showing 13 results matching medium:"Aquatint etching"

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%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

The Cow from Histoire Naturelle (Natural History), 1942

Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Faun Uncovering a Woman, 1936

Pablo Picasso

Not on View

Print, 1792

Cornelis Apostool; Artist: After Ludolph Backhuysen

Not on View
group of buff-colored birds with black, white, orange and yellow feathers on the top of their wings and tails, and orange coloring on their heads; birds perched on barbed wire, eating purple berries from a branch in URC; explosions at left and orange and yellow trails from flying bullets around and in front of birds; "Pestvogel" in URC; "Bombycilla garruluz - Bohemian Waxwings - 12-10-1917" at bottom

%C2%A9 Walton Ford

Pestvogel, 2016

Walton Ford; Printer: Wingate Studio, Hinsdale, N.H.; Publisher: Kasmin Editions, New York

Not on View

%C2%A9 Estate Adja Yunkers

Icon III, 1983

Adja Yunkers

Not on View

Southwestern Summer, 1945

Gene Kloss; Publisher: The Prairie Print Makers, Lindsborg, Kansas , 15th publication, 1945

Not on View

Vue intérieure de l'Assemblée du Champ-de-Mai au moment de la présentation de drapeaux, 1815

Jean-Pierre Marie Jazet; Artist: after Achille Louis Martinet

Not on View
Six-color etching and screenprint with chine collé and hand-cut gampishi oversheet: The first plate is printed in light green, light blue, light brown, and light gray inks from an aquatint with a brown chine collé element. The second plate is printed in black ink with etching, sugar-lift, spit-bite, drypoint, scraping, burnishing with the two lower comers cut at diagonals and reassembled after inking and prior to printing. The oversheet is white gampishi which was screenprinted. 136 diamond shapes were hand-cut according to placements designated by the artist and attached using 10 diamond shapes cut from BEVA in placements designated by the artist. The gampishi oversheet being attached at irregular intervals will dynamically respond to its environment with changes described by the artist as "expected and welcome." To allow movement and protect the oversheet from damage, each print was mounted using kozo-shi strips to museum board with an 8-ply museum board window overmat.

Copyright %C2%A9 Jim Hodges%2C published by Highpoint Editions and Walker Art Center

Winter Speaks, 2015

Jim Hodges; Printer: Highpoint Editions, Minneapolis; Publisher: Co-published by Highpoint Editions, Minneapolis; Publisher: Co-published by Walker Art Center, Minneapolis

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La Plante, 1976

Anita Gelman

Not on View

Buoy Landscape III, 1982

Sam Gilliam

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Buoy Landscape IV, 1982

Sam Gilliam

Not on View

Buoy Landscape V, 1982

Sam Gilliam

Not on View

Buoy Landscape II, 1982

Sam Gilliam

Not on View

showing 13 results matching medium:"Aquatint etching"

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