Etching House Sell, Buy, Wholesale, Trade, Consignee ,Value fine artEtchings, Prints and Paintngs
and can advise on Framing, Art Storage, Handling, and Care for original paintings, fine art Etchings and prints.
Call Rolf on 0413007054 or contact us via the web site.
12 months Lay by available at Etching House on 20% deposit.
Etching House Specialists in Australian fine art Etchings and Prints for almost 4 decades,
Etching House is a love for Art , a passion for beauty……….and is not just a business.
We can arrange to visit your office or residence with a selection of Art works,
We are at your service 7 days- 9am to 9pm – Ph. 0413007054.
About Etching House, Since 1977, the founder of Etching House has specialized in Australian Limited Edition Fine Art such as Etchings, Fine Art Prints, Etching House introduced the successful 12 month lay buy or payment plan, designed to help the public acquire with an affordable way of acquiring their piece of Australian Fine art.
Etching House where possible can arrange to visit your office or residence. Etching House ship nationally and internationally, tracked and insured.
Etching House offers a 12 Months layby payment plan available on 10-20% deposit at Etching House, NO fees– Etching House makes buying and collecting fine art paintings, etchings, prints affordable and possible with ease, see terms and conditions http://etchinghouse.com.au/terms/
Etching House – Sell, Buy, Trade and consignee all Australian fine Art, Oil Paintings, Etchings and Prints by Iconic Australian Artists.
Etching House Specialize in Limited Edition Australian Fine Art Etchings, Prints, Works on Paper by iconic Australian artists like – Garry Shead, Norman Lindsay, John Olsen, Charles Blackman, David Boyd, Jeffrey Smart, Tim Storrier, Jason Benjamin, Brett Whitley, Margaret Olley, Ray Crooke, Arthur Boyd, Sidney Nolan, and Robert Dickerson to mention a few, we also deal in Michael Leunig, along with a variety of other Australian artists such as up and coming Jasper Knight. Etching House also carry Salvatore Zofrea, Craig Ruddy, Frank Hodgkinson, Fred Cress, Kasey Sealy
The Art of Etchings, here is a little helpful information about the process used to make etchings –
The Etching Process, was considered to be a dying art, recently we have seen some a resurgence of this technique invented around the 14 century.
The Craft of Etching from Etching House By the Master Etcher Norman Lindsay is as follows –
The art of etching appears to be a lost art today and the public interested in art must have very little knowledge of its technical problems, it may be advisable to explain this as briefly as possible.
Norman Lindsay takes a highly-polished copper plate it is first cleaned with caustic soda and dilute nitric acid. Norman Lindsay takes a hand grip which is then attached to the copper plate acting as a handle; the plate must not be touched once it is cleaned. The copper plate is then held face up over a gas or oil burner till warmed sufficiently to melt the etching ground. The ground is a composition of bitumen, which, through a covering of fine silk, is rubbed over the surface of the copper plate making a thin coating.
A pad, called a dabber, made of white kid padded with cotton wool, is dabbed forcibly over the ground, spreading it thinly and evenly over the surface of the copper plate. The ground must be applied perfectly smooth and even or it is liable to lift from the copper in the acid. The smoke, but not the flame, alone must touch the ground, or it is liable to be burned and so crack off under the acid. The ground is blackened so that the copper line will shine through it when the design is drawn on the copper with a needle point. The preparation of the plate requires considerable experience before it can be done efficiently.
Etching House has always admired the technique and skill required to do etchings in this traditional way. The next operation is to transfer the design in outline to the blackened ground. An effective method of achieving this transfer is to blacken a sheet of tissue paper with soft lead pencil to act as a carbon copying paper. This is placed over the plate and the pencil design for the etching pinned over it and traced lightly with the etching needle. The plate is then ready to be needled.
As the hand must never touch the ground, a support is placed across the plate for the hand. If a very delicate technique is necessary it must be drawn under a magnifying glass of about a four-inch focus. This enforces an extremely cramped posture on the etcher while working on a plate.
Etching House believes Norman Lindsay was amongst the best etchers in the world, Garry Shead is clearly a brilliant etcher and plate maker, his oil paintings are self-explanatory, simply brilliant, and this led Etching House to be dedicated to Norman Lindsay, Garry Shead, Lionel Lindsay as well as some other master etchers.
Continuing, there are various methods of needling a plate, too involved to be discussed in a brief note such as this. The method employed in the etchings here has been to etch out the fine grey tones first, and by a series of re-etching to add the half-tones and blacks. The etching itself is done by placing the plate in a solution of dilute nitric acid which bites only into the parts of the copper exposed by the needling. While in the acid it is carefully timed by Norman Lindsay, and this is the most anxious problem he has to face, for if he miscalculates he may either under-etch or over-etch the passage in the acid, and thereby ruin the result of a week or more of careful work in needling the design.
No amount of experience can give him assurance over his timing. He may have got a hard copper plate which etches slowly or a soft one which etches too quickly. The acid is constantly weakening as it works on the plate, and Norman Lindsay must keep adding fresh acid to try and keep it at an even strength. Having no means of testing its strength, he must trust to luck or cunning on equal terms to get the result he wants, and he can only be sure of that by wiping off the ground and taking a proof of the plate. If the result is a failure he has no resource but to discard the plate and start all over again with a fresh one. If the result of the first proofing is satisfactory he re-cleans and reground the plate and sets about working on the next section to be etched, and so on, proving and re-grounding as he goes till the plate is finally completed. If the technique employed is one dealing with delicate tones and elaborate detail he may be a couple of months over one plate; and that he may discard finally if dissatisfied with its lack of the quality he has sought to achieve.
Etching House – With the advent of new technology from the digital world, the Australian public have embraced this new digital Giclee reproduction medium.
The skill of making Etchings is almost gone, the skill of making other mediums has also been largely lost as the newer younger generation grow into the digital age.
Original oil painting art works from many of the iconic Australian artists are in private collections often never to be seen again by the public, now with modern technology, the use of fine art rag paper and quality pigment ink, are the key ingredients to making quality fine art digital prints and reproduction prints available at affordable prices for the general public, the same quality components are used to make Etchings Etching facsimiles.
With the introduction of new technology, digital production reproduction as a new medium has allowed some artists to build an affordable range of hand signed limited edition fine art prints of their original paintings or even new artworks all produced digitally for affordability and above all amazing quality to share the heritage or archive of some Australian art for the public to own and enjoy.
In the case of Jeffrey Smart, Norman Lindsay, John Olsen, Margaret Olley, Tim Storrier, Charles Blackman, to mention a few (as an example), it has been their objective to share with the public an accessible body of art works as well as to broaden their archive body of works for the future generations to enjoy. The new trend Giclee digital medium is expanding particularly due to its affordability and now Australians are expanding their love for art by embracing Digital Giclee fine art prints and reproduction prints.
Etching House specialises in Etching fine art prints, Wood block art prints, Giclee art prints, water colour paintings, oil paintings, Facsimile Etching art prints, Art works on paper, Lithograph Lithographic art prints, Silk Screen art prints, now affordable Digital reproduction fine art prints, by many Australian iconic artists, such as Etchings-Prints-Paintings-Digital reproduction prints, Lithograph, Collograph, Giclee, pen and ink drawings, wood blocks prints, along with other forms of Australian fine art works. At these shows