Medium: Etching with hand-coloring Dimensions: 3 x 2 inches (image), 11 1/4 x 7 1/2 inches (sheet) Signature: Signed Artist details: French, 1939 Edition: EA
Medium: Etching Dimensions: 9 11/19 x 12 13/16 inches Signature: Signed Artist details: American, 1883 Date of plate: 1938 Condition: Mat burn and toned. Old tape residue at edge of margins.
#28238
Ralph M. Pearson
Untitled (Probably a Portrait of Robert Louis Stevenson)
Medium: Etching Dimensions: 5 3/8 x 3 1/4 inches Signature: Signed. Monogrammed and dated in the plate. Artist details: American, 1883 - 1958 Date of plate: 1904 Date of impression: 1911
#17552
Medium: Etching Dimensions: 7 7/8 x 10 3/8 inches Signature: Signed Artist details: American, 1900 - 1988 Date of plate: 1937 Edition: 223 Publisher: Associated American Artists Condition: One small spot of foxing in bottom margin.
#29614
Medium: Color etching Dimensions: 13 3/4 x 11 inches Signature: Signed Artist details: American, 1925 - 2002 Date finished: 1960 Edition: 72/200
#51052
Medium: Color etching and aquatint Dimensions: 18 5/8 x 13 5/8 inches Signature: Signed in pencil Artist details: Austrian/American, 1881 - 1956 Date finished: 1943
#31241
Medium: Etching Dimensions: 4 1/2 x 3 3/4" (plate), 8 5/8 x 7 3/4" (sheet) Signature: Signed Artist details: Japanese, 1966 Edition: of 15
Recommended by Emma (Marketing & Communications Manager): Obata has left some room for interpretation in this piece, and when I look at it I see an entire world within a tide pool, as if I'm looking towards the sky from the bed of the pool, and there's a bird flying above. The textures, liness, and movement within the piece all come together in a satisfying way.
Series: Silencio, Silencio Portfolio Medium: Etching Dimensions: 12 x 17 inches Signature: Signed Artist details: Spanish, 1930 - 2020 Date finished: 1970 Edition: 25/92 Publisher: Atelier Lacourière et Frélant, Paris
Recommended by Sam (Owner & Director): Genoves portfolio Silencio, responding to the horrors of the Spanish Civil War, speaks loudly of protest and the price of dissent. His masterful use of spit bite and aquatint create a powerful image freely expressed rather than meticulously didactic.
Medium: Etching Dimensions: 9 x 11 3/4 inches Signature: Signed in pencil Artist details: American, 1888 - 1972 Date finished: 1932 Edition: 250 Publisher: Associated American Artists Condition: Very faint trace of mat burn.
#46768
Medium: Etching Dimensions: 11 x 9 inches Signature: Signed. Artist details: American, 1888 - 1972 Date of impression: 1939 Publisher: Associated American Artists
#43564
Medium: Etching and drypoint Dimensions: 6 1/2 x 14 3/8 (plate) 8 x 15 5/8 inches (sheet) Signature: Signed in ink and in the plate Artist details: Scottish, 1883 - 1959 Date finished: 1916 Edition: XIII Condition: Stain top right corner. Watermark.
#51750
Medium: Hand-colored etching Dimensions: 7 3/4 x 6 1/2 inches Signature: Signed in the plate Artist details: French, 1883 - 1956 Date finished: 1946 Edition: 300 Reference: M. 238 Condition: Excellent.
#45727
Series: Aesop’s Fables Medium: Etching on laid paper with English and Latin text Dimensions: 12 1/2 x 7 3/4 inches (sheet) Artist details: English, 1626 - 1702 Date finished: 1666 Date of plate: 1666 Date of impression: 1687 Condition: Loss and creases around edges of sheet. Text verso.
Original English text by Thomas Philipott (d. 1682). Text for 1687 edition updated by female novelist Aphra Behn (1640-1689.
Medium: Etching Dimensions: 5 x 4 7/8 inches Signature: Signed Artist details: Russian, 1959 Date finished: 2010 Edition: of 60
Recommended by Nikki (Fine Print Photographer & Content Publisher): "This tiny etching is expertly crafted by Eastern European artist, Vladimir Zuev, to illustrate the story of Leda and the swan (aka, Zeus pretending to be a swan). Zeus seduces or rapes Leda, depending on the storyteller. Zeus fills the background, but subtly, despite his violent action. Instead, Zuev centers the story on Leda and does not overly sexualize her like most popular depictions, including not giving her hair. There are clues to her gender, but she is closed off to the viewer with her crossed legs and bent arms - not available for visual consumption. Instead, Leda is looking directly at the viewer - forcing us to look at her humanity.
This image serves as a reminder that violence towards women is still prevalent, but not just in overt actions. It exists in the books we read, the media we consume, the words we use, the stories we retell, the art we purchase. This small image packs a very large punch and reminds us to critically analyze our own behaviors and constructs of thinking around women and violence."