost his lower jaw

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Gesehen am Steilhang von Cléry-sur-Somme (The View from the Precipice of Cléry-sur-Somme), plate 28 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
bunks in background with three sleeping men; two men play cards in middle ground; thin shirtless man at L

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Unterstand (Fox Hole), plate 45 from Der Krieg (The War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View
five soldiers wearing gas masks

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Bonn

Stormtruppe geht unter Gas vor (Storm Troopers Advance under a Gas Attack), plate 12 from Der Krieg (War), 1924

Otto Dix; Publisher: Karl Nierendorf

Not on View

Caida de un Picador de su Caballa Debajo de Toro, plate 26 from Tauromaquia, 1816 (1876 edition)

Francisco José de Goya y Lucientes

Not on View

The Owl, 1883

FĂ©lix Buhot

Not on View
standing woman at center in a dark dress; man, holding his hat in his PR hand, looks very closely at woman's face with a small lens in his PL hand; two seated women in background

Ni asi la Distingue (Even so he cannot recognize her), from Los Caprichos, 1799

Francisco José de Goya y Lucientes

Not on View

Robert Besnard (1881-1914) and His Donkey, 1888

Albert Besnard

Not on View

Four Dancers at the Bar, 1906

Louis Legrand

Not on View
Vertical yellow lines along R side; green circle near top center with blue lines and shapes below; one vertical brown and blue streak along L side; small green and red spot at bottom center; flat profile, natural hardwood frame

%C2%A9 Estate of Helen Frankenthaler %2F Artists Rights Society %28ARS%29%2C NY

Sunshine after Rain, 1987

Helen Frankenthaler; Publisher: 2RC Edizioni d'Arte, Rome

Not on View

%C2%A9 Wayne Thiebaud %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Downgrade, 1979

Wayne Thiebaud; Printer: Stephen Thomas at Crown Point Press, San Francisco; Publisher: Parasol Press Ltd., New York

Not on View
Plate 10

Unbridled Folly, 1816-1819

Francisco José de Goya y Lucientes

Not on View

BobalicĂłn (Simpleton), 1816-1819

Francisco José de Goya y Lucientes

Not on View
brown wavy low horizon line, edged in black; blue sky with vertical wavy white lines; purple rectangle, ULC; yellow square with two orange sides in LRC

%C2%A9 Kenji Nakahashi

An Enriched Life, 20th century

Kenji Nakahashi

Not on View
Four bulls with legs splaying, seemingly superimposed on top of each other; reddish-brown ink on tan paper; plain dark ground. Unsigned

Al toro y al aire darles calle (Make Way for Bulls and Wind), unpublished plate from "Los Proverbios" (The Proverbs), c. 1824 (published 1877)

Francisco José de Goya y Lucientes

Not on View

Mary Cassatt at the Louvre: The Paintings Gallery, 1879-1880

Edgar Degas

Not on View

Bossuet (en pied), 1771

Jean-Baptiste de Grateloup; Artist: after Hyacinthe Rigaud

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Breakaway), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Chirp), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Muckers and Grinders), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Shinny), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from two steel-faced copper plates with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Faceoff), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint, roulette, burnishing, and previously existing drypoint scratches from two steel-faced copper plates with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Gong Show), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Getting Chippy), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint and previously existing drypoint scratches from a steel-faced copper plate with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Windmill), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint with roulette and previously existing drypoint scratches from two steel-faced copper plates with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Light the Lamp), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
Spit-bite aquatint with roulette and previously existing drypoint scratches from two steel-faced copper plates with gampi chine collé printed in black ink.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

Untitled (Celly), 2013

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
black diamond resting on black-outlined brown wavy horizon line; blue sky with vertical white wavy lines; purple rectangle in URC; yellow square with two orange sides in LLC

%C2%A9 Kenji Nakahashi

Confident Life, 1978

Kenji Nakahashi

Not on View

%C2%A9 John Newman

Two Pulls, 1986

John Newman; Publisher: Editions Ilene Kurtz, New York

Not on View
abstracted design with seven claw hammers with grey heads and white handles; several other sketchy tools in background (saw, clamp, scraper); image of a hand at bottom center; grey scratched ground

%C2%A9 Jim Dine %2F Artists Rights Society %28ARS%29%2C New York

Seven White Hammers, 2008

Jim Dine; Publisher: Pace Editions, New York

Not on View
abstract image with grey ground with splatters and spots of white, black, brown, dark blue and light blue, with small areas of yellow, green and orange, particularly at top center

%C2%A9 Pat Steir

Wind and Water, 1996

Pat Steir; Printer: Crown Point Press, San Francisco; Publisher: Crown Point Press, San Francisco

Not on View
Intaglio with white gampi chine collé printed in black from one plate made by the artist using spit-bite and drypoint techniques.

Copyright %C2%A9 David Rathman%2C published by Highpoint Editions

The way we get by, 2009

David Rathman; Printer: Highpoint Editions, Minneapolis; Publisher: Highpoint Editions, Minneapolis

Not on View
woman bending slightly at the waist, looking down, covered in floral patterned draping garments; dark ground with subtle white linear floral patterning; ladybugs (or seed pods?) at woman's feet

%C2%A9 Ambreen Butt. All rights reserved.

Untitled (Silver Woman), 2008

Ambreen Butt; Publisher: Wingate Studio, Hinsdale, N.H.

Not on View
abstract image in greys, black and white; roughly cornucopia-shaped form with white oval at bottom; lines extending up from center of oval to rounded knob in ULC; mottled grey ground

%C2%A9 Martin Puryear

Phrygian (Cap in the Air), 2012

Martin Puryear; Publisher: Paulson Fontaine Press, Berkeley, Calif.

Not on View
slightly abstracted nude male figure lying on his PR side, with PL knee slightly drawn up and PR arm curled around head; red background

%C2%A9 William Kentridge. All rights reserved.

Sleeper Red, 1997

William Kentridge; Printer: 107 Workshop; Publisher: David Krut Projects, Johannesburg, Cape Town, London, and New York

Not on View

Louise France (Madame Vauquer), 1902

Edgar Chahine; Editor: Edmond Sagot

Not on View

Misery, from "Woman", c. 1886

Albert Besnard

Not on View

Sight 'er In, 2001

Dusty Herbig

Not on View
Sculptural abstraction featuring an elliptical red object that fills most of the picture plane; its center consists of a grey circle with interweaving yellow lines; heavy black lines around the object's center spiral outwards towards its border

%C2%A9 John Newman

Fold-Out, 1985

John Newman

Not on View

Who Does Not Frown?, from "Miserere" (Have Mercy), 1923 (published 1948)

Georges Rouault

Not on View

Tornado / Road, 1998

Michael Kareken

Not on View

Le port d'arme from Corps de Danse; Fin de Siècle, 1892

Louis Legrand; Publisher: E. Dentu , Paris

Not on View

Military Salute from Corps de Danse; Fin de Siècle, 1892

Louis Legrand; Publisher: E. Dentu , Paris

Not on View

Proof of intaglio key plate at state 8, 2015

Jim Hodges

Not on View

Proof of intaglio key and drypoint plates, 2016

Jim Hodges

Not on View

Intaglio matrix, key plate, 2016

Jim Hodges

Not on View

Proof of intaglio key plate, 2016

Jim Hodges

Not on View

Proof of intaglio key plate at state 10, 2015

Jim Hodges

Not on View

Proof of intaglio key plate at state 7, 2015

Jim Hodges

Not on View

Proof of intaglio key plate at state 11, final state, 2015

Jim Hodges

Not on View

Untitled (The Paris Review), 1994

Louise Bourgeois; Publisher: The Paris Review, New York; Printer: Harlan & Weaver, New York

Not on View

Proof of intaglio key plate at state 9, 2015

Jim Hodges

Not on View

Progressive proof #4, blue collé with intaglio key and drypoint plates, and blue screenprinting, 2016

Jim Hodges

Not on View

Proof of intaglio key plate with hand coloring, 2016

Jim Hodges

Not on View

Progressive proof #2, blue collé with intaglio key plate, 2016

Jim Hodges

Not on View

Progressive proof #3, blue collé with intaglio key and drypoint plates, 2016

Jim Hodges

Not on View

Intaglio matrix, key plate, 2015

Jim Hodges

Not on View

Proof of intaglio key plate at state 7 with hand coloring, 2015

Jim Hodges

Not on View

Proof of intaglio key plate with chine collé color shapes, 2015

Jim Hodges

Not on View

Proof of intaglio key plate at state 9 with chine collé, 2015

Jim Hodges

Not on View

Proof of blue collé with intaglio key and drypoint plates, 2016

Jim Hodges

Not on View

Proof of blue collé with intaglio key and drypoint plates, blue screenprinting, and dark green lithography, 2016

Jim Hodges

Not on View

Plate (page 55) from Feuilles Ă©parses, 1958 (published 1965)

Max Ernst; Author: René Crevel; Publisher: Louis Broder; Printer: Crommelynck and Dutrou, Paris

Not on View

Misprinted proof used to test color drawdowns and BEVA attached sheets, 2016

Jim Hodges

Not on View

Proof of blue collé with intaglio key and drypoint plates and screen areas sketched out, 2016

Jim Hodges

Not on View

Progressive proof #5, blue collé with intaglio key and drypoint plates, blue screenprinting, and green pigment collé, 2016

Jim Hodges

Not on View

Proof of blue collé with intaglio key and drypoint plates, blue screenprinting, and green lithographic collé, 2016

Jim Hodges

Not on View

showing 73 results matching medium:"Aquatint and drypoint"

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