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Walton Ford: Graphic Works

Past viewing_room
2nd March - 1st April 2022
  • WALTON FORD

    GRAPHIC WORKS

     

     

     

    2nd March - 1st April 

  • Walton Ford | Graphic Works

    It has been a long held ambition of mine to show Walton Ford’s prints in London and I am now delighted to be presenting this comprehensive exhibition. I remember clearly how captured I was the first time I saw an aquatint by Walton, over 15 years ago. My interest in printmaking as well as a fascination with Audubon made the work immediately compelling.

     

    It is impossible to view these prints and not be struck by Walton’s mastery of the traditional and very complicated colour aquatint technique. The time, knowledge, and technical ability required to make these prints cannot be under stated. Together with his printer Peter Pettengill, Walton has made a truly remarkable body of prints. Beyond their technical mastery, the subjects Walton addresses in his work – social histories, global politics, environmental destruction – make these often complicated, dark narratives hugely relevant to our modern world. The combination of their historic character and contemporary narratives gives a tension to the work that is compelling - they are charged in equal measure with the weight of the past and the responsibilities of the future.

     

    - Lyndsey Ingram
    • Walton Ford Swadeshi-cide, 1998 Etching and aquatint with drypoint and hand-colouring. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc., New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      Swadeshi-cide, 1998
      Etching and aquatint with drypoint and hand-colouring.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc., New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
    • Walton Ford La Historia Me Absolvera, 1999 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc., New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      La Historia Me Absolvera, 1999
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc., New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
       
    • Walton Ford The Tale of Johnny Nutkin, 2001 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc., New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      The Tale of Johnny Nutkin, 2001
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc., New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
    • Walton Ford Compromised, 2002 Etching and aquatint with drypoint and roulette. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc., New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      Compromised, 2002
      Etching and aquatint with drypoint and roulette.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc., New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
       
    • Walton Ford Benjamin's Emblem, 2000 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc., New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      Benjamin's Emblem, 2000
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc., New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
       
    • Walton Ford Visitation, 2004 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 50. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Blue Heron Press Inc. New York. Plate: 91.4 x 61 cm (36 x 24 in) Sheet: 111.8 x 78.7 cm (44 x 31 in)

      Walton Ford

      Visitation, 2004
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 50.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Blue Heron Press Inc. New York.
      Plate: 91.4 x 61 cm (36 x 24 in)
      Sheet: 111.8 x 78.7 cm (44 x 31 in)
  • Walton Ford Dying Words, 2005 Etching and aquatint with drypoint. Signed in pencil and numbered in an edition of 75....

     

     

     

     

     

     

    Walton Ford

    Dying Words, 2005
    Etching and aquatint with drypoint.
    Signed in pencil and numbered in an edition of 75.
    Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
    Published by Paul Kasmin Editions, New York.
    Plate: 35.6 x 45.7 cm (14 x 18 in)
    Sheet: 57.1 x 76.2 cm (22.5 x 30 in)
    • Walton Ford It Makes Me Think of That Awful Day On the Island, 2011 Lithograph. Signed, dated and numbered in an edition of 50. Printed on Somerset Soft White paper by Maurice Sanchez at Derrier L'Etoile Studios, New York. Published by Exit Art, New York. Sheet: 55.8 x 76.2 cm (22 x 30 in)

      Walton Ford

      It Makes Me Think of That Awful Day On the Island, 2011
      Lithograph.
      Signed, dated and numbered in an edition of 50.
      Printed on Somerset Soft White paper by Maurice Sanchez at Derrier L'Etoile Studios, New York.
      Published by Exit Art, New York.
      Sheet: 55.8 x 76.2 cm (22 x 30 in)
    • Walton Ford MCMLXII-MMXII, 2012 Etching with aquatint and drypoint. Signed, dated and numbered in an edition of 100. Printed on Rives BFK paper by Peter Pettengill and Caitlin Riordan at Wingate Studios, Hinsdale, New Hampshire. Published by Paul Kasmin Gallery, New York. Plate: 57.15 x 76.2 cm (22 1/2 x 30 in) Sheet: 85.1 x 101.6 cm (33.5 x 40 in)

      Walton Ford

      MCMLXII-MMXII, 2012
      Etching with aquatint and drypoint.
      Signed, dated and numbered in an edition of 100.
      Printed on Rives BFK paper by Peter Pettengill and Caitlin Riordan at Wingate Studios, Hinsdale, New Hampshire.
      Published by Paul Kasmin Gallery, New York.
      Plate: 57.15 x 76.2 cm (22 1/2 x 30 in)
      Sheet: 85.1 x 101.6 cm (33.5 x 40 in)
    • WALTON FORD Nila, 2000 Lithograph. Signed, dated and numbered in an edition of 150. Printed on Arches Cover White paper by Maurice Sanchez, James Miller and Matthew Ledzetler at Derriere L'Etoile Studios, New York. Published by Paul Kasmin Gallery, New York. Sheet: 115.3 x 80 cm (45 1/2 x 31 1/2 in)

      WALTON FORD

      Nila, 2000
      Lithograph.
      Signed, dated and numbered in an edition of 150.
      Printed on Arches Cover White paper by Maurice Sanchez, James Miller and Matthew Ledzetler at Derriere L'Etoile Studios, New York.
      Published by Paul Kasmin Gallery, New York.
      Sheet: 115.3 x 80 cm (45 1/2 x 31 1/2 in)
    • WALTON FORD Nantes, 2009 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 65. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Paul Kasmin Editions, New York. Plate: 101.6 x 76.2 cm (40 x 30 in) Sheet: 121.9 x 94 cm (48 x 37 in)

      WALTON FORD

      Nantes, 2009
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 65.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Paul Kasmin Editions, New York.
      Plate: 101.6 x 76.2 cm (40 x 30 in)
      Sheet: 121.9 x 94 cm (48 x 37 in)
    • Walton Ford Bangalore, 2004 Etching and aquatint with drypoint. Signed in pencil and numbered in an edition of 75. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Paul Kasmin Editions, New York. Plate: 30.5 x 22.9 cm (12 x 9 in) Sheet: 54.6 x 40.6 cm (21.5 x 16 in)

      Walton Ford

      Bangalore, 2004
      Etching and aquatint with drypoint.
      Signed in pencil and numbered in an edition of 75.
      Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Paul Kasmin Editions, New York.
      Plate: 30.5 x 22.9 cm (12 x 9 in)
      Sheet: 54.6 x 40.6 cm (21.5 x 16 in)
    • Walton Ford, Limed Blossoms, 2007
      Walton Ford, Limed Blossoms, 2007
    • Walton Ford Condemned, 2007 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 75. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Paul Kasmin Editions, New York. Plate: 30.5 x 22.9 cm (12 x 9 in) Sheet: 54.6 x 40.6 cm (21.5 x 16 in)

      Walton Ford

      Condemned, 2007
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 75.
      Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Paul Kasmin Editions, New York.
      Plate: 30.5 x 22.9 cm (12 x 9 in)
      Sheet: 54.6 x 40.6 cm (21.5 x 16 in)
    • Walton Ford Pestvogel, 2016 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 65. Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Paul Kasmin Gallery, New York. Plate: 71.1 x 55.9 cm (28 x 22 in) Sheet: 101.6 x 78.1 cm (40 x 30.75 in)

      Walton Ford

      Pestvogel, 2016
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 65.
      Printed on white Somerset Satin paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Paul Kasmin Gallery, New York.
      Plate: 71.1 x 55.9 cm (28 x 22 in)
      Sheet: 101.6 x 78.1 cm (40 x 30.75 in)
       
    • Walton Ford Killy, 2019 Etching and aquatint with drypoint. Signed, dated and numbered in an edition of 65. Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire. Published by Kasmin Gallery, New York. Plate: 50.8 x 38.1 cm (20 x 15 in) Sheet: 74.93 x 57.15 cm (29.5 x 22.5 in)

      Walton Ford

      Killy, 2019
      Etching and aquatint with drypoint.
      Signed, dated and numbered in an edition of 65.
      Printed on Rives BFK paper by Peter Pettengill at Wingate Studio, Hinsdale, New Hampshire.
      Published by Kasmin Gallery, New York.
      Plate: 50.8 x 38.1 cm (20 x 15 in)
      Sheet: 74.93 x 57.15 cm (29.5 x 22.5 in)
       
  • Walton Ford with Peter Pettengill studying a proof of Swadeshi-cide. Photo credit: Paul Kasmin

     

     

     

     

     

     

     

     

     

     

    Walton Ford with Peter Pettengill studying a proof of Swadeshi-cide.

     

    Photo credit: Paul Kasmin

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