Sam Francis
(1923 - 1994)
 

Samuel Lewis Francis (June 25, 1923 – November 4, 1994) was an American painter and printmaker. Francis served in the United States Air Force during World War II. In 1944, while in the Air Corps he was diagnosed with Spinal Tuberculosis.[3][1] He was in the hospital for several years, and it was while there, after being visited by artist David Park in 1945, that he began to paint. Once out of the hospital he returned to Berkeley, this time to study art. He received both his BA degree (1949) and MA degree (1950) in Art from the University of California, Berkeley, where he studied botany, medicine, and psychology.  

https://en.wikipedia.org/wiki/Sam_Francis

Island Plate
1973
Etching and Aquatint
38 x 45 cm
https://www.lamodern.com/auctions/2016/10/modern-art-design/291

 

And one more work by Sam Francis to end this month, not a print but a drawing:

 

Zeichnung (drawing)
1961
Pen and ink on paper

Helen Frankenthaler
(1928 - 2011)
 

Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades (early 1950s until 2011), she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work.[1] Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.

https://en.wikipedia.org/wiki/Helen_Frankenthaler

Parets II
1988
monotype on handmade embossed paper, hand-colored with acrylic
95 x 128 cm
Private collection
https://www.santafeartauction.com/auction-lot/helen-frankenthaler-parets-ii-1988_373441BB91
https://www.mutualart.com/Artwork/Parets-II/CD74E9445F59B7D6

Myself I'm not a big fan of monotypes. 

Only did it once or twice. You can only make one good print of your work, so why not painting straight on the paper? 

But then again some artist have made beautiful art this way...

 Adriaan van Ostade

(1610 - 1685)

Adriaen van Ostade (baptized as Adriaen Jansz Hendricx) was a Dutch Golden Age painter of genre works, showing everyday life of ordinary men and women.

https://en.wikipedia.org/wiki/Adriaen_van_Ostade

Peasant Family
1647
Etching
17.8 × 15.8 cm
National Gallery of Art
https://www.nga.gov/collection/art-object-page.10814.html

 

Jacob van Ruisdael 

(1629 - 1682)
 

Jacob Isaackszoon van Ruisdael  was a Dutch painter, draughtsman, and etcher. He is generally considered the pre-eminent landscape painter of the Dutch Golden Age, a period of great wealth and cultural achievement when Dutch painting became highly popular.

https://en.wikipedia.org/wiki/Jacob_van_Ruisdael

The Little Bridge
Ca. 1652
Etching on laid paper
National Gallery of Art, Washington, D.C.

Carel Nicolaas Storm van 's-Gravesande
(1841 - 1924)
 

Carel Nicolaas Storm van 's Gravesande was a Dutch painter, etcher and lithographer; associated with the Hague School. He is best known for seascapes, interior portraits and still-lifes. 

https://en.wikipedia.org/wiki/Carel_Nicolaas_Storm_van_'s-Gravesande

Entrance to the Forest
No date
Etching and drypoint (touched proof)
27 x 44 cm (sheet)
Yale University Art Gallery
https://artgallery.yale.edu/collections/objects/23807

Johan Barthold Jongkind
(1819 - 1891)

Johan Barthold Jongkind was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism. 

https://en.wikipedia.org/wiki/Johan_Jongkind

Soleil couchant, port d'Anvers (Sunset, Port of Antwerp)
1868
Drypoint
15 x 24 cm
National Gallery of Art
https://www.nga.gov/collection/art-object-page.151054.html

Karel Dujardin
(1626 - 1678)
 

Karel Dujardin (September 27, 1626[1] – November 20, 1678) was a Dutch Golden Age painter. Although he did a few portraits and a few history paintings of religious subjects, most of his work is small Italianate landscape scenes with animals and peasants, and other genre scenes. Dujardin spent two extended periods, at the beginning and end of his career, in Italy, and most of his paintings and landscape etchings have an Italian or Italianate setting.

https://en.wikipedia.org/wiki/Karel_Dujardin

Two Goats and Three Sheep
1655
Etching
19,2 x 21,7 cm
Scottish National Gallery Of Modern Art
https://www.nationalgalleries.org/art-and-artists/152134/two-goats-and-three-sheep

Charles Meryon
(1821 - 1868)
 

Charles Meryon (sometimes Méryon) was a French artist who worked almost entirely in etching, as he had colour blindness. Although now little-known in the English-speaking world, he is generally recognised as the most significant etcher of 19th century France. His most famous works are a series of views powerfully conveying his distinctive Gothic vision of Paris. He also had mental illness, dying in an asylum.

https://en.wikipedia.org/wiki/Charles_Meryon

La galerie Notre-Dame, Paris (The Gallery of Notre Dame, Paris)
1853
Etching
27,7 x 16,3 cm
National Gallery of Art
https://www.nga.gov/collection/art-object-page.36518.html
https://www.artic.edu/artworks/77654/la-galerie-notre-dame

 Gene Kloss
(1903 - 1996)

Alice Geneva "Gene" Kloss was an American artist known today primarily for her many prints of the Western landscape and ceremonies of the Pueblo people she drew entirely from memory.

https://en.wikipedia.org/wiki/Gene_Kloss

Rain Dance Beginning at Old Tamaya
1956
Aquatint and Drypoint
20 x 27 cm
Nedra Matteucci Galleries, Santa Fe
https://www.matteucci.com/gene-kloss

 Leo Lesser Ury
(1861 - 1931)

Leo Lesser Ury was a German Impressionist painter and printmaker, associated with the Düsseldorf school of painting.
 
https://en.wikipedia.org/wiki/Lesser_Ury

Junges Mädchen im Café mit Straßenblick (Young girl in cafe with street view)
1924
Etching
14 x 19 cm
Published in Berliner Impressionen. Sieben Radierungen. Euphorion Verlag, Berlin 1924

 Alphonse Legros
(1837 - 1911)

Alphonse Legros was a French, later British, painter, etcher, sculptor, and medallist. He moved to London in 1863 and later took British citizenship. He was important as a teacher in the British etching revival.

https://en.wikipedia.org/wiki/Alphonse_Legros

Portrait de Jules Dalou
1876
Drypoint and etching
25 x 17 cm
https://www.metmuseum.org/art/collection/search/812204

 

 William Strang
(1859- 1921)
 

William Strang RA was a Scottish painter and printmaker, notable for illustrating the works of Bunyan, Coleridge and Kipling. He worked in many techniques: etching, drypoint, mezzotint, sand-ground mezzotint, burin engraving, lithography and woodcut.

https://en.wikipedia.org/wiki/William_Strang

Portrait of Rev. William Stephen
1886
Etching and engraving on paper
37,7 x 28,7
Scottish National Gallery of Modern Art
https://www.nationalgalleries.org/art-and-artists/32365/rev-william-stephen

 

 

 James Abbott McNeill Whistler
(1834 - 1903)

James Abbott McNeill Whistler RBA  was an American painter active during the American Gilded Age and based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail. The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative. He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. His most famous painting, Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his theories and his friendships with other leading artists and writers.

https://en.wikipedia.org/wiki/James_Abbott_McNeill_Whistler

Whistler (self-portrait of the Artist)
1859
Etching and drypoint
22,5 x 15,1 cm
Victoria and Albert Museum
https://collections.vam.ac.uk/item/O653869/whistler-portrait-of-the-artist-print-whistler/

For more of Whistlers etchings:
https://www.metmuseum.org/toah/hd/whet/hd_whet.htm

Joseph Pennell
(1857 - 1926)
 

Joseph Pennell was an American draftsman, etcher, lithographer and illustrator for books and magazines. A prolific artist, he spent most of his working life in Europe, and is known for his interest in landmarks, landscapes and industrial scenes around the world. A student of James Lambdin and Thomas Eakins, he was later influenced by James McNeill Whistler. Married to author Elizabeth Robins, Pennell was a writer in his own right. He published the anti-semitic The Jew at Home: Impressions of a Summer and Autumn Spent with Him (1892) and, later, the less controversial Lithographs of War (1914), Pictures of the Wonders of Work (1915), The Adventures of an Illustrator (1925). Later in life, he and his wife both wrote art criticism, and co-authored books.

https://en.wikipedia.org/wiki/Joseph_Pennell

Ponte Vecchio, Florence
1883
etching on cream wove paper
24,5 x 20 cm
Portland Art Museum
http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=15458;type=101

Samuel Palmer
(1805 - 1881)
 

Samuel Palmer RWS Hon.RE (Hon. Fellow of the Society of Painter-Etchers) was a British landscape painter, etcher and printmaker. He was also a prolific writer. Palmer was a key figure in Romanticism in Britain and produced visionary pastoral paintings.

https://en.wikipedia.org/wiki/Samuel_Palmer

The Early Ploughman, or The Morning Spread Upon the Mountains
Before 1861
Etching; fifth state of nine
17.5 x 25.1 cm
The MET
https://www.metmuseum.org/art/collection/search/362641

 Jacques Callot
(1592 - 1635)

Jacques Callot was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period, featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background.

https://en.wikipedia.org/wiki/Jacques_Callot

The Stag Hunt
1619
Etching on laid paper
46 x 20 cm
Museum of Fine Arts, Houston
https://artsandculture.google.com/asset/vwFuOnC9ADZHEA

 

Yesterday Piranesi was mentioned.
Piranesi was a printmaker I learned a lot from, I had a large print book with all the carceri etchings.
One of my first large etchings was kind of an homage to him.

Giovanni Battista Piranesi
(1720 - 1778)

Giovanni Battista (or Giambattista) Piranesi also known as simply Piranesi; 4 October 1720 – 9 November 1778) was an Italian Classical archaeologist, architect, and artist, famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Carceri d'invenzione). He was the father of Francesco Piranesi, Laura Piranesi and Pietro Piranesi [it].
Carceri d'invenzione or Imaginary Prisons (there are other translations) is a series of 16 etchings by the Italian artist Giovanni Battista Piranesi, 14 produced from c. 1745 to 1750, when the first edition of the set was published. All depict enormous subterranean vaults with stairs and mighty machines, in rather extreme versions of the capriccio, a favourite Italian genre of architectural fantasies; the first title page uses the term.

https://en.wikipedia.org/wiki/Giovanni_Battista_Piranesi
https://en.wikipedia.org/wiki/Carceri_d'invenzione

Le Carceri d'Invenzione, plate III: The Round Tower
1761
Oil on canvas
54 x 41,5 cm.
Princeton University Art Museum
https://artmuseum.princeton.edu/collections/objects/2961

 

Pietro Gaspari
(1720 - 1785)
 

Pietro Gaspari was an Italian artist, known for veduta and capriccio in etchings and paintings. Some of them resemble a more barren and finely detailed Piranesi. He worked for many years in Munich, Germany. He was active mainly in Venice.

https://en.wikipedia.org/wiki/Pietro_Gaspari

AEdis antiquae, AEdificiorumque adiacentium fragmenta (Ancient Aedes, and fragments of adjacent buildings)
1771
etching with engraving on laid paper
29.7 × 41.8  cm
National Gallery of Art, Washington DC
https://www.nga.gov/collection/art-object-page.206080.html

Thomas Gainsborough
(1727 - 1788)
 

Thomas Gainsborough RA FRSA (14 May 1727 (baptised) – 2 August 1788) was an English portrait and landscape painter, draughtsman, and printmaker. Along with his rival Sir Joshua Reynolds, he is considered one of the most important British artists of the second half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and easy strokes. Despite being a prolific portrait painter, Gainsborough gained greater satisfaction from his landscapes. He is credited (with Richard Wilson) as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.

https://en.wikipedia.org/wiki/Thomas_Gainsborough

Wooded Landscape with Church, Cow and Figure
 1753-54
Etching
10 x 15 cm
Royal Academy of Arts, London
https://www.royalacademy.org.uk/art-artists/work-of-art/wooded-landscape-with-church-cow-and-figure

 <b>William Walcot</b>
(1874 - 1943)
<i>William Walcot RE was a Scottish architect, graphic artist and etcher, notable as a practitioner of refined Art Nouveau (Style Moderne) in Moscow, Russia. His trademark Lady's Head keystone ornament became the easily recognisable symbol of Russian Style Moderne. In 1920s–1930s, he concentrated on graphic art and was praised as "the best architectural draftsman" in London. </i>

https://en.wikipedia.org/wiki/William_Walcot

Interior of the del Gesu Rome
1925
Etching
49x60cm
https://manningfineart.co.uk/shop/william-walcott-interior-del-gesu-rome/

For more of his work:

https://elizabethharvey-lee.com/exhibitions/walcot/walcot_intro.htm

Yesterday in the text from Wikipedia it was mentioned  that Martin Lewis  helped Edward Hopper learn the basics of etching.
So here is an etching by Hopper.
 

Edward Hopper
(1882- 1967)

 

Edward Hopper was an American realist painter and printmaker. While he is widely known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching. Hopper created subdued drama out of commonplace subjects 'layered with a poetic meaning', inviting narrative interpretations. He was praised for "complete verity" in the America he portrayed. His career benefited decisively from his marriage to fellow-artist Josephine Nivison, who contributed much to his work, both as a life-model and as a creative partner.

https://en.wikipedia.org/wiki/Edward_Hopper

The Lonely House
1923
Etching
19.9 x 25 cm
https://www.metmuseum.org/art/collection/search/366216

If someone happens to have a print…
https://www.antiquestradegazette.com/news/2017/record-for-edward-hopper-print-at-swann-auction-in-new-york/

Martin Lewis
(1881 - 1962)

Martin Lewis was born in Castlemaine, Victoria, Australia on 14 June 1881. He was the second of eight children and had a passion for drawing. At the age of 15, he left home and traveled in New South Wales, Australia, working as a post hole digger and a merchant seaman. He returned to Sydney and settled into a Bohemian community outside Sydney. Two of his drawings were published in the radical Sydney newspaper, The Bulletin. He studied with Julian Ashton at the Art Society's School in Sydney. Ashton, a famous painter, was also one of the first Australian artists to take up printmaking.
In 1900, Lewis left Australia for the United States. His first job was in San Francisco, painting stage decorations for William McKinley's presidential campaign of 1900. By 1909, Lewis was living in New York, where he found work in commercial illustration. His earliest known etching is dated 1915. However, the level of skill in this piece suggests he had been working in the medium for some time previously. It was during this period that he helped Edward Hopper learn the basics of etching. In 1920, after the breakup of a romance, Lewis traveled to Japan, where for two years he drew and painted and studied Japanese art. The influence of Japanese prints is very evident in Lewis's prints after that period. In 1924, he returned to etching and produced most of his well-known works between 1925 and 1935 Lewis's exhibitions in 1927-1928 were successful enough for him to give up commercial work and concentrate entirely on printmaking.

https://en.wikipedia.org/wiki/Martin_Lewis_(artist)

Relics. [Speakeasy Corner.],
1928
Drypoint
30 x 25 cm
The MET
https://www.metmuseum.org/art/collection/search/373557

 Another well known artist who made a lot of etchings was Goya:

 

Francisco José de Goya y Lucientes
(1746 - 1828)

 

Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of the late 18th and early 19th centuries. His paintings, drawings, and engravings reflected contemporary historical upheavals and influenced important 19th- and 20th-century painters. Goya is often referred to as the last of the Old Masters and the first of the moderns.

https://en.wikipedia.org/wiki/Francisco_Goya

Los Disparates (1864) - No. 13 - Modo de volar (A way of flying)
This print is work No. 13 of the "Disparates" series
Between1815 and 1816
Etching, aquatint and drypoint
24 x 35,8 cm
Museo del Prado

https://www.museodelprado.es/coleccion/obra-de-arte/modo-de-volar/d770a3ed-9283-4f97-862e-6794ea89e4b6

Drawing

Artist’s proof before adding the aquatint background.

Rembrandt Harmenszoon van Rijn
(1606 - 1669)

Rembrandt Harmenszoon van Rijn usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history.

https://en.wikipedia.org/wiki/Rembrandt

The Three Trees
1643
Etching
21 x 27 cm

TheMET
https://www.metmuseum.org/art/collection/search/354633

 

 

Abraham Bosse
(c. 1604 - 1676)

Abraham Bosse was a French artist, mainly as a printmaker in etching, but also in watercolour.

https://en.wikipedia.org/wiki/Abraham_Bosse

Engravers and etchers at work
1643
Etching
National Gallery of Art
https://www.nga.gov/collection/art-object-page.34677.html

On the left an artist drawing on a copperplate with varnish on the right an artist working with burins (see detail)
Although this may look like an engraving it is an etching.
The text at the bottom describes the difference between the two techniques.
It was Bosse’s aim, in which he largely succeeded, to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.

 Albrecht Dürer
(1471- 1528)

Albrecht Dürer sometimes spelled in English as Durer (without an umlaut) or Duerer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.

https://en.wikipedia.org/wiki/Albrecht_Dürer

Saint Jerome in His Study
1514
Copper Engraving
24.6 x 18.9 cm
The MET
https://www.metmuseum.org/art/collection/search/336229

For an engraving no acid is used. The lines are cut in the metal with a burin.
https://en.wikipedia.org/wiki/Burin_(engraving)
A careful and steady hand is needed: mistakes are almost impossible to correct.

 Sydney Long
(1871 - 1955)

Sydney Long was an Australian artist, born on 20 August 1871 at Ifield, Goulburn, New South Wales.  Long began formal art classes at the New South Wales Art Society in 1890. In 1894 his Heidelberg School-influenced painting, a bathing scene set on the Cooks River By Tranquil Waters (1894) caused a small scandal, but was purchased by the Art Gallery of New South Wales. 

https://en.wikipedia.org/wiki/Sydney_Long

Hawkesbury Landscape
Ca. 1928
Aquatint printed in dark blue ink.
33 x 43 cm
Art Gallery of South Australia.

Another aquatint.
Here the different shades were made by painting with varnish to stop the acid. The lighter parts were covered first, then the next shade and so on.
Here you can also see the number of print in the edition. In the lower left corner you can see 28/60, this means that this is the 28th print of an edition of 60.
After 60 prints the metal plate was changed or destroyed.

Joseph Margulies
(1896 - 1984)

Joseph Margulies (1896–1984) was born in Vienna, Austria in 1896. He immigrated to the United States at an early age. Margulies studied at the Art Students League of New York with the printmaker Joseph Pennell (1857–1926), from 1922 to 1925. Margulies then continued his studies at the National Academy of Design, Cooper Union in New York City, and at the École des Beaux-Arts in Paris. He also apprenticed with Maynard Waltner in Vienna. Margulies died in 1984. 

https://en.wikipedia.org/wiki/Joseph_Margulies_(artist)

Fishing Boats Gloucester
c.1939
Aquatint etching
21 x 29 cm
https://davidbarnettgallery.com/art/fishing-boats-gloucester-by-joseph-margulies

Aquatint is an etching technique where with the help of resin melted on the metal an overall dark tint is etched. The drawing is then made by polishing the metal with a fine tool.

https://en.wikipedia.org/wiki/Aquatint

Francis Seymour Haden
(1818- 1910)
 

Sir Francis Seymour Haden CMG FRCS PPRE (16 September 1818 – 1 June 1910), was an English surgeon, better known as an original etcher who championed original printmaking. He was at the heart of the Etching Revival in Britain, and one of the founders of the Society of Painter-Etchers, now the Royal Society of Painter-Printmakers, as its first president. He was also a collector and scholar of Rembrandt's prints. 

https://en.wikipedia.org/wiki/Francis_Seymour_Haden

Thames Fishermen
1859
Drypoint
69,8 x 99,10 cm
National Gallery of Art
https://www.nga.gov/collection/art-object-page.1077.html

 

Drypoint is a technique in which a drawing is made directly on the metal plate with a needle or sharp object. No acid is used. When the metal is sufficiently polished, even a very light and fine line will be printed.

Such a drypoint can be made on site as a preliminary study for another etching.
 

 

Stow Wengenroth
(1906- 1978)
 

Stow Wengenroth was an American artist and lithographer, born in 1906 in Brooklyn, New York. Wengenroth was once called "America's greatest living artist working in black and white" by the American realist painter Andrew Wyeth, and he is generally considered to be one of the finest American lithographers of the twentieth century. He studied at the Art Students League of New York under George Bridgman and John Fabian Carlson from 1923 to 1927, then at the Grand Central School of Art under Wayman Adams. Wengenroth was elected a member of the National Institute of Arts and Letters (renamed the American Academy of Arts and Letters) in 1942 and was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers. He was elected an Associate of the prestigious National Academy of Design in 1938, and a full Academician in 1941. Wengenroth was also the author of several influential books on lithography.

https://en.wikipedia.org/wiki/Stow_Wengenroth

New York Nocturne
1945
Lithograph
25.2 x 43.1 cm
MoMA
https://www.moma.org/collection/works/72978