Peter Doig
Painter / Poet, 2025
Etching with aquatint, sugar lift, hardground, scraping, burnishing
Paper Size: 24 x 18 inches
Image Size: 19 3/4 x 13 3/4 inches
Edition of 20
St Lucian (rider), 2025
Etching with aquatint, sugar lift, hardground, scraping, burnishing
Paper Size: 24 x 18 inches
Image Size: 5 1/2 x 8 1/4 inches
Edition of 20
*detail
Two Trees (music), 2025
Softground etching in two colors
Paper Size: 24 x 18 inches
Image Size: 5 1/2 x 8 1/4 inches
Edition of 20
Hunters with Dogs (3 canal), 2025
Etching with aquatint, sugar lift, hardground, scraping, burnishing
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
Pissarro 2, 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 8 1/4 x 5 1/2 inches
Edition of 20
PM, 2025
Etching with aquatint, sugar lift
Paper Size: 24 x 18 inches
Image Size: 12 x 9 inches
Edition of 20
Pelican Island (Fernandes), 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
#13 (unlucky for some), 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 4 5/8 x 4 inches
Edition of 20
studiofilmclub (the tourist), 2025
Etching with aquatint, hardground
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
Lapeyrouse Wall (Fernandes), 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 15 1/2 x 12 inches
Edition of 20
Ski Jacket (night), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 16 x 13 inches
Edition of 20
Pond Life, 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 3 1/2 x 4 1/2 inches
Edition of 20
Head of Celebration (Grande Rivere), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 9 7/8 x 7 7/8 inches
Edition of 20
ADK (hammock), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 9 3/4 x 7 3/4 inches
Edition of 20
Pissarro #1 (at Derek's), 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 10 1/2 x 8 inches
Edition of 20
Santa Cruz (snow fall), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 15 1/2 x 11 1/2 inches
Edition of 20
Boy on Rope (AKD), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 8 5/16 x 5 5/8 inches
Edition of 20
Ski Jacket (pink), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 19 x 10 3/8 inches
Edition of 20
Boat Cave (Saut d'Eau), 2025
Etching with gravure, aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 5 7/8 x 8 inches
Edition of 20
studiofilmclub (black curtain), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 5 1/2 x 8 1/4 inches
Edition of 20
studiofilmclub (Lapeyrouse Wall), 2025
Etching with aquatint
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
Balcony North Coast 1, 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 5 1/2 x 8 1/4 inches
Edition of 20
Balcony North Coast 2, 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 8 1/4 x 5 1/2 inches
Edition of 20
Man Dressed as Bat (Embah), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 19 x 13 3/4 inches
Edition of 20
Lion in the Road (Jr Telfar), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 7 3/4 inches
Edition of 20
Carnival Lion (Fredrick Street), 2025
Etching with aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 7 1/2 x 11 1/2 inches
Edition of 20
Calypso 2, 2025
Etching
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
Calypso 1, 2025
Etching with hardground, aquatint, spitbite
Paper Size: 24 x 18 inches
Image Size: 7 3/4 x 4 1/2 inches
Edition of 20
Peter Doig’s Etchings for Derek Walcott mark a rare dialogue between poetry and printmaking, between painter and poet, island and mountain. The series of 28 etchings—18 of which were shown at the Courtauld Gallery in London in 2023—emerged from Doig’s longstanding friendship and creative collaboration with the Saint Lucian Nobel laureate Derek Walcott. Their exchange began when Walcott wrote poems in response to Doig’s paintings for the 2016 book Morning, Paramin, a luminous conversation between two artists bound by the landscapes of Trinidad and the legacies of exile. Doig’s Etchings for Derek Walcott complete the circle: visual meditations on Walcott’s poems that themselves had looked at Doig’s images.
Made between 2016 and 2025, these etchings traverse geographies and histories—Trinidadian beaches, Alpine valleys, fragments of European art, and the ghost of the Impressionist Camille Pissarro, who, like both artists, was shaped by the Caribbean. Pissarro’s dual identity as a Caribbean-born painter of modern France serves as a shared touchstone, linking Walcott’s Tiepolo’s Hound, his poetic biography of Pissarro, with Doig’s own reflections on painting, migration, and belonging. In Doig’s prints, Pissarro’s legacy surfaces not as homage but as a connective thread, joining island light with European lineage.
Peter Doig is a remarkably skilled etcher, known for his meticulous process of working and reworking the plate—building, effacing, and rediscovering the image. Through this alchemical labor, he distills the painterly atmosphere of his canvases into luminous, tactile etchings. In these works, figures drift through dreamlike terrain—mountain peaks recall Zermatt’s cold brilliance; Trinidadian valleys hum with humid vegetation and memory. The imagery fuses two climates, the northern and the tropical, mirroring the dual heritages of both men: Walcott’s Caribbean and cosmopolitan sensibility, and Doig’s oscillation between Canada, London, and Trinidad. The Alpine scenes evoke remoteness and introspection; the island ones, immersion and immediacy. Together, they chart a poetics of displacement and return.
In one etching, Doig depicts Walcott himself painting, a tender inversion of their exchange: the poet becomes the image-maker. Throughout the series, Walcott’s presence hovers—sometimes as likeness, sometimes as atmosphere. These prints are not illustrations but re-imaginings, turning Walcott’s metaphors back into form and light. As Doig has said, etching is “alchemical,” a process of transformation through pressure and chance; here, it becomes a medium for friendship and remembrance.
Etchings for Derek Walcott stands as a tribute to creative reciprocity and to the enduring power of dialogue across mediums. In their crossing of poem and image, Caribbean and Alpine, memory and place, Doig’s prints become both homage and afterimage—an art of looking, reading, and re-seeing.