The Start of the Race
RANFT, Richard
Le Départ de la Course or Avant la Course (original French title) Color aquatint and etching on laid Arches paper.Edition unknown. Likely 50 or 6...
View full detailsWhile printmakers have always wanted to present some shading or grayscale in their work, until the discovery of aquatint in the 17th century, doing so was technically very challenging. And with a few notable exceptions, such as in the etchings of Francisco Goya, aquatint, this most painterly of intaglio techniques, remained unpracticed by most printmakers. Aquatint started to gain popularity in the latter part of the 19th century, likely as etching was being rediscovered by Impressionists. These artists were often eager to replicate in their prints the atmospheric qualities found in their paintings. Aquatint, with its granular texture, lends itself to effects that offer an endless range of shading, both in black and white and in color. Because it was practiced so masterfully by artists of the Modern Era, we here at Armstrong Fine Art are true “suckers” for a finely crafted aquatint. Here are a few we have, or have had in the past.
Le Départ de la Course or Avant la Course (original French title) Color aquatint and etching on laid Arches paper.Edition unknown. Likely 50 or 6...
View full detailsColor aquatint and etching on Arches wove paper.Artists proof. Edition unknown, but likely small, if any was printed at all. We have never seen a...
View full detailsColor aquatint and etching on thick wove paper. Published by Alfred Bell & Co Ltd, 6 Old Bond Street, London. Edition unknown, but scarce. Sig...
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