Woman in a Biergarten, Munich
SQUIRE, Maud Hunt
Color aquatint and drypoint on simili-Japan wove paper, 1913.No stated edition, but likely one of just a handful of impressions. All prints by this...
View full detailsIt may be hard to fathom today, but once upon a time prints were monochromatic. When the first generation of Western printmakers challenged themselves to create etchings, lithographs, and woodcuts in color, their efforts were at first viewed with disdain by many. Japanese woodcuts, which had been printed in color for hundreds of years by then, showed artists the way. This revolution was particularly hard-fought for intaglio: etching, aquatint, drypoint, and assorted copper-plate techniques. Etching was regarded mostly as a “graphic” art, from the ancient Greek, γράφειν: to write. The expectation was that the graphic artist was to render his vision in line or grayscale only. Color was for painting. Yet many printmakers forged ahead, threw caution to the wind, pushed the envelope. This selection is an ode to those works of art: painterly etchings.
Color aquatint and drypoint on simili-Japan wove paper, 1913.No stated edition, but likely one of just a handful of impressions. All prints by this...
View full detailsEmbarcadère sur la Garonne, Bordeaux (original French title) Etching and aquatint printed in four colors on laid paper.Reference: Lotz-Brissonneau ...
View full detailsLe Baptême à Tréboul (original French title) Color aquatint and etching on Arches wove paper.Edition unknown, but like most of the artist’s work s...
View full detailsLieu 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 detailsLe Remouleur (original French title) Color etching, aquatint and drypoint printed on simili-japon paper.Ref: Delteil 76 II/III.One of 63 impression...
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