Etchings / Artist Prints

Page 1 of 23
Jerry Di Falco, Sheri Smith, Rosalyn M. Gaier, Lois Di Cosola, Wayne Wilcox, Robin Richard Emrich, Julian Dourado, Martha Hayden, Edelweiss Calcagno, Lynette Vought, Bert Menco, Tinko Dimov offering original Etchings artworks.


Contemporary Art / Etchings / Previous / Next
Jerry  Di Falco: 'st micheles in pink', 2019 Etching, Travel. Etching is based on a photograph by the patrenal grandfather of the artist. Etching of RivesBFK white paper with oil base ink. Intaglio, Drypoing and Chine colle. Frame size is 9x12. Frame and mat included in price. ...
Travel - Etching
9 x 12 inches (22.9 x 30.5 cm)
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Jerry  Di Falco: 'grotesque', 2019 Etching, Architecture. The intimate size of this etching by Di Falco projects a rather imposing mood.  The etching, inspired by a photo that the artist shot in 1987, was based on two of his own pencil drawings.  This specific print is from the FIRSTR Edition of Four, and each edition is limited ...
, 2019
Architecture - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Jerry  Di Falco: 'pink grotesque', 2019 Etching, Archetypal. The intimate size of this etching by Di Falco projects a rather imposing mood.  The etching, inspired by a photo that the artist shot in 1987, was based on two of his own pencil drawings.  This specific print is from the Second Edition of Four, and each edition is limited ...
Archetypal - Etching
9 x 12 inches (22.9 x 30.5 cm)
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Jerry  Di Falco: 'statue rennes le chateau', 2019 Etching, Landmarks. This original DiFalco etching is based on a photograph he took in 1987 and adapted it for etching by first executing three graphite drawings. He took the photo in the village of Rennes- le- ChAC/teau, France, within the Church of Mary Magdalene. This mystical siteaEURtms fascinating history encompasses ...
Landmarks - Etching
9 x 12 inches (22.9 x 30.5 cm)
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Sheri Smith: 'Russel Alexander and Wilkes', 2013 Etching, Music. Frank Russel and Dee Alexander and Corey Wilkes Hangin Tight ...
Music - Etching
24 x 18 inches (61.0 x 45.7 cm)
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Rosalyn M. Gaier: 'Arcs and Angles', 2010 Etching, Abstract. This is a softground etching. The image was made from materials which were pressed into wet ground on a zinc plate and subsequently removed.The plate was then etched in saline copper sulphate solution prior to printing. ...
Abstract - Etching
5 x 8 inches (12.7 x 20.3 cm)
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Rosalyn M. Gaier: 'Evolving', 2010 Etching, Astronomy.  This colored etching was created from 3 zinc plates and one collagaph plate. It was inked by the artist and handpulled on an etching press....
, 2010
Astronomy - Etching
5 x 8 inches (12.7 x 20.3 cm)
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Rosalyn M. Gaier: 'New Ground III', 2008 Etching, Abstract.  The majority of work on this etching is softground, with additional hardground linework. The artist used acrylic ground and saline copper sulfate etchant, both non- toxic. The paper is Rives BFK. The title references new artistic direction for the artist, as well as the non- toxic print methods used....
Abstract - Etching
5 x 8 inches (12.7 x 20.3 cm)
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Rosalyn M. Gaier: 'New Ground II', 2008 Etching, Abstract.  The majority of work on this etching is softground, with additional hardground linework. The artist used acrylic ground and saline copper sulfate etchant, both non- toxic. The paper is Rives BFK. The title references new artistic direction for the artist, as well as the non- toxic print methods used....
Abstract - Etching
5 x 8 inches (12.7 x 20.3 cm)
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Lois Di Cosola: 'Moonlight 2', 1978 Etching, Abstract Landscape. Aquatint etching...
Abstract Landscape - Etching
18 x 12 inches (45.7 x 30.5 cm)
Lois Di Cosola: 'Moonlight 1', 1978 Etching, Abstract. Aquatint etching made in the Donn Steward etching workshop. One of these prints is in the Guild Hall Museum' s Permanent print collection, and was exhibited in curator, Judith Wolfe' s show, Prints from the Guild Hall Permanent Print Collection, in 1980...
Abstract - Etching
11 x 17 inches (27.9 x 43.2 cm)
Wayne Wilcox: 'Hood', 1977 Etching, Figurative.
, 1977
Figurative - Etching
18 x 18 inches (45.7 x 45.7 cm)
Robin Richard Emrich: 'House of Seven Gables', 2000 Etching, History. Another view of the House of Seven Gables.  This includes a part of the 150 year old Chinese Chestnut tree recently deceased. ...
History - Etching
10 x 8 inches (25.4 x 20.3 cm)
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Robin Richard Emrich: 'Boston', 1996 Etching, Cityscape. Boston Circa 1977, Hancock Towers, Prudential and the Ritz, with footbridge in foreground. 5th burn, with aquitint. ...
, 1996
Cityscape - Etching
24 x 18 inches (61.0 x 45.7 cm)
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Robin Richard Emrich: 'Newbury Street', 1997 Etching, Cityscape. Boston' s Newbury Street, spring blossoms from the Magnolia trees.  In this case I experimented, applying the randowm free lines I usually use for works of nature to the buildings, works of man.  I think in this case it worked, what are your thoughts. This edition has had 18 of ...
Cityscape - Etching
18 x 22 inches (45.7 x 55.9 cm)
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Robin Richard Emrich: 'Felton House', 2003 Etching, Cityscape. Nathaniel Felton, Juniors house, second oldest home in Peabody.  Etching....
Cityscape - Etching
6 x 5 inches (15.2 x 12.7 cm)
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Julian Dourado: 'cultivation', 2018 Etching, Garden. Non edition original etching. Themes include gardens, plants, growth, alchemy, nature spirits, esoterica, myth, magic, rain, elementals. ...
Garden - Etching
20 x 15 cm (7.9 x 5.9 inches)
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Martha Hayden: 'voew east', 2012 Etching, Architecture. Lower East Side, New York City, color etching and acquatint, edition 50...
, 2012
Architecture - Etching
18 x 12 inches (45.7 x 30.5 cm)
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Martha Hayden: 'view north', 2012 Etching, Architecture. Lower East Side, New York City, color etching and aquatint...
, 2012
Architecture - Etching
18 x 12 inches (45.7 x 30.5 cm)
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Martha Hayden: 'rochfort en terre', 2016 Etching, Architecture. Rochfort en terre, Brittany, France...
Architecture - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Edelweiss Calcagno: 'Illusion', 2015 Etching, Conceptual.  Cubist ...
, 2015
Conceptual - Etching
15.5 x 22.5 inches (39.4 x 57.1 cm)
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Edelweiss Calcagno: 'The Guardians', 2014 Etching, Animals.  Animal, wolf, transparency, etching, print unique...
Animals - Etching
14.5 x 22.5 inches (36.8 x 57.1 cm)
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Lynette Vought: 'Watched Pot', 2015 Etching, Figurative.    Fairy Tale, Feminist, Starlings, college, university, bar life,   Waiting, plant, empty pot, watching, woman  ...
Figurative - Etching
4 x 5 inches (10.2 x 12.7 cm)
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Lynette Vought: 'Starlings in Search of a Nest', 2015 Etching, Figurative.   Fairy Tale, Feminist, Starlings, college, university, bar life,    ...
Figurative - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Lynette Vought: 'The Mighty Red Hen', 2015 Etching, Figurative.  Fairy Tale, Feminist, Chicken, chicks, Hay, wheat, cake, baking,  ...
Figurative - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Lynette Vought: 'Hollow Points', 2014 Etching, Figurative.  Bullets, man, words, speech, opinions ...
Figurative - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Lynette Vought: 'The Old Woman in the Shoes Youngest Daughter', 2013 Etching, Magical.  Fairy tale, feminist, woman emerging, nature, trees, shoe, perspective, magic realism ...
Magical - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Bert Menco: 'Maaike T', 2014 Etching, Fantasy.   A fantasy portrait     ...
, 2014
Fantasy - Etching
2.5 x 3 inches (6.3 x 7.6 cm)
Tinko Dimov: 'crucifix', 2013 Etching, undecided.
, 2013
undecided - Etching
20 x 27 cm (7.9 x 10.6 inches)
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Tinko Dimov: 'garter details', 2013 Etching, undecided.
undecided - Etching
14 x 20 cm (5.5 x 7.9 inches)
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(Page 1 of 23) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Jerry Di Falco - Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph. My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools. Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on todayaEURtms very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of aEURoeeveryday consciousnessaEUR. In fact, my use of ...

    Sheri Smith - For the past fifteen years, I have worked on my Capturing Culture series, a body of works on paper, drawn from the audience of live music performances. Sketched in Caran dAche crayon on suede board or with a sharp implement into scratch-board. The pieces portray the performers and often their instruments and parts of the venue. Though ultimately a visual record, the work emerges from a ritualistic creative process which serves to address my feelings about time, creative skill, and visual imagery. The fleeting nature of these performances is central to the work. It is often hard not to see the passing of time as an enemy, but in the case of my work the opposite is true. The impending end of a song, set, or evening offers a sense of freedom, allowing me to work quickly. This rapid pace also dictates my choice of materials. Caran dAche crayons or scratch-boards function best when used quickly and confidently. A darkened venue limits my color palette on the suede board to just what I can see. Additionally, a confined seating space constrains the size of my boards and therefore the number of details I can include. Performances and process ...

    Rosalyn M. Gaier - Beauty. Meditative thought. Nuance. These are subjects of my collagraphs. They take on important implications when examined in light of today's American instant gratification culture. While convenience, speed and availability have become hallmarks of our American way of life and our society's progress, there remains a need for something more meaningful. That something is beauty. From my frame of personal artistic reference, "beauty" involves the viewer by initiating the response of taking pause, suddenly, unawares. Arousing the response from deep within, beauty disarms and fulfills at one and the same time. This elusive beauty is vital nourishment for mind and soul. Does today's American art disarm and fulfill? How well are our minds and souls being nourished? Unfortunately, Americans' appreciation and awareness of beauty are partially numbed by their frenzy experience of instant gratification. Beauty falls prey to the mindset of fast food, "Shop till you drop" and instant access to just about everything. We sacrifice refined taste, uniqueness and rewarded perseverance for what often is ephemeral and not quite satisfying. What this means for artists is that their best pieces can be easily overlooked. Unless relevance and nuance of an artwork can be realized immediately, instant ...

    Rosalyn M. Gaier - Wayne Wilcox - Artist's statements have always seemed redundant to me. The work generally speaks for itself. But here goes For me it's about shapes, color and lines interacting and relating to each other. Representational, abstract, non-objective; they're all the same. Light against dark, color against color, line intersecting line. I'm as comfortable with super realism as I am with abstract expressionism. Then, of course, there's the medium. I love the paint. I love the act of painting. I love how it flows and how it takes on a direction on it's own. It's like magic. With one stroke something appears before your eyes that wasn't there before. An image. An emotion. With each stroke or drip it changes. It's an amazing experience. I highly recommend it. And then there's image. I am a visual artist. I'm after strong images, images that evoke a feeling. Starkness, warmth, love, violence, emptiness, beauty, strength . I want the painting or drawing to stand on it's own. I am a painter. I cannot escape that fact. There have been times I've tried but I always return. It's not what I do. It'...

    Wayne Wilcox - Martha Hayden - My painting is both realistic and abstract, it is on that elusive edge between there and not there. On first look everything is in place, then all dissolves. I want realism and abstraction to take turns. I want a painting sometimes very evocative of time and place, sometimes overwhelming in abstract, structural logic. I look for a surprise, a drama, a different way of seeing. I try not to see anything for itself alone, but as a part of the whole. In this context, my subjects take on meanings other than the accustomed ones. They are more than still life and landscape; they are comments on thinking and seeing. ...

    Edelweiss Calcagno - www.edelweisscalcagno.com +1-240-701-9100 Using different techniques, some of them mixed together to create new unique techniques. My art is formed by adding layer after layer, producing extraordinary illusions making the mind get involved in the labyrinth of colors and materials. Viewers never stop discovering new things - there is something fresh each time they look at my pieces. My source of inspiration is that a picture can speak a thousand words. I have seen many times how my art can touch people. I believe in the freedom of rights and equality for all, and these beliefs impact my artwork and my message. My art does not judge, but it is honest, even when this means stating what I see there is a strong message. I trust my art because the word that comes out from it is a positive word. I discovered the beauty of creating sculptures and prints in addition to doing paintings, etching and restoring art and now they have become part of who I am. There are the infinite possibilities hidden in sculpture. Between mixed media, aluminum casting, and more I love to touch any type of material and find new ways to use ...

    Lynette Vought - I heard a writer say once that how we experience life is an illusion and that the purpose of art is to uncover reality. Indeed, reality seems quite like a set of unturned cards, and I'm not sure we can define it until after our hand has been played. The best solution I have found is to fray the edges of the illusion a bit by bending the laws that everyone knows. In my work people can fly, plants and people merge, women wear snorkels while making love. For me, these images hint at reality, opening a back door to the underlying truth of what I see and experience. By rendering things in a magical light, the illusion starts to give way to the real in the same way that madness sometimes serves to define sanity. Formally, my work is much more practical. I make paintings, drawings and intaglio prints based on my drawings. The prints are a mixture of old and new processes; instead of etching the plates in acid, my prints are made with photosensitive plates. I enjoy the control this process gives me over the final image. Thank you for visiting my site! --Lynette Vought ...

    Bert Menco - Though they may seem simple, especially my drawings and intaglio prints but also my paintings are actually quite elaborate; half a year's work on an image is no exception for me. I draw directly or use small sketches, even doodles, as image-generating nuclei, often combining two or three that appear to complement each other. I rarely use concrete references, but rather work from inner visions. I tend to be narrative in my own art, perhaps poetic narrative. I don't see my images as telling a story but rather as reflections of inner feelings, similar to some poetry, and would like observers to read them as such. I like to believe that my work carries a certain mystery. My images are very much "inside out.aEUR? I have usually some idea of what I want to obtain, but much of the image is generated while I draw or paint. The end product always surprises me; I am often amazed that there even is an end product. Analyzing my own art is difficult but I think that the dreamlike images tend to deal with confined spaces which contain certain characters that reach out to one another but do not quite ...