“Harvest Time” is a richly textured 1970s intaglio etching by American printmaker Audrey Grendahl Kuhn, signed and numbered 41/100, measuring 22 x 30 inches. Executed in warm ochre-gold and terra-cotta tones, the composition layers embossed fields, woven-texture foregrounds, and softly rolling mountains beneath atmospheric sky bands—evoking the late-summer abundance, quiet labor, and natural rhythms of the harvest season.
Kuhn’s refined mastery of intaglio and embossment—rooted in her background as both a graphic designer and fine art printmaker—gives this landscape a sculptural presence. The work blends engraving, collagraph-like textures, and embossed relief, producing a tactile, luminous surface that shifts beautifully with light. An excellent example of her regional landscape series, “Harvest Time” remains highly desirable among collectors of mid-century and 1970s American printmaking.
“Harvest Time” reflects Audrey Grendahl Kuhn’s ability to merge natural observation with modernist texture-building. The softly carved mountain range reads as if emerging from layers of pressed fabric, textured papers, and engraved marks, while the vertical strokes in the midsection resemble harvested stalks or bundled sheaves. The lower band introduces woven or burlap-like texture, grounding the landscape in earthiness and materiality.
Kuhn uses a range of intaglio methods—engraving, drypoint-like linework, embossment, and collagraph textures pressed into the plate surface—to achieve both dimensionality and nuance. The warm monochromatic color field, shifting from pale gold to deep rust, evokes seasonal warmth and agricultural vitality.
Signed and numbered 41/100, this work presents beautifully, with crisp plate definition, deep embossing, and excellent tonal consistency throughout.
Audrey Grendahl Kuhn (Born 1929, Chicago, Illinois) is an American printmaker, graphic designer, and educator known for her technically refined intaglio etchings, embossed works, and symbolically rich abstractions created during the mid-20th century through the late 1970s and early 1980s. She is listed in Who’s Who in American Art, and her works are represented in numerous private and corporate collections throughout the United States.
Kuhn received her B.Des. from the University of Michigan, College of Architecture and Design (1952) and additional formal training at Skidmore College, the Russell Sage Division, and professional certification programs in art education. Her early career included significant work as a graphic artist at the Ford Motor Company (1952–56) and as assistant to the Art Director of Ford’s Public Relations Division (1956–57)—roles that shaped her precise visual language, meticulous craftsmanship, and modernist sensibilities.
From the 1960s into the 1970s, Kuhn expanded into fine art printmaking while working as a graphic artist for Shenendehowa High School (1970–72) and later as an art teacher at Shenendehowa Central Schools (1973–74). She also practiced as a part-time interior designer for Concept 2000 Interiors (1974–76), further integrating design principles into her fine art compositions.
Throughout the 1970s, Kuhn maintained an active exhibition career in the Northeast, with notable shows at:
• SUNYA Construction Fund, Albany, NY
• RPI Cultural Center, Troy, NY
• Mohawk-Hudson Regional, SUNYA Art Gallery (1973)
• Saratoga Art Fair (1973)
• Schenectady Museum (“Selections from the Stockade Art Show,” 1973–75)
• Shenendehowa Free Library (solo exhibition, 1973)
• Channel 17, Schenectady (solo exhibition, 1975)
• Unitarian Church of Schenectady (solo exhibition, 1976)
• The Arts Center, Albany (three-woman show, 1976)
• Shenendehowa Arts Festival (First Prize, 1976)
• Albany Artists’ Tent Show (First Prize in Graphics, 1976)
She was also a member or officer within several regional arts organizations, including:
• Graphic Artists, Capital District (Treasurer)
• Schenectady Museum Designer–Crafts Council
• New York State Art Teachers Association
• Oak Room Artists, Schenectady
• Lower Adirondack Region Council on the Arts
Her work was represented by:
• Schenectady Museum Sales–Rental Gallery
• Albany Institute of History and Art Sales-Rental Gallery
• Concept 2000 Interiors, Albany, NY
• Dayspring Graphics, Saratoga Springs, NY
Later Career & Legacy
Post-1977 records and artist-collector documentation show that Kuhn continued producing embossed intaglio prints, mixed-media works, and symbolically driven abstractions into the 1980s. Her works entered a variety of private, corporate, and institutional collections, consistent with her listing in Who’s Who in American Art, which cites both her fine art practice and her contributions as an educator and designer.
Her art is recognized for its refined craftsmanship, innovative embossing, and thematic integration of biological, cosmic, and geometric symbolism. Today, Audrey Grendahl Kuhn remains an important mid-century American printmaker whose work bridges design, architecture, and fine art through technical rigor and thoughtful conceptual clarity.
Audrey Grendahl Kuhn, “Harvest Time,” 1970s. Intaglio etching, 22x30 in., signed and numbered 41/100. Embossed earth-tone landscape with agricultural textures; excellent impression.
CERTIFICATE OF VALUE & AUTHENTICATION
Artist: Audrey Grendahl Kuhn
Title: Harvest Time
Date: 1970s
Medium: Intaglio Etching
Edition: 41/100 (Signed & Numbered)
Dimensions: 22 x 30 inches
Authenticity: Verified original signed and numbered intaglio etching by the artist.
Condition: Excellent; deep embossing; crisp linework; clean margins; vivid earth tones.
Provenance: Artfind Gallery, Washington, DC
Prepared For: Insurance, appraisal, and gallery documentation
Artist: Audrey Grendahl Kuhn
Early private collection (Upstate NY region)
Secondary market
Current Owner: Artfind Gallery, Washington, DC
Her work drew much attention at the New York Art Expo in the 1980s, captivating art enthusiasts with its unique flair and vibrant expressions. Seeking new muses, she spent her winter months in Mexico, where the colorful landscapes and rich culture infused her pieces with a fresh energy that echoed the vitality of her surroundings.
“Harvest Time” is a richly textured 1970s intaglio etching by American printmaker Audrey Grendahl Kuhn, signed and numbered 41/100, measuring 22 x 30 inches. Executed in warm ochre-gold and terra-cotta tones, the composition layers embossed fields, woven-texture foregrounds, and softly rolling mountains beneath atmospheric sky bands—evoking the late-summer abundance, quiet labor, and natural rhythms of the harvest season.
Kuhn’s refined mastery of intaglio and embossment—rooted in her background as both a graphic designer and fine art printmaker—gives this landscape a sculptural presence. The work blends engraving, collagraph-like textures, and embossed relief, producing a tactile, luminous surface that shifts beautifully with light. An excellent example of her regional landscape series, “Harvest Time” remains highly desirable among collectors of mid-century and 1970s American printmaking.
“Harvest Time” reflects Audrey Grendahl Kuhn’s ability to merge natural observation with modernist texture-building. The softly carved mountain range reads as if emerging from layers of pressed fabric, textured papers, and engraved marks, while the vertical strokes in the midsection resemble harvested stalks or bundled sheaves. The lower band introduces woven or burlap-like texture, grounding the landscape in earthiness and materiality.
Kuhn uses a range of intaglio methods—engraving, drypoint-like linework, embossment, and collagraph textures pressed into the plate surface—to achieve both dimensionality and nuance. The warm monochromatic color field, shifting from pale gold to deep rust, evokes seasonal warmth and agricultural vitality.
Signed and numbered 41/100, this work presents beautifully, with crisp plate definition, deep embossing, and excellent tonal consistency throughout.
Audrey Grendahl Kuhn (Born 1929, Chicago, Illinois) is an American printmaker, graphic designer, and educator known for her technically refined intaglio etchings, embossed works, and symbolically rich abstractions created during the mid-20th century through the late 1970s and early 1980s. She is listed in Who’s Who in American Art, and her works are represented in numerous private and corporate collections throughout the United States.
Kuhn received her B.Des. from the University of Michigan, College of Architecture and Design (1952) and additional formal training at Skidmore College, the Russell Sage Division, and professional certification programs in art education. Her early career included significant work as a graphic artist at the Ford Motor Company (1952–56) and as assistant to the Art Director of Ford’s Public Relations Division (1956–57)—roles that shaped her precise visual language, meticulous craftsmanship, and modernist sensibilities.
From the 1960s into the 1970s, Kuhn expanded into fine art printmaking while working as a graphic artist for Shenendehowa High School (1970–72) and later as an art teacher at Shenendehowa Central Schools (1973–74). She also practiced as a part-time interior designer for Concept 2000 Interiors (1974–76), further integrating design principles into her fine art compositions.
Throughout the 1970s, Kuhn maintained an active exhibition career in the Northeast, with notable shows at:
• SUNYA Construction Fund, Albany, NY
• RPI Cultural Center, Troy, NY
• Mohawk-Hudson Regional, SUNYA Art Gallery (1973)
• Saratoga Art Fair (1973)
• Schenectady Museum (“Selections from the Stockade Art Show,” 1973–75)
• Shenendehowa Free Library (solo exhibition, 1973)
• Channel 17, Schenectady (solo exhibition, 1975)
• Unitarian Church of Schenectady (solo exhibition, 1976)
• The Arts Center, Albany (three-woman show, 1976)
• Shenendehowa Arts Festival (First Prize, 1976)
• Albany Artists’ Tent Show (First Prize in Graphics, 1976)
She was also a member or officer within several regional arts organizations, including:
• Graphic Artists, Capital District (Treasurer)
• Schenectady Museum Designer–Crafts Council
• New York State Art Teachers Association
• Oak Room Artists, Schenectady
• Lower Adirondack Region Council on the Arts
Her work was represented by:
• Schenectady Museum Sales–Rental Gallery
• Albany Institute of History and Art Sales-Rental Gallery
• Concept 2000 Interiors, Albany, NY
• Dayspring Graphics, Saratoga Springs, NY
Later Career & Legacy
Post-1977 records and artist-collector documentation show that Kuhn continued producing embossed intaglio prints, mixed-media works, and symbolically driven abstractions into the 1980s. Her works entered a variety of private, corporate, and institutional collections, consistent with her listing in Who’s Who in American Art, which cites both her fine art practice and her contributions as an educator and designer.
Her art is recognized for its refined craftsmanship, innovative embossing, and thematic integration of biological, cosmic, and geometric symbolism. Today, Audrey Grendahl Kuhn remains an important mid-century American printmaker whose work bridges design, architecture, and fine art through technical rigor and thoughtful conceptual clarity.
Audrey Grendahl Kuhn, “Harvest Time,” 1970s. Intaglio etching, 22x30 in., signed and numbered 41/100. Embossed earth-tone landscape with agricultural textures; excellent impression.
CERTIFICATE OF VALUE & AUTHENTICATION
Artist: Audrey Grendahl Kuhn
Title: Harvest Time
Date: 1970s
Medium: Intaglio Etching
Edition: 41/100 (Signed & Numbered)
Dimensions: 22 x 30 inches
Authenticity: Verified original signed and numbered intaglio etching by the artist.
Condition: Excellent; deep embossing; crisp linework; clean margins; vivid earth tones.
Provenance: Artfind Gallery, Washington, DC
Prepared For: Insurance, appraisal, and gallery documentation
Artist: Audrey Grendahl Kuhn
Early private collection (Upstate NY region)
Secondary market
Current Owner: Artfind Gallery, Washington, DC
Her work drew much attention at the New York Art Expo in the 1980s, captivating art enthusiasts with its unique flair and vibrant expressions. Seeking new muses, she spent her winter months in Mexico, where the colorful landscapes and rich culture infused her pieces with a fresh energy that echoed the vitality of her surroundings.
