E. W. Cooke

02: Fishing Boat Arrived

1829

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

John Baldessari Life's Balance (with Money) 1989-90 Etching, aquatint and photogravure in colors, on irregularly shaped Somerset paper 51 x 42 3/4 in. Edition of 45 Pencil signed and...

This print of a pine tree uses kitakata Japanese tissue chine collé to depict the warmth and colour of early autumnal light. It is then backed onto Hahnemule printmaking paper. The subject matter is from Ashton Court Estate in Bristol. This body of work is based on the book by Suzanne Simard, 'Finding the Mother Tree'. Trees communicate via mycorrhizal fungi to trade water and other nutrients. Ancient and mature trees nurture their offspring via these networks, as well as trading nutrients between other species. Botanist Simard has spent years working on this theory as part of a wider body of work, discovering what it means for forests, the climate and the wider Anthropocene. My work explores the ecological sublime and an appreciation of the majesty of nature. I use detailed intaglio etching, drypoint, lithography and chine collé to draw the viewer into an ethereal landscape that has an impact on our sense of place in relation to the natural world. I use primarily black and white with natural tones of chine collé and sometimes layers of lithographic texture to introduce warmth to the stark palette and to invoke a sublime emotional connection. I work from sketches, photographs, notes and memory to create my prints. ADDITIONAL INFORMATION: Black & White, Chine Collé, Drypoint, Drypoint print, Etching, Etching print on Paper Edition of 20 44 H x 32 W x 1 D cm (17.32 x 12.60 x 0.39 in) Sold unframed Image size: Height: 30cm (11.81 in) Width: 20cm (7.87 in) Complete size of sheet Height: 44cm (17.32 in) Width: 32cm (12.60 in) Depth: 1cm (0.39 in) ARTIST BIOGRAPHY: Fiona Hamilton is a printmaker based in Bristol. Interested in process she uses a combination of mediums, both traditional and contemporary, to produce unique imagery, often as one off pieces or in small limited editions. She currently works in silkscreen, cyanotype and foil. Fiona’s artwork draws on a lot of natural themes such as plants, leaves, trees and creatures including lots of birds. She mostly works directly from nature or from photographs she has taken. She regularly lugs a heavy telephoto lens about to get photos of birds...

Drypoint print onto photolitho printed kitakata with subtle gold ink and mounted onto Hahnemule printmaking paper. This print of a tree uses litho printed kitakata chine collé to dep...