Drypoint Landscape Prints

Adams Wirt Garrett was a Texas native who was raised in Oklahoma and came to New York City. He earned a Masters Degree in Art from Columbia University and attend the Art Students Lea...

Signed, titled and numbered in pencil by the artist. Edition size 50. Christian Bozon was born in Lons-le-Saunier, France in 1969. He was trained at the Art School of Besancon and t...

Such an innovative image on the classic 'Riders in the Park' theme! Further, the use of drypoint and the rather direct -- even aggressive -- drawing style, bring it into the German E...

Signed in pencil. This scene is a hundred years old but if we have snow this year it can easily be recreated.

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

Born in Tamines, Belgium, Victor DeWilde (1903-1977) settled in San Francisco around 1925. He studied at the California School of Fine Arts, SF, and California College of Arts & Crafts, Oakland. During the 1930s he taught at Commerce Evening High School and then worked on the WPA Art Education Program. His colleagues included Robert McChesney, Otis Oldfield, George Post...

Rome, Palatine Hill is a wonderful etching and dry-point on paper by realized by Cesare Biseo in 1898. Hand-signed and dated with the description on the lower in pencil. In very go...

Ryder, Chauncey. WINDSWEPT TREES. Etching & Drypoint, c. 1920. Edition size not known. Signed and titled in pencil. 8 7/8 x 11 7/8 inches, 225 x 302 mm. In excellent condition except...

The Trawler. 1926. Etching. Hurst 176. 9 7/8 x 13 7/8 (sheet 11 3/8 x 15 3/4). Edition 75, #71. Mat line outside the image; otherwise excellent condition.A fine impression with plate tone, printed on antique cream laid paper. Signed and numbered in ink. Housed in a 16 x 20-inch archival mat, suitable for framing. In 1899 Briscoe acquired a studio in Malden, Essex, and bought a 3 ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast and through the Dutch waterways, constantly sketching and painting in both oil and watercolor. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

Image dimensions: 17 x 23 cm. Allé sous bois is an original artwork realized by Paulette Humbert during the 1980s. hand-signed on the lower right by Paulette Humbert. Artist's pro...

Alluvions is an original artwork by the artist Paulette Humbert during the 1980s. Hand-signed on the lower right. Etching and drypoint on paper. Titled on the lower left. Edition o...

Untitled is an original artwork realized by Eugène Corneau in the first years of the 1930s. Etching and drypoint on paper. Monogram of the artist on the lower left. Excellent conditi...

MAURICE de VLAMINCK (1876 - 1958) BOISSY LES-PERCHES, 1951 (W148) Drypoint and etching. Unsigned but initialed in drypoint lower right in image, MV. 10 1/4 x 12 3/8 inches. Full sh...

Sharon Augusta Mitchell created this vividly colored image of five toucans with bright yellow bills set against a background of green tropical ferns and bright orange flowers. The im...

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. ...

Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 5/8 x 18 1/16). Edition 100, #86. A rich impression with drypoint burr. Printed with ...

The Pool of London. c. 1915. Etching and drypoint. 7 7/8 x 15 7/8 (sheet 11 x 14 7/8 x 21 1/4). A rich impression with drypoint burr printed on the full sheet of simili-Japan paper. ...

Very fine print on verge crème. Some small traces of oxidation, dust and some flowerings on external edges of sheet, otherwise excellent conditions. Full margins. Ref. Wentworth 50.

Poggio a Caiano is an original black and white etching realized by Ardengo Soffici in 1964. Hand written dedication on the right margin "Per Ardengo Soffici, Maria Soffici". Number...

Color spitbite aquatint and aquatint with drypoint

SALVADOR DALI (1904-1989) THE BELOVED FEEDS AMONG THE LILIES, 1971 Board for the series "The Song of Songs hymns" Aquatint and dry point on wove paper...

Ballerina is an original etching on paper realized by anonymous in the 1940s. In very good conditions. Sheet dimension: 33 x 25 cm. Image dimension: 24 x 17.5 cm. The artwork rep...

The image depicts a restaurant on New York's Mott Street with ornamental iron work on the balconies. There are six figures in the scene in various stages of contrast. Mott Street is considered the unofficial Main Street of New York's Chinatown. Ella Fitzgerald sang it best: “And tell me what street compares with Mott Street in July? Sweet pushcarts gently gliding by.” CFW Mielatz was an early influence on the drypoints and etchings of Martin Lewis. This piece was created in 1906 and it is signed in pencil. It is part of the collection of New York's Metropolitan Museum of Art C.F.W. Mielatz American, 1860-1919 Born in Bredding, Germany in 1864, Mielatz emigrated to the United States as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching...

Peter Takal’s original drypoint engraving “City Roofs” is an accomplished work of art created in 1956. It is printed upon fine laid paper with full deckled margins as published in the limited edition of two hundred and fifty impressions. This engraving bears an embossed stamp “The Print Club of Chicago” on verso. This impression is signed by Takal in pencil. “City Roofs” is a fine example of the engraved art created by the 20th century Romanian / German / American artist, Peter Takal. Peter Takal: Born in Romania in 1905, Peter Takal spent most of his youth in Berlin and was mainly self-taught. His first one-man exhibition took place in the Gurlitt Gallery, Berlin, in 1932. During the following seven years his art was frequently exhibited at galleries in Berlin, Munich, Paris and as well as Casablanca and Algiers. At the beginning of the Second World War (1939), Peter Takal came to the United States for an exhibition of his art at the Katherine Kuhe Gallery, Chicago. He decided to remain in the United States and became an American citizen in 1944. Living in New York, Peter Takal quickly established himself as a leading printmaker and a modern master of both lithography and drypoint engraving. One-man exhibitions of his art took place in New York City (1942), Chicago (1939 & 1941), Washington (1959) and Los Angeles (1966). International exhibitions of his art were held at the Galeria de Arte Mexicano, Mexico City (1959), the Palazzo Strozzi, Florence, Italy (1960) and at the Kestner-Museum in Germany (1962). Museums to date that include Peter Takal's original prints in their collections are, the Chicago Art Institute, the Library of Congress, Washington, the Los Angeles County Museum of Art, the United States State Department, UCLA, the Berlin National Museum and the Bibliotheque Nationale, Paris. Over the years, the Museum of Modern Art in New York and the Arkansas Arts Center have acquired a very extensive collection of Peter Takal's lithographs and drypoints. The artist died in 1995. The Print Club of Cleveland: Trees and Fields is an original lithograph commissioned by the Print Club of Cleveland in 1957 and published in a signed edition of 250 impressions. The Print Club of Cleveland is a non-profit adjunct organization and the country's first museum-affiliated print club devoted to the promotion of art and printmaking as a fine art for printmakers and collectors alike. With its creation in 1919, it has helped to support the growth of the department of prints and drawings at the Cleveland Museum of Fine Arts and has also been a source of great enrichment for collectors of fine prints. During the organizations long history, the club has annually commissioned one original etching engraving, lithograph, woodcut and or other form of original graphic art from such fine American artists as John Taylor Arms, Suzanne Anker, Luigi Lucioni, Will Barnet, Mark Tobey, Lyonel Feininger, Henry George Keller, Louis Lozowick, Karl Schrag, David Jansheski, Deborah Remington, and Peter Takal, as well as from leading international artists such as Henri Matisse, Edmund Blampied, Jean-Emile Laboureur, Salvador Dali, Michael di Cerbo, Phyliss Sloane, Paolo Boni, Juvenal Sanso...

Image dimensions: 13 x 18 cm. Etching on ivory colored paper. Etching on ivory colored paper, with two embossing stamps: "Libreria Prandi Reggio E." in lower-right corner,"H. Peti...

Untitled is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Monogram in pencil on the lower left. Excellent conditions. Precious an...

Detailed hand colored landscape lithograph of a stone bridge in the countryside by an unknown European artist. Signed "Clym" in the lower right corner. Nu...

McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions including 4 trial proofs). Illustrated L'Amérique de la Dépression: Artistes En...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

A drypoint and aquatint by artist Sylvia Plimack Mangold.

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...

Etching and drypoint. Schneiderman 133.v/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in...

Image dimensions: 10 x 14.8 cm. Two Lake Landscapes are the subjects on these two original black and white etchings and drypoint on paper,l realized by a German artist whose signatu...

Landscape is a black and white print realized by Edmone A. Ades in the First Half 20th Century. Etching and drypoint. The artwork represents a landscape. Hand-signed on the lower ...

Image dimensions: 9.8 x 14.4 cm. Les Quais de la Seine is a black and white print realized by Edmone A. Ades in the First Half 20th Century. Etching and drypoint. The artwork re...

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

Rainy NIght in Rome.. 1913. Drypoint. Dodgson 299.x. 12 x 9 (sheet 16 x 11 1/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Pr...

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate. According to Glasgow “Joseph Henry Wood had a greengrocer’s shop at 1 Park Walk...

French Village is an original artwork realized by Eugène Corneau between the end of the 1920s and the beginning of the 1930s. The monogram of the artist is present on the lower left...

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

"Venice II L'Ombre du Coleone" is a Jean Michel Mathieux-Marie aquatint and etching of a Venetian scene. It is from an edition of 120. Mathieux-Marie was born in Paris in 1947. He...

French Village is an original artwork realized by Eugène Corneau at the beginning of the 1930s. Drypoint and etching on paper. Perfect conditions. Th...

Hand signed. Edition of 75 prints. Includes passepartout: 49x34 cm. Very good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy creat...

London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). Mat line; otherwise fine condition. A rich impression with dryp...

The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 3/8 (sheet 11 5/16 x 18 3/18). Edition 80, #14. Illustrated: Fine Prints of the Ye...

The First Wooden Temple of Jupiter or Restoration of one of the first Temples of Jupiter Capitolinus, Rome.Dickins 47. 5 1/8 x 7 1/8 (sheet 9 3/16 x 11 5...

Interesting b/w etching and drypoint, representing the Parisian foreshortening of a bridge on the Seine. Edition of 50 prints. Signature, date, technique and print run, title handwri...

Albert Basin, Aberdeen. 1906. Etching and drypoint. Hardie 50. 5 7/8 x 9 1/2 (sheet 8 3/8 x 11 3/8). Edition 40, #39. Faint mat line; otherwise excellent condition. A richly inked impression with drypoint burr, on antique paper. Signed and numbered in ink. This is an extremely rare early McBey etching. Housed in a 16 x 20-inch archival mat, suitable for framing. Hardie writes, "An avenue of ships' masts rising dark against an evening sky. The light gleams on the pathway of water down the centre. A man and woman, by a boat, in foreground, to the left. Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon’s School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil’s and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson...

Signed in the plate lower left Note: Printed on September 26, 1980 in an edition of 4 restrikes. Reference: Paul McCarron, The Prints of Martin Lewis: A Catalogue Raisonne (Bro...

Ana Maria Pacheco portrays the fear and feelings of the displacement of refugees cowering beneath helicopters overhead. The title of the work refers ...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...

Westminster, Flood Tide. c. 1924. Etching. 9 x 13 3/4 (sheet 13 3/8 x 17 5/8). A fine impression printed on cream wove paper. Signed in pencil. Housed in a 16 x 20-inch archival ma...

2006, aquatint with drypoint, 17 3/4 x 23 3/4 inches, edition of 34

French Landscape is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Very good conditions except for some small folds on the left mar...

Erich Heckel (1883-1970), Antwerp, drypoint, 1914, signed and dated in pencil lower right margin. Reference: Dube 123. In excellent condition, the full sheet on a cream/ivory wove pa...

Reginald Marsh (1898-1954), Erie RR and Factories, etching and engraving, 1930, signed in pencil lower right and numbered (10) lower left [also signed and dated in the plate]. Refere...

The Dance of Death. 1914-1918. 1921. Portfolio of 7 etchings with drypoint. Sheet: 18 1/2 x 15 1/2. Edition 100. Title page annotated in ink by the arti...