Sentences with phrase «ground etching plate»

Richard Diebenkorn Large Light Blue, 1980 Color spit bite aquatint with aquatint and soft ground etching Plate: 24 x 14 1/2 inches Sheet: 40 x 26 inches Edition of 35

, 2008 hard ground etching plate size 55.5 x 21.625, sheet size 59.125 x 24.125 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, Untitled, 2006 Soft ground etching plate 55.688 x 15.813, sheet 60.938 x 21.063 inches 1 known impression of the only state, outside the editions unpublished, printed by Wingate Studio

Louise Bourgeois, The Stretch, 2006 hard ground etching plate size 35.4375 x 55.6875, sheet size 59.8125 x 35.625 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, Opening Up, 2008 Soft ground etching plate 55.563 x 13.75, sheet 59.5 x 19.375 inches 1 known variant impression of the only state outside the edition and unique variants published by Osiris Editions, printed by Wingate Studio

Not exact matches

Examples of this experimental approach in the exhibition include Fuller's soft - ground etching, made by impressing lace and a string garlic bag into the plate's surface coating; Ryan's use of a recycled floorboard for her woodblock print; Bourgeois» sculptural treatment of the engraving process; and Nevelson's use of fabric dipped in acid to create etching directly on the plate.

Louise Bourgeois, The Unfolding, 2007 Soft ground etching with selective wiping, and wash, black crayon, and pencil additions plate 58.875 x 35.563, sheet 59.625 x 37.813 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, La Famille, 2006 hard ground etching with hand additions plate 55.625 x 16.8125, sheet 59.5 x 20.125 inches edition of 11 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, The Smell of Eucalyptus (# 1), 2006 Soft ground etching with black crayon, gray watercolor wash, and pencil additions plate 55.25 x 30.75, sheet 59.125 x 34.5 inches edition of 19 published by Osiris Editions, printed by Wingate Studio

Louise Bourgeois, My Inner Life, 2008 hard ground etching with hand additions plate size 59.6875 x 35.5625, sheet size 59.6875 x 38.5 inches edition of 9 published by Osiris Editions, printed by Wingate Studio

Blue Tumbler, 2010 three color soft ground etching and aquatint sheet size 22.5 x 23 inches, plate size 18 x 18 inches edition of 20 published by Wingate Studio Purchase / Inquire

Barbara Takenaga, Falling (blue concentrate), 2017 five plate aquatint etching with soap ground and hand painting by the artist 33.125 x 25.875 inches edition of 25 published by Wingate Studio

Orion Martin, H.E.D. (geim n gebult), 2016 five plate aquatint etching, soft ground, burnishing 42 x 30.5 inches edition of 25 published by Wingate Studio

Chuck Webster, Fun House, 2015 color etching and aquatint, hard ground, scraping, burnishing, spit bite, dry point plate size 12 x 10.5 inches, sheet size 20.5 x 17 inches edition of 20 published by Wingate Studio Purchase / Inquire

Chuck Webster, Reach A Call in the Sun, 2015 color etching and aquatint, hard ground, scraping, burnishing, spit bite, dry point plate size 12 x 10.5 inches, sheet size 20.5 x 17 inches edition of 20 published by Wingate Studio Purchase / Inquire

Robert Kushner, Blue Iris, 2017 five plate aquatint etching with sugar lift, soap ground, and spit bite plate size 24 x 24 inches, sheet size 30 x 30 inches edition of 30 published by Wingate Studio Purchase / Inquire Project and Artist Info

Chuck Webster, Gleemer, 2015 color etching and aquatint, hard ground, scraping, burnishing, spit bite, dry point plate size 8.5 x 7.1875 inches, sheet size 15.75 x 14 inches edition of 20 published by Wingate Studio Purchase / Inquire

Chuck Webster, Meet Where It's Big (Parade), 2015 color etching and aquatint, hard ground, scraping, burnishing, spit bite, dry point plate size 12 x 10.5 inches, sheet size 20.5 x 17 inches edition of 20 published by Wingate Studio Purchase / Inquire

Laurie Reid painted with acid directly onto a copper plate to create delicate, looping curves in «First Verse,» 2000, while Sol LeWitt made his loops and curves by drawing into hard ground wax with a sharp, etching needle in «Small Etching / Black & White No. 5,»etching needle in «Small Etching / Black & White No. 5,»Etching / Black & White No. 5,» 1999.

When the plate was etched and printed, the white ground brushstrokes became negative open space.

Martin Puryear, Quadroon (1966 — 67), soft ground etching and aquatint with plate tone monotype on paper, 22 1/4 x 22 inches.

Left: Quadroon, 1966 — 67, Soft ground etching and aquatint, in black, with plate tone monotype in brown, on cream wove paper.

Right: MLK Elegi, 1968, Soft ground etching and aquatint on shaped plate, with burnishing, printed in brown on ivory wove paper

Each print is an impression made from an untransformed doily that was placed in soft ground on a zinc plate, then etched and printed.

blue - plate (soft - ground etching)

When her eyesight started failing in her nineties, rather than give up her reinvigorated printmaking production, she increased the size of the plates so she could see them better and concentrated on soft - ground etching, a technique that is easier on the hand.

Pompeii Forte, 1976 - 82; Drypoint, etching, sugar - lift etching, sugar - ground etching and aquatint on White CM Fabriano Classico paper; Signed, dated and numbered 2/5; 12 1/4» x 21 1/2» (plate); 22» x 30 1/2» (sheet); Literature: Harrison 88; Provenance: The artist; Donn H. Stewart, thence by decent; Private Collection Signed, dated and numbered in pencil lower recto.

Richard Diebenkorn High Green, Version II, 1992 Color spit bite and soap ground aquatints with soft ground and hard ground etching and drypoint Plate: 39 3/4 x 22 7/8 inches Sheet: 52 3/4 x 33 3/4 inches Edition of 65