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Pigs in the Sun
BUHOT, Felix
Cochons au Soleil (original French title) Drypoint (mostly with the burr shaved off), aquatint, roulette, and very probably touches of etching prin...
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.
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Cochons au Soleil (original French title) Drypoint (mostly with the burr shaved off), aquatint, roulette, and very probably touches of etching prin...
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La Traversée - A Holyday, Rain, Storm and Music (original title) Etching, aquatint, roulette, and drypoint on laid paper.Reference: Bourcard & ...
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Le Hibou (original French title) Etching, aquatint, roulette, and drypoint on olive-greenish laid paper, 1893.Reference: Bourcard & Goodfriend ...
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La Fête National de 30 Juin au Boulevard Clichy (original French title) Etching and aquatint printed in two tones on wove paper, 1878.Reference: Bo...
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Etching and aquatint on wove paper. No known edition, but proofs exist including in the University of Syracuse Art Museum collection (see here). Si...
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Color aquatint and mezzotint on wove paper. Artist’s proof. It seems unlikely that this print was ever editioned. We have yet to find another impre...
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Etching and aquatint in brown ink on Rives paper.Edition of 15.Signed, dated and numbered 12/15 in pencil.
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