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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Retour de la Pêche, la Nuit (original French title) Etching and aquatint on laid paper, 1890.Reference: Morane 16.From the edition stated at 50, bu...
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Aquatint and drypoint on simili-Japan paper. Refs: Exsteens 248; Arwas 359. Edition of 100. From the album, “Le Petite Classe”. Numbered “25/100...
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Cut-out color aquatint and etching on BFK Rives wove paper, 1970. Reference: Spielmann 282.1. Edition of 100. Signed, titled, and numbered in pencil.
Cut-out color aquatint and etching on BFK Rives wove paper. Reference: Spielmann 282.2. Edition of 100. Signed, titled, and numbered in pencil.
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Gondel met Opbouw in het Canale Grande, Venetië (original Dutch title) Etching and aquatint on simili-Japan wove paper.References: De Groot 181; Bo...
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Aquatint, etching, and drypoint on Arches wove paper.Reference: Sanchez 517.Edition of 50.Compared to another version of this print, titled “Riders...
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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 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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Dans le Tramway Passy-Louvre (original French title) Soft-ground etching and aquatint on wove paper. Reference: Morane 43.Third state impression. ...
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La Place Pigalle en 1878 (original French title) Etching, aquatint, and drypoint on Japan paper, 1878.Reference: Bourcard & Goodfriend 129 vi/v...
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