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 detailsLe Grand-Prix de Paris (original French title) Color etching, aquatint, and drypoint printed on simili-japon paper, 1906.Ref: Delteil 74.Edition of...
View full detailsColor aquatint and drypoint printed on handmade French paper.Edition of 25. Scarce.Signed and numbered in pencil.Very fine impression in pristine ...
View full detailsPluie et Vent à Pedro Leopold (original French title) Embossed color drypoint and aquatint on wove paper.Printed to the sheet edge, as usual.Editio...
View full detailsLa Viosne à Pontoise (original French title) Etching, aquatint, and drypoint printed in blue and black inks on laid Arches paper.References: Koehl ...
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