Unmatted, never framed or displayed. Beautiful original Etching Print from the retired Mitch Moore Gallery Inc, NY. (1960’s-1980’s). ARTIST'S STATEMEMT: As a young artist I was very excited by the world around me, the color of a landscape, the shapes of people and things. I would try to express the feelings the visual world engendered in me in an expressionistic manner. As time went by, however, form, color, design and feelings became more and more exciting. I felt then that being more abstract allowed me to express the essence of things rather than reproducing what I saw. Although I have a definite idea about what the work I'm engaged in means to me, I expect people to have thier own feelings about what they see. I am sure when people listen to a Bach concerto they don't know what Bach had in mind, but they enjoy it anyway. A Great print for any decor - give your space a unique story to tell…
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Leaf, Ruth. Intaglio Printmaking Techniques. New York: Watson-Guptill, 1976.; American Prize Prints of the 20th Century-Albert Reese; Artists at Work-Ron Perkins; Dictionary of International Biography, Cambridge, England; Whos Who in American Art; Who's Who in American Women; Who's Who in the East; Video Film Interview, Port Washington Library; Radio Interview, Great Neck TV Station.
ABOUT ETCHINGS: Etchings have been hugely influential in art history, particularly in the development of printmaking. The art of etching is one of the oldest printmaking mediums—originating in the 15th century and evolving out of techniques developed by armorers to decorate their wares. You can see innovative examples of etching in the works of master artists like Rembrandt van Rijn, Albrecht Durer, and Francisco Goya. However, even if you’re familiar with the term “etching,” you might not know exactly what the process involves.
HOW ETCHINGS ARE MADE
Here are the essentials of the etching process:
1). Like with engraving and drypoint, etching begins with a metal plate, most commonly copper.
2). Acid-resistant wax, called the ground, is applied to the entire surface of the plate.
3). The artist scratches an image into the ground using a burin (needle), exposing the metal underneath.
4). Once the image is complete, the plate is submerged in an acid
5). The acid bites away at the exposed metal, creating recessed lines on the plate.
6). The plate is removed and cleaned.
7.) The plate is inked. Ink fills the lines on the plate created by the acid.
9). Dampened paper is placed over the plate and put through a printing press.
10). The press squeezes the paper and the plate together, impressing an inked image onto the paper.
11). Additional impressions can be created by re-inking, cleaning, and putting the plate through the printing press again.
It was a complex and involved process, but it did allow artists to craft and mass-produce prints of staggering clarity and quality.
NOTE: Bibliography information may not be current as most has been copied from the original files of - Manhattan Art Gallery and Art Publisher - Mitch Moore Gallery Inc/Art Spectrum - (1960’s-1980's).
NOTE : Christies has a Collecting Guide on Prints: Google: 11 key things to know about prints & multiples. There is also a great article on ehow for foxing: Google- How to Restore Foxing on Paper Prints. I have also had good luck on my own collection using: ABSORENE BOOK CLEANER AND DIRT ERASER. The Dirt Eraser is the favorite of libraries, booksellers and antiquarians worldwide for cleaning books, manuscripts, maps, paper and other documents.
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