Emma Butler Gallery
111 GEORGE ST WEST | ST. JOHN'S NL | CANADA | A1C 6K2 | 709 739-7111 | emmabutlergallery@nl.rogers.com


Historical Works
Anne Meredith Barry RCA
Anthony Barton
David Blackwood RCA
Grant Boland
Patrick Canning
Ting Ting Chen
Alistair Drysdale
Lori Doody
Yevhenii Fedorenko
Jean Claude Girardin
George Horan
Kathleen Knowling
Jessica Levman
John McDonald
Robert Mellin RCA
Shawn O'Hagan
Susan Paterson
Barbara Pratt
Christopher Pratt RCA
Mary Pratt RCA
Steven Rhude
Bill Rose
Jean-Claude Roy
Olaf Schneider
Dave Sheppard
Wally Shishkov
Lotti Thomas
Krista van Nostrand
Darren Whalen
Michael Young

ON PAPER

An Online Exhibition
of Unframed Prints


INTAGLIO

Intaglio is an umbrella term for several techniques, including etching, engraving, drypoint, aquatint, and mezzotint. Intaglio comes from the Italian word intagliare, which means to incise. The most common intaglio technique is etching, where the artist scratches an image onto a metal plate covered with wax. This plate is then submerged in acid which eats into the metal exposed by the scratched lines. Ink is then beaten into the incised lines and dampened paper is placed over the plate and run through the printing press. The pressure forces the paper into the etched lines to pick up the ink, printing the image in reverse.


David Blackwood
Uncle Sam Kelloway's Place (1999)
Etching and aquatint, 16 x 20 (54/75)

David Blackwood
March Looking South: Glover's Place on Bragg's Island (2007)
Etching and aquatint, 15 x 36 (45/50)

David Blackwood
Gull Rock Breaking (2001)
Etching and aquatint, 13.5 x 18 (72/75)

Anne Meredith Barry
Riverbanks #1,#2,#3,#4 (2002)
Etching and screenprint
each 10 x 7.5 (Artist's Proof)

Lori Doody
Drying Capelin (2014)
Etching, silver leaf and collage, 18 x 9 (1/6)

Lori Doody
In the Red (2007)
Etching, 14 x 8 (2/2)

Lori Doody
Out of the Blue (2007)
Etching, 14 x 8 (2/2)

Lori Doody
That's A lot of Wishes (2013)
Etching and collage, 15 x 15 (1/3)

Susan Paterson
Sugar Bowl and Cherries (2017)
Etching, 8 x 9

Jean Claude Roy
Ile aux Marins (1994)
Mezzotint 14.5 x 17.5 (34/40)

Jean Claude Roy
Cape Shore 1988)
Mezzotint, 19.5 x 23.5 (22/30)

Kath Rutherford
Heart Warming (1999)
Mezzotint 9 x 9 (20/40)

Kath Rutherford
Tempest in a Tea Cup (1998)
Mezzotint 9 x 9 (AP V/V )

Dave Sheppard
A Buoy and a Chain for a Penguin in Purgatory (2004)
Etching, 13 x 4.25 (V. I/II 7/27)

Lottie Thomas
Island Treasures I (2001)
Drypoint, 10 x 12 (1/5)




LITHOGRAPHY

Lithography is based on the resistance between grease and water. The artist draws on stone with a greasy substance. The stone is then treated with a chemical solution that ensures the image will attract the printing ink while the blank areas repel the ink and attract water. Ink is applied and sticks only to the greasy drawn sections. Paper is then laid on the stone and run through a printing press to transfer the image. Separate stones are used for complex images of multiple colours.


Anne Meredith Barry
Travel Diary: Notre Dame Bay
Lithograph, collage and hand-colouring on nautical chart
12.5 x 42 (Estate Proof)

Anne Meredith Barry
Travel Diary: Notre Dame Bay
Lithograph, collage and hand-colouring on nautical chart
12.5 x 42 (Estate Proof)

John McDonald
Glass Wall (2007)
Lithograph 16 x 17 (5/8)

John McDonald
The Rest Stop (2010)
Lithograph, 16.5 x 15 (1/15)

John McDonald
The Find (2010)
Lithograph, 12.5 x 16.5 (15/15)

John McDonald
The Return (2014)
Lithograph, 25 x 19 (15/30)

Lottie Thomas
Le bateau de plaisance au riviere de St. Laurent (2004)
Lithograph, 13.5 x 18 (VE 4/6)

Lottie Thomas
Histoire d'amour au moulin rouge (2003)
Lithograph, 17 x 12 (7/8)

Lottie Thomas
Partie de Plaisir dans la region du Saguenay (2003)
Lithograph, 14 x 18 (3/8)

Eugene Tomov
Figure (1990)
Lithograph, 15 x 12.25 (5/8)

Dave Sheppard
The Pressures of Being Brilliant (2001)
Lithograph 16.5 x 13.5 (16/20)




WOODCUT

Woodcut is the oldest printmaking process. In this technique, the image is sketched on a block of wood before the surface is carved into with gouging tools. The resulting raised areas of the block are then inked using a roller. A sheet of paper is placed on top and pressure is applied, leaving the impression of the raised areas in reverse. Separate blocks are used for each colour.


Anne Meredith Barry
Still Life With Landscape
Woodblock, 17 x 30 (V/E 3/10)




SERIGRAPHY

Serigraphy is an artistic form of screen printing or stenciling. In this process, mesh (originally silk) is stretched tightly across a frame. An image is glued or otherwise affixed to the mesh to mask out composition areas. This image can be created by a number of materials, paper, a hardening form of glue, or light-sensitive gelatins for photographic images. Unlike the other techniques, no printing press is used. Instead the ink is pushed through stencil image from above using a rubber blade or squeegee. Separate screens are used for each colour.


Steven Rhude
Mackerel
Serigraph, 12 x 12

Steven Rhude
Dories on the Line
Serigraph, 16 x 28

Steven Rhude
Redfish
Serigraph, 12 x 12

Dave Sheppard
A Parade (2005)
Serigraph 24.5 x 5 (2/16)