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I have had the pleasure of knowing Mr. Graves for over a dozen years and can attest to his good character. He has enjoyed a thriving fine arts business in this area and I have done business with him over the years and found him to be most reliable and reputable. I can heartily recommend him to you without any reservation.
Samuel G. Rosenthal, M.D., P.A., Jacksonville, FL
When you purchase art from John Graves and hang it on your wall, you are improving your net worth. Every work must meet John Graves' high standards. He offers only art in the best condition. He has great scholarly and historical appreciation for his art.
Barclay Rives, Writer, Keswick, VA
Graves International Art was originally founded as The Collectors Exchange by John Graves in 1978 in Jacksonville, Florida. Within sixteen years the gallery grew to be the largest in North Florida, specializing in fine art from antique to modern. In 1994, he relocated his gallery operations to historic Central Virginia where he continues to the present day. In 2011, he was joined in the business by his son, Alex. Today, the gallery boasts the finest art in the region of Charlottesville, Virginia, with an impressive range of original prints, paintings, and works on paper by listed artists from around the world. American or European, antique or modern, we are interested in placing the finest quality of art with our clients.

Nearly 40 years in business,
Graves International Art has stocked and sold a wide variety of art from period Rembrandt etchings to Warhol soup cans. The gallery currently stocks a 16th century Raphael engraving to 20th century Roy Lichtenstein silkscreens. Graves International Art inventory of artwork ranges more than 500 years of different styles, artists, movements, mediums and more. All only original - made by the hand of the artist from $100 to five figures, something for everyone.
"Culture, history and artistry combined, leaving for us a rich legacy to enjoy and appreciate on many aesthetic levels."
My wife and I have known John Graves and his family for twenty five years. We are life long collectors of fine art and antiques. We have found John's advice and expertise to be of the highest quality possible. Being a collector of objects of beauty himself, John's eye for quality, value and uniqueness is exceptional. As a result, when in the market for a special gift or to add to our collection, we always contact John!
Paul and Helen Halloran, Jacksonville, FL
With Graves International Art, John Graves and his two talented sons bring large city art expertise and supply to Central Virginia and beyond. One would need a plane ticket to find its equal, but the knowledge, warm welcome and sincere personal attention is rare and frankly in today’s world is difficult to find anywhere.
William Remington, Gordonsville, VA
We wouldn't dream of purchasing a piece of artwork without the expert opinion of John. We trust him implicitly.
William and Arlene Newman, Jacksonville, FL
John Graves is a man who deals honestly with his customers. I have known and trusted him for years to decorate the walls of my house with only the finest of art works. I am proud to call him my friend and art counselor.
David Ogburn, M.D., Fruit Cove, FL
Spending an afternoon at Graves International Art is better than having a graduate degree in fine art.
Bill and Liz Ballou, Williamsburg, VA
You had the best art gallery in Jacksonville. After you moved to Virginia, the retail art market in Jacksonville took a dive and there hasn't been as good a gallery as yours since. We're glad to see that you're doing so well.
Mike and Mary Swart, Jacksonville, FL
Dr. Denys and John Wilcox are delighted to recommend their valued friend and colleague Mr.John Graves to all interested in Fine Art either for acquisition or study. His knowledge and integrity should give confidence to all.
Dr. Denys and John Wilcox, The Court Gallery, Taunton, UK
I have done business with John for over thirty years and can attest to his knowledge and integrity. I have purchased original works by Peter Max and Mark King, among others from his gallery. A connoisseur of art, I continue to build my fine art collection relying on his expert advice.
Robert M. Harris, Harris, Guidi, Rosner, Dunlap & Rudolph, P.A., Jacksonville, FL
TEL: (434)-202-8087
HOURS: MON - SAT, 11:00 - 5:00
Glossary of Printmaking Terms

An etching technique that creates areas of tone through the use of powdered resin that is sprinkled on the etching plate prior to being bitten by the etching acid. The result is a finely textured tonal area whose darkness is determined by how long the plate is bitten by the acid.

A color lithograph usually involving a large number of lithographic stones to allow a complex color separation. The term is often used to describe late 19th century color lithographs that emulate or reproduce paintings.

Similar to etching, but the lines are simply scratched into the plate manually, without the use of acid. The hallmark of a drypoint is a soft and often rather thick or bushy line somewhat like that of an ink pen on moist paper.

A form of intaglio printing in which lines are incised into a metal plate with a carving tool called a burin. The characteristics of burin engraving differ from that of etching in that engraving, requiring considerable force, is done from the strength of the arm and eliminates the quavering autographic qualities of etching, which is done more from the fingertips like fine drawing. The hallmarks of engraving are often elegantly swelling and tapering lines.

A means of incising lines in a metal plate with acid for printing in the intaglio technique. The plate is first covered with an acid resistant ground through which the artist scratches a design with a stylus or needle, revealing the bare metal below. This plate is then immersed in an acid bath that cuts the incised lines into the plate. Etched lines often betray the subtle motions of the artist's fingertips.

Any of the techniques in which an image or tonal area is printed from lines or textures scratched or etched into a metal plate (engraving, etching, drypoint, aquatint, lift ground, soft ground). The plate is covered with ink, then wiped clean, leaving ink in the incised lines or textures of the image. This plate is then printed in a press on moistened paper. The paper is forced down into the area of the plate holding ink, and the image is transferred to the paper.

A form of intaglio printing in which the artists draws with a specially formulated ink on a metal plate. The plate is then covered with an acid resistant ground and immersed in water. The characteristics of the drawing medium (which may be applied with a pen or brush) allow it to dissolve and work through the acid resistant ground. When bitten in acid, the final result resembles pen or brush work.

A printing technique in which the image is drawn on a very flat slab of limestone (or a specially treated metal plate). This stone is treated chemically so that ink, when rolled on to the stone, adheres only where the drawing was done. This inked image can then be transferred to a piece of paper with the help of a high pressure press.

An intaglio process invented around 1650 that allows the printing of rich tonal areas of black and grey. The mezzotint process begins by texturing a metal plate in such a way that it will hold a great deal of ink and print a solid black field. This is done with a tool called a "rocker." A rocker is essentially a large curved blade with very fine teeth along its edge. This blade is rocked back and forth, putting courses of fine dots into the metal plate. After this has been done repeatedly the plate will be covered with fine stipples that can hold ink. The next step is to scrape away the stippled texture where lighter passages are needed. The more vigorously the plate is scraped the less ink it will hold and the whiter it will print. Mezzotint differs conceptually from other intaglio methods because the artist works from black to white rather than white to black. For this reason mezzotint lends itself to scenes with many dark passages.

A form of printmaking in which the artist draws or paints on some material, such as glass, and then prints the image onto paper, usually with a press. The remaining pigment can then be reworked, but the subsequent print will not be an exact version of the previous print. Monotypes may be unique prints or variations on a theme.

A stencil print that does not involve a screen. Usually pigment is brushed across the openings of the template. Often the brush marks are discernable.

Impressions of a print. In the case of an incomplete print they are referred to as "working proofs."

Relief print
Any print in which the image is printed from the raised portions of a carved, etched, or cast block. A simple example would be a rubber stamp. The most common relief prints are woodcuts. The term "relief print" is used when it is not clear which kind of relief printing has been used (photomechanical or hand carved, for example).

Screen Print
A form of stencil printing in which the stencil is adhered to a fine screen for support. Ink can be squeegeed through the screen onto paper. Screen printing can have a hard edged quality caused by the crisp edges of the stencil. Also referred to as "silk screen" and "serigraphy."

Another term for Screen Print.

Soft Ground
An etching technique in which the plate is covered with malleable ground through which a variety textures can be pressed, allowing them to be etched into the plate. For example, a piece of paper laid on top of a soft grounded plate can be drawn upon with a pencil, and the resulting etched image will resemble a pencil line drawn on paper. To be distinguished from "hard ground" used for simple line etching.

Wood Engraving
A relief print carved in the end grain of a block of wood whose thickness is the same as the height as a piece of movable type ("type high"). This was traditionally a commercial technique practiced by specialists and used in magazines and book illustrations.

A relief print usually carved in the plank grain of a piece of wood. After the relief image has been carved in the plank with knives or gouges it is inked with a dauber or roller. It can then be printed by hand (in which case a sheet of paper is laid down on the inked plank and rubbed from the back with a smooth surface such as the palm of the hand or a wooden spoon) or with the help of a mechanical press.
There is nothing more wonderful than being in front of a amazingly crafted work of art; be it a sculpture, painting, a print or in deed a reproduction of one of the masters. Whether you are looking to purchase a new work of art to hang or simply enjoy looking at art of all types, Graves International Art is one of the best to do so. I first met John Graves in his gallery in Taunton England over 50 years ago where he was a dealer in fine arts. After having other gallery's over the years John now has a new gallery here in Charlottesville where he features unique works of art and hosts special events and exhibitions; where you can meet the artist and learn the history behind each piece of art. If you're interested in fine art, collecting fine art, or just interested in viewing and enjoy, it's worth visiting John Graves or his son Jack and making use of their vast wealth of knowledge regarding art. As a collector and lover of all things beautiful that have been created over the years by talented men and women I recommend visiting Graves International Art.
Raymond Austin AKA Baron DeVere-Austin of Delvin, Charlottesville, VA
World class fine art gallery. Founded and owned by John Graves, a reputable & knowledgeable art connoisseur who is greatly missed in his humble Florida beginnings.
Michael J. Adams, Jacksonville, FL
Est. 1978