Etchings / Artist Prints

Page 6 of 8
Jim Haldane, Olivia Mailloux, George Kofas, Magdalena Kalinowska, Robin Richard Emrich, Rosalyn M. Gaier, Brian Hickey offering original Etchings artworks.


Contemporary Art / Etchings / Previous / Next
Jim Haldane: 'London Bus', 1967 Etching, Transportation.  This image is one of Jim's most popular prints and recalls London in the Swinging sixties and is a typically British subject, with the iconic routemaster bus and the bowler- hatted travellers, each with cigarette in mouth. ...
, 1967
Transportation - Etching
500 x 350 mm ( x )
Jim Haldane: 'Fish and Chips', 2001 Etching, Love.  Two figures stand hand in hand on the beach in Brighton and look out towards the Victorian West Pier in this romantic print. ...
Love - Etching
500 x 300 mm ( x )
Jim Haldane: 'Wet and Windy', 2004 Etching, Seascape.  The West Pier in a stormy sea ...
Seascape - Etching
500 x 350 mm ( x )
Jim Haldane: 'the ten ropes', 2006 Etching, Mystical.  Part of a series of Mr Grimm prints ...
Mystical - Etching
220 x 300 mm ( x )
Jim Haldane: 'glasses', 2006 Etching, Optical.  A dark print of some broken spectacles, part of a series of Mr Grimm prints ...
, 2006
Optical - Etching
200 x 170 mm ( x )
Olivia Mailloux: 'untitled', 2021 Etching, . mountain print ...
, 2021
- Etching
10 x 15 inches (25.4 x 38.1 cm)
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George Kofas: 'Oracle', 2011 Etching, Abstract Landscape.                          RomanticismSymbolist ArtAbstractFigurativeabstract figurativeMysticalReligiousChristianInspirational                          ...
, 2011
Abstract Landscape - Etching
8 x 12 cm (3.1 x 4.7 inches)
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George Kofas: 'Sefa Utaki', 2009 Etching, Abstract Figurative.                      RomanticismSymbolist ArtAbstractFigurativeabstract figurativeMysticalReligiousChristianInspirational                      ...
, 2009
Abstract Figurative - Etching
9 x 16 cm (3.5 x 6.3 inches)
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George Kofas: 'Kamakura', 2010 Etching, Abstract Figurative.                       RomanticismSymbolist ArtAbstractFigurativeabstract figurativeMysticalReligiousChristianInspirational                       ...
, 2010
Abstract Figurative - Etching
8 x 12 cm (3.1 x 4.7 inches)
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George Kofas: 'The Blood of Cain', 2011 Etching, Abstract Figurative.                        RomanticismSymbolist ArtAbstractFigurativeabstract figurativeMysticalReligiousChristianInspirational                        ...
Abstract Figurative - Etching
14 x 22 cm (5.5 x 8.7 inches)
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Magdalena Kalinowska: 'Flamenco', 2012 Etching, Dance.
, 2012
Dance - Etching
50 x 66 cm (19.7 x 26.0 inches)
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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: 'Footbridge', 2003 Etching, Landscape. Footbridge leading to Hatch Shell at Boston' s Esplance.  Aquatint....
, 2003
Landscape - Etching
8 x 7 inches (20.3 x 17.8 cm)
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Robin Richard Emrich: 'Third Meeting House', 2000 Etching, Cityscape. North Reading ( Massachusetts) historic Third Meeting House.  The First and Second Meeting hourse bruned down.  Th Copula on this one also caught fire at the turn of the century and was rebuilt.  This historic building now is called the Edith O' Leary Senior Center and supports many ongoing services for ...
Cityscape - Etching
22 x 18 inches (55.9 x 45.7 cm)
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Robin Richard Emrich: 'Brooksby Farm', 2003 Etching, Landscape. Peabody' s Brooksby Farm.  Pictured with new barn.  Available unframed and also with as a hand Water Colored piece at $275. 00 US.  This piece shows the direction of the artist merging the tight intricate lines of manmade objects ( tha barn) juxtaposed against the random expressive lines of nature ( the ...
Landscape - Etching
20 x 16 inches (50.8 x 40.6 cm)
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Robin Richard Emrich: 'North Woods', 2002 Etching, Landscape. The North Woods, highly detailed done inthe field using a mirror....
Landscape - Etching
22 x 18 inches (55.9 x 45.7 cm)
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Robin Richard Emrich: '54 Turner Street', 1999 Etching, History. The building that was the centerpiece of Nathaniel Hawthorne' s Novel House of Seven Gables.  Second burn....
History - Etching
18 x 22 inches (45.7 x 55.9 cm)
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Robin Richard Emrich: 'Salem Witch House', 1999 Etching, History. The Salem Witch House.  Home to the judge responsible for the the witch craft trial in the 1600' s.  3rd Burn ( no pun intended) ....
History - Etching
8 x 6 inches (20.3 x 15.2 cm)
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Robin Richard Emrich: 'Old South Meeting House', 1998 Etching, History. Boston' s Old South Meeting House.  Where a handful of revolutionists embibed in a hearty draught of ale and decided to have a Tea Party....
History - Etching
8 x 10 inches (20.3 x 25.4 cm)
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Robin Richard Emrich: 'Hancock Towers', 1999 Etching, Cityscape. Boston' s John Hancock Towers.  This is the ghost of a three color print.  The original colors are subtly suggested and much less intense then the original proof.  The Boston Public Gardens and a Swan Boat is in the foreground. This is a unique example from a run that will ...
Cityscape - Etching
18 x 22 inches (45.7 x 55.9 cm)
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Robin Richard Emrich: 'Charles River Boat Club', 2001 Etching, Marine. Boats laid up for their winter rest at the Community Boating Center at Charles River in Boston.  Etching with aquatint....
Marine - Etching
18 x 22 inches (45.7 x 55.9 cm)
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Robin Richard Emrich: 'Southern Pacific No 4501', 1997 Etching, Trains. Etching of the Steam Locomotive Southern Railway Engine Number 4501.Also avaliable as an engraving ( 3x5 for $75. 00US) ....
Trains - Etching
22 x 18 inches (55.9 x 45.7 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: 'A Thought', 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....
, 2008
Abstract - Etching
5 x 8 inches (12.7 x 20.3 cm)
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Rosalyn M. Gaier: 'Daytime', 2001 Etching, Abstract. Collagraphetching. The first three plates were collages. Final plate was a zinc etching plate.See the printi? 1/2s i? 1/2twini? 1/2, Night Time....
, 2001
Abstract - Etching
24 x 28 inches (61.0 x 71.1 cm)
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Rosalyn M. Gaier: 'Dress for the Dance', 2000 Etching, Abstract. Etching. Two plates inked intaglio, final plate inked intaglio and relief.Youi? 1/2re dancing before you even get to the dance...
Abstract - Etching
24 x 28 inches (61.0 x 71.1 cm)
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Rosalyn M. Gaier: 'Nighttime', 2001 Etching, Abstract. Collagraphetching. This was printed identically to Daytime. However, I printed the final plate a second time, inked in the relief method. In comparison, a nice change of mood. ...
, 2001
Abstract - Etching
24 x 28 inches (61.0 x 71.1 cm)
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Rosalyn M. Gaier: 'Other Worldly', 2001 Etching, Abstract. Collagraphetching. The first printing was the pale blue background, rolled onto an unetched zinc plate. The next three plates were collages, and the final plate was an etched zinc plate. I see an unexplored planet in this image as easily as I see a new microscopic discovery...
Abstract - Etching
24 x 28 inches (61.0 x 71.1 cm)
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Brian Hickey: 'onemoremouthfulnwewillbehappy', 2019 Etching, Undecided. The title and words etched into the house come from a Desaparecidos song called Greater Omaha. At the time of this piece I was thinking a great deal about where I m from and the general apathy and lack of interest of my hometown community when it comes to supporting ...
Undecided - Etching
6 x 4.5 inches (15.2 x 11.4 cm)
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John Booth: 'The Conversation', 2015 Etching, Figurative. The Conversation is an etching  which uses dry point, aquatint and sugar lift methods to create a variety of mark making particular to the traditional printmaking process. The subject is a contemporary street scene.  ...
Figurative - Etching
11 x 8 inches (27.9 x 20.3 cm)
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(Page 6 of 8) - MORE ARTWORKS

Artists Describing Their Art:

Olivia Mailloux - As a painter I work with a variety of materials, exploring a range in scale, and applying different techniques to the canvas. Currently, acrylic and watercolor paint are the main mediums I use flowing and spreading easily across the surface in which I paint. They are easy to blend and to manipulate and for an impatient artist like myself, very forgiving. The nature of this material best expresses my subject matter of flowing water and of vast mountainscapes, evoking in the viewer a memory or the feeling of being in this place before....

George Kofas - Throughout history and in all cultures and civilizations, art has reflected either the Earthly or the Spiritual. Specifically in the art of painting, certain artists have attempted to address Spiritual issues and their interrelationship with the Physical, or Natural World. Caspar David Friedrich, Wassily Kandinsky and Mark Rothko were among such artists. All three of these artists were involved in exploratory aesthetic journeys. Such journeys attempted to discover answers relating to questions of origin and state of existence and they sought out such answers within the Spiritual Realm. It is within this tradition, of attempting to explore the Spiritual Realm that my work belongs. It is only through such exploration that answers to fundamental questions related to existence will be found. Art is a vehicle of exploration. It has the capability of exploring the Spiritual and possibly providing for us a greater understanding of our existence. If the only thing art teaches us is related to the world in which we are already aware of, it teaches us nothing. The artist must be capable of discovering aspects of Reality which others are not aware of. Consequently, the artist acts as an intermediary between humanity and the Spiritual. ...

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 ...