While 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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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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Le Potin (original French title) Aquatint and drypoint on wove paper. Reference: Ginestet et Pouillon 96. Undescribed state proof, between the firs...
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Color aquatint and soft-ground etching on wove paper, 1900.Reference: Koehl E110.Edition of 50.Signed and numbered in pencil. Cléo de Mérode (1875-...
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Jeune Faune au Cactus Jouant de la Flûte de Pan (descripive French title) Aquatint and etching printed in two tones on wove MBM paper, circa 1910. ...
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Baigneuses (original French title) Color etching and aquatint on laid Arches paper.Reference: listed as missing in BN-IFF. Edition of 50, but quite...
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Lever de Lune (original French title) Color aquatint and etching on Arches laid paper, circa 1898. Ref: BN-IFF 9-11. Seemingly an edition of 200 (i...
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