Intaglio Prints

Page 2 of 7
Anita Jovanovic, Sandra Ramos, Rachel E Heberling, Matthew Solomon, Zoltan Janvary, Marisa Keller, Falk Geissler, Lauren Strawn, Mike Kennelly, Jamshed Aziz, Laura Imhoff, Maryjean Galivan, Diana Ludwig, Alice Chang, Jerry Di Falco offering original Intaglio Prints artworks.


Contemporary Art / Intaglio Prints / Previous / Next
Sandra Ramos: 'In paciencia', 2009 Intaglio, Undecided.
Undecided - Intaglio
50 x 90 cm (19.7 x 35.4 inches)
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Sandra Ramos: 'Scape', 2009 Intaglio, Undecided.
, 2009
Undecided - Intaglio
50 x 90 cm (19.7 x 35.4 inches)
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Sandra Ramos: 'Huracan', 2009 Intaglio, Undecided.
, 2009
Undecided - Intaglio
50 x 90 cm (19.7 x 35.4 inches)
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Rachel E Heberling: 'Auto Graph', 2009 Intaglio, Urban.  Miner in middle of street wearing respiration gear. Location is small coal town in Pennsylvania with coal region maps layered underneath. ...
, 2009
Urban - Intaglio
23.8 x 17.5 inches (60.5 x 44.5 cm)
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Matthew Solomon: 'Red and Green Abstract', 2006 Intaglio, Abstract.  Drypoint and open- bite reverse etching with water colour. ...
Abstract - Intaglio
6 x 9 inches (15.2 x 22.9 cm)
Matthew Solomon: 'Doorway', 2004 Intaglio, Architecture.  Drypoint etching. ...
, 2004
Architecture - Intaglio
17 x 12 inches (43.2 x 30.5 cm)
Zoltan Janvary: 'Travel notes 1', 2007 Intaglio, Architecture.  engraving on copper plate, ink pencil ...
Architecture - Intaglio
9 x 12 inches (22.9 x 30.5 cm)
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Zoltan Janvary: 'Travel notes 3', 2007 Intaglio, Architecture.  Copper engraving, pencil and ink ...
Architecture - Intaglio
9 x 12 inches (22.9 x 30.5 cm)
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Marisa Keller: 'Interlaced', 2006 Intaglio, Conceptual.  Relief print, monotype, etching, aquatint. ...
, 2006
Conceptual - Intaglio
50 x 40 cm (19.7 x 15.7 inches)
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Marisa Keller: 'Eternal Thread', 2007 Intaglio, Conceptual.  Single monoprint done in aquatint. This print is part of a series done for the exhibiton 'Lace' in Singapore 2008  ...
Conceptual - Intaglio
50 x 40 cm (19.7 x 15.7 inches)
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Falk Geissler: 'New Years Greeting Card 2007', 2006 Intaglio, Figurative.  technique: copperplate engravingyear: 2006size of plate: 120mm x 83mm  ...
Figurative - Intaglio
83 x 120 mm ( x )
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Falk Geissler: 'Unbegreifbar II', 2006 Intaglio, Undecided.  Unbegreifbar II ( Unfathomable/ Untouchable)technique: copperplate engravingyear: 2006size of plate: 120mm x 120mmsize of paper: 270mm x 260mm ...
Undecided - Intaglio
120 x 120 mm ( x )
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Lauren Strawn: 'Religion as Metaphor II', 2008 Intaglio, Philosophy.  Part 2 in an ongoing series discussing the correlation between religion in Eastern and Western cultures. ...
Philosophy - Intaglio
11 x 14 inches (27.9 x 35.6 cm)
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Lauren Strawn: 'Religion As Metaphor I', 2008 Intaglio, Undecided.
Undecided - Intaglio
11 x 14 inches (27.9 x 35.6 cm)
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Lauren Strawn: 'Tension Headache', 2008 Intaglio, Abstract.
Abstract - Intaglio
12 x 26 inches (30.5 x 66.0 cm)
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Mike Kennelly: 'Spirit', 2008 Intaglio, Activism.  Spirit is a unique fumed copper panel. I used local plants, leaves and other techniques. Spirit speaks to our hearts it do more to wake up! ...
, 2008
Activism - Intaglio
25 x 22 inches (63.5 x 55.9 cm)
Jamshed Aziz: 'Birth', 2007 Intaglio, Abstract.  Birth is an aquatint etching mix medium original hand pulled print. In this artwork I conveyed a message to the whole world. Please be aware to save your environment by planting trees and don't destroy the birth of a beautiful planet ...
, 2007
Abstract - Intaglio
8 x 10 inches (20.3 x 25.4 cm)
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Jamshed Aziz: 'Surah Falaq', 2007 Intaglio, Conceptual.  Surah Falaq ( The Daybreak) : Holy Quran 113: 1- 5In the name of Allah, the Most Beneficent, the Most MercifulSay: I seek refuge in the Lord of the Daybreak From the evil of that which He created; From the evil of the darkness when it is intense, And from...
Conceptual - Intaglio
13 x 19 inches (33.0 x 48.3 cm)
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Marisa Keller: 'Fern I', 2006 Intaglio, nature. Relief and handcoloured etching, Fern I is part of a series visualising delicate textures of nature ....
, 2006
nature - Intaglio
40 x 40 cm (15.7 x 15.7 inches)
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Laura Imhoff: 'Origins', 2006 Intaglio, History. An Image- On print from my series titled,
, 2006
History - Intaglio
9 x 12 inches (22.9 x 30.5 cm)
Maryjean Galivan: 'raingirl', 2006 Intaglio, Americana. photograph combined with appropriated image, exposed to an intaglio plate. ...
, 2006
Americana - Intaglio
8 x 10 inches (20.3 x 25.4 cm)
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Diana Ludwig: 'Loose Bull', 1982 Intaglio, Visionary.
, 1982
Visionary - Intaglio
0 x 0 inches (0.0 x 0.0 cm)
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Alice Chang: 'Daruma', 2001 Intaglio, Religious.
, 2001
Religious - Intaglio
8 x 10 inches (20.3 x 25.4 cm)
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Jerry  Di Falco: 'violet ghosts of royal street', 2019 Intaglio, Atmosphere. The artist, Jerry Di Falco, created this etching by using six zinc plates, all placed on the pressthree above threeto produce one single image.  Each plate size measured 3 inches wide, 7. 6200cm, by 4 inches high, 10. 160cm, and the etching plates were separated by a space of approximately ...
Atmosphere - Intaglio
20 x 16 inches (50.8 x 40.6 cm)
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Jerry  Di Falco: 'new orleans emerald window', 2019 Intaglio, Architecture. Jerry Mazur- DiFalco created this distinctive etching via the employment of four separate zinc plates, which were placed simultaneously on the printing press bedaEUR
Architecture - Intaglio
18 x 24 inches (45.7 x 61.0 cm)
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Jerry  Di Falco: 'kater street', 2019 Intaglio, Cityscape. Title is KATER STREET, 1914.  This sceneaEUR
Cityscape - Intaglio
9 x 12 inches (22.9 x 30.5 cm)
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Jerry  Di Falco: 'luna violeta', 2019 Intaglio, Representational. Jerry DiFalco created this distinctive etching via the employment of four separate zinc plates, which were placed simultaneously on the printing press bed, two etching plates over two, in order to produce this single image.  The scene features an historic building in New Orleans called THE CALBILDO.  Moreover, the DiFalco ...
Representational - Intaglio
18 x 24 inches (45.7 x 61.0 cm)
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Jerry  Di Falco: 'orpheus trilogy in pink', 2019 Intaglio, Death. The artist incorporated the studio techniques of Chine CollA(c), Drypoint, Intaglio, and Aquatint in this etching.  Its media includes oil base etching ink, RivesBFK white paper, and mulberry bark paper from Thailand that was treated with methyl cellulose and infused with kozo threads from Japan.  The work was executed on ...
Death - Intaglio
16 x 12 inches (40.6 x 30.5 cm)
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Jerry  Di Falco: 'caligari violet', 2018 Intaglio, Movies. This work includes an 11 inch high by 14 inch wide black, wood frame and white acid free mat.  TECHNICAL INFORMATION ABOUT THIS WORK.  The studio techniques employed included Intaglio and Chine colle.  The French paper used was RivesBFK white, and the inks employed were oil base, Charbonnel brand, from ...
Movies - Intaglio
14 x 11 inches (35.6 x 27.9 cm)
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Jerry  Di Falco: 'the story of mary magdalene', 2018 Intaglio, Biblical. THIS ORIGINAL DIFALCO ETCHING IS SENT ALREADY FRAMED UNDER GLASS AND MATTED IN AN ACID FREE, WHITE MAT.  THE 16 INCH HIGH BY 12 INCH WIDE FRAME IS COMPOSED OF BLACK PAINTED WOOD, AND IS WIRED AND READY TO HANG.  This etching is based on DiFalcos preliminary drawings of a ...
Biblical - Intaglio
12 x 16 inches (30.5 x 40.6 cm)
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(Page 2 of 7) - MORE ARTWORKS

Artists Describing Their Art:

Sandra Ramos - For me, making art is a way of communication with all human being and with the future. Through my work I try to express my relation with the political and social contemporary context worldwide. My work is also a reflection about the specific reality of my country. One of the main subjects on my work is the relationship between personal freedom and political power. Thus trough my work I try to make a daily recovery of and individual and social memory tied to everyday overcoming of economical and social uncertainties. My work is highly relating whit the lost utopian feelings and frustration of the socialism-emancipating ideal, which are states of minds very characteristics of the actual Cuban society. I use diversity medias, according to the variety of significance of each work. I have made a lot of etchings prints, using my self-portrait and a XIX century print trying to create a character similar to Alice in Wonderland. This girl has the function of commenting the resent history of my country through popular stories pointed out by texts. In this series I also incorporate classical characters taken from the popular political Cuban caricature, which are symbols of Cuban people ...

Rachel E Heberling - I walked up the dirt road before leaving the mountains. Fall was creeping in. I thought a car had driven by, but there remained a strange banging and rattling noise. I turned around and listened, yet nobody was there. I looked again; it was just a 25 mile-an-hour sign caught up in a tree. With the winds kicking up, I ran back down the hill. There were always strange machines in the basement. A Victrola, oil lamps, and car transmissions sat in the dark, collecting dust by the coal furnace. I grew up in a log home on a mountainside in Pennsylvania's coal regions, where black slag piles were poised to swallow one-street towns: a landmark of the Industrial Revolution's demise. When I would pass just over the ridge and wander through abandoned factories, I could feel the heavy air inside: damp and laden with an eerie silence. My childhood existed at the tail end of an era of typewriters and rotary phones: forms of communication that demand a physical connection. These fragmented memories still exist in the tactility of ink embedded into a surface, whether rolled through a press or fed through a typewriter. ...

Zoltan Janvary - I grew up in 20th century Hungary. Our political leaders were in fear of new art movements, so that there was nothing available but the teaching and studying of classical art. In addition to this training, find inspiration in history, literature and mythology, and these forces blend with my current experience. It is the challenge of this tension between the well-known and that which must be discovered that provides me with the greatest joy in both teaching and in my own private practice. ...

Marisa Keller - Full time Dutch artist Marisa Keller lives and works in Singapore since 1993. Trained as a painter she was always interested in printmaking and started to produce colour woodcuts in the early nineties. During this time she decided to follow the Master of Fine Arts program of RMIT University at LaSalle-SIA, College of the Arts with a main focus on printmaking. Other techniques like video installations were introduced into her practice and now she is dedicated to push further the bounderies between printmaking and other media. Marisa Kellers works can be found in private and corporate collectors in Singapore and around the world. She taught printmaking from 2001 to 2006 at LaSalle-SIA College of the Arts in Singapore. Recently she is busy creating new works and conducting courses in her new non-toxic printmaking studio . "All my work evolves around human relationships to the natural world and how different time frames are important to our experiences . A recent series of prints I started with the idea of the horizontal line that represents the space where one natural element changes into another. These changes also relate to the process of working and reworking the etching and other plates ...

Jamshed Aziz - I am texturing the `Herf `(words) of holy book (Ouran) which has all solutions for humanity. Calligraphy in Islam therefore is not just a matter of script it is considered a mystic process of Self discovery, exploring the true geometry of the sprit. I am an artist of modern approach and my art work is embedded in the rich tradition of holy craft. The letters and words are not indistinct, though at places due to the principals color and tone and emphasis, they more from readable to elusive finally letters turn into an image textured by an inner rhythm. ...

Laura Imhoff - My name is Laura Imhoff and I am the owner and photographer of Perception Studio. I graduated magna cum laude from the Myers School of Art, University of Akron in 2006 with a BFA in photography, and minors in painting, art history, and professional photography. While in school, my goal was to practice as many disciplines and approaches to art as possible so that I could gain a true understanding of what it meant to be an artist. But what did that require? It meant, "eat, breathe, and sleep" art. So, that is exactly what I did. While my classes offered technical advice for each discipline I tried, I learned the most from the artists of past decades and my colleagues. Sharing my life and art with them, and vice versa, showed me a world of possibilities and gave me a real appreciation for art in all its forms (and people, too). I decided that art school really wasn't about learning how to BE an artist, but instead about how to defend why YOU are an artist. Being an artist isn't about being techinically the best, which is what I had always strived for...its about the ideas ...

Maryjean Galivan - Over the years my art has evolved into a personal introspective search. The constant denominator is a strong sense of color, though the subject matter can range from whimsical to disturbing. I feel my inspiration stems from a past saturated with LSD and a present filled with ADD. The combination of these two ingrediants as well as my jaded perception of life are the fulcrum of my creative energy. Since I have lived in Arizona for the last 20 something years, I am inspired by the colors and textures of the desert. For the last year I have been incorporating them into my work. ...

Maryjean Galivan - Alice Chang - I was from Taipei, Taiwan. I graduated from the Department of Editorial Design in Tokyo Designer Gakuin College. After my graduation, I came to New York and went to School of Visual Arts for getting some credits. I graduated from Adelphi University and received a Bachelor of Arts Degree in graphic design in 2001. I have designed over hundreds of books and periodicals, as well as organizing and supervising many of Asian Culture and Art Programs of Tao's Culture, Inc. (nonprofit incorporation) also as a graphic designer in Zen Palate vegetarian restaurant in New York. ...

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 ...