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WALTON FORD
GRAPHIC WORKS
2nd March - 1st April
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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
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Walton Ford
Swadeshi-cide, 1998Etching 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, 1999Etching 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, 2001Etching 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, 2002Etching 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)
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Walton Ford
Benjamin's Emblem, 2000Etching 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, 2004Etching 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)
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Walton Ford
It Makes Me Think of That Awful Day On the Island, 2011Lithograph.
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, 2012Etching 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)
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WALTON FORD
Nila, 2000Lithograph.
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, 2009Etching 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)
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Walton Ford
Bangalore, 2004Etching 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
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Walton Ford
Condemned, 2007Etching 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)
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Walton Ford
Pestvogel, 2016Etching 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, 2019Etching 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)
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