Meeting Place in Saint-Maximin
CAPORASO, Angelica
Lieu de Rencontre – St Maximin (original French title) Color etching and aquatint on BFK Rives wove paper.Edition of 50.Signed, titled, numbered an...
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.
Lieu de Rencontre – St Maximin (original French title) Color etching and aquatint on BFK Rives wove paper.Edition of 50.Signed, titled, numbered an...
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Color aquatint and soft ground etching on Arches wove paper, 1963.This is likely printed using the Atelier 17 method of simultaneous color printing...
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L’Aiglon (original French title) Simultaneous color printing aquatint on Arches wove paper, n.d.Edition of 120.Signed and numbered in pencil.
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Aquatint and soft-ground etching printed in simultaneous color printing (color viscosity) on Arches wove paper.Proof impression, aside from the edi...
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Color aquatint and drypoint printed on handmade French paper.Edition of 25. Scarce.Signed and numbered in pencil.Very fine impression in pristine ...
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Color viscosity intaglio print on tan wove paper, 1957.Artist's proof. No edition as a such. But clearly used for another edition.Seemingly this ...
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Color viscosity intaglio on wove paper.Edition of 10.Signed, dated “2/64”, annotated "PARIS", and numbered in pencil.
The title seems to be a name, Deviah, Devish. The spelling is uncertain. Any insight would be welcome. Cut-out aquatint and soft-ground etching, ...
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Intaglio printed in black ink on wove paper, 1963.Stated edition of 25.Signed, titled, dated “12/63”, numbered and annotated “Paris” in pencil. May...
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Color aquatint, etching, and engraving printed on wove BFK Rives paper.Artist’s proof. No stated edition has been identified, and it is unlikely t...
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Mm. Papillon (original French title) Cutout etching and aquatint printed in color on Arches wove paper.Edition of 100.Published by Georgetown Graph...
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Color intaglio viscosity print, with mica ink, printed on wove paper.Edition of 120.Signed and numbered in pencil. The artist obtains effects that ...
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Color intaglio viscosity print on wove paper.Edition of 75.Signed and numbered in pencil. The artist obtains effects that resemble velour in the th...
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Color intaglio viscosity print on wove paper.Edition of 75.Signed and numbered in pencil. The artist obtains effects that resemble velour in the th...
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Cut-out color aquatint and etching on BFK Rives wove paper.Reference: Spielmann 286.5.Edition of 100. Signed, titled, and numbered in pencil.
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Cut-out color aquatint and etching on BFK Rives wove paper.Reference: Spielmann 286.4.Edition of 100.Signed, titled, and numbered in pencil. Condit...
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Cut-out color aquatint and etching on BFK Rives wove paper.Reference: Spielmann 286.3.Edition of 100. Signed, titled, and numbered in pencil.
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Cut-out color aquatint and etching on BFK Rives wove paper.Reference: Spielmann 286.1.Edition of 100.Signed, titled, and numbered in pencil.
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Color viscosity intaglio on Arches wove paper.Stated edition of 10, but according to the artist likely not printed in full.Printed while the artist...
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