Art by Medium: Intaglio

Door To The East no.60 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and...

Door To The East no.25 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, an...

Door To The East no.26 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and ...

Door To The East no.31 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and...

Door To The East no.1 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and ...

Door To The East no.90 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and...

Door To The East no.20 is a Cibachrome Photograph retouched by hand in progressive numbers, realized by the Italian contemporary artist Marilù Eustachio in 1987. Titled, dated, and ...

Artist: Marco Dente da Ravenna (Italian, 1493-1527) Title: "Venere e Amore sui Delfini (Venus and Cupid on Dolphins)" *Monogram signed by Dente in the plate (printed signature) lower left Circa: 1515-1520 (second state of three) Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown Publisher: Antonio Salamanca, Rome, Italy Reference: Bartsch XIV, page 244, No. 324; Passavant VI, page 69, No. 32; Le Blanc, II, page 111, No. 16; Imolesi Pozzi pages 71-72, 113, No. 10 Sheet size: 10.63" x 6.94" Condition: Thread margins. A strong impression in excellent condition Extremely rare Notes: Provenance: private collection - Périgueux, France. This work is also sometimes referred to as "Venus and Cupid riding two sea monsters, Cupid raises an arrow in his right hand, two heads representing wind in the clouds above". The engraver's monogram "SR" lower left. Published by Antonio Salamanca (1478-1562) in Rome, Italy with his address printed lower right: "Ant. Sal. Exc.". No watermark found. This engraving is after a drawing by Italian artist Raphael aka Raffaello Sanzio da Urbino (1483-1520). Biography: Marco Dente da Ravenna (1493–1527), usually just called Marco Dente, was an Italian engraver born in Ravenna in the latter part of the 15th Century. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi...

Eternal Recurrence #16 by Natasha Zupan Measure: 73" x 20" x 8" Edition of 10 in collaboration with deiNERI Limited edition prints on Acrylic glass with stand This work is signed and...

TECHNICAL INFORMATION: John Baldessari Two Figures (One with Shadow), from Hegel's Cellar Portfolio 1986 Photogravure and sugar-lift acquatint on torn Rives BFK deckle, printed almo...

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium museum plexi. A graduate of New York’s School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe’s master printer. His subjects include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril’s work demonstrates a command of technique that results from his extensive experience as a master printer. Baril developed a unique toning process that enriches the color and opulence of his photographs. Tom Baril is inspired by the nature studies of modernist photographers such as Edward Weston, Imogen Cunningham and Karl Blossfeldt. A similar attentiveness to the clarity of line, form, pattern and texture characterizes Baril’s still lifes. In composing the seascapes, Baril employs the traditional box camera obscura, better known as the pinhole camera...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

William Kentridge (b. 1955) is an internationally acclaimed South African artist renowned for his dynamic prints, drawings, large-scale installations, and animated films. Kentridge b...

Nicolás Guzmán shows us a selection of pieces taken from his new pictorial research, in which traditional techniques are mixed with industrial materials...

Original Intaglio Print The print is framed without glass. variable edition

After Salvador DALI (1904-1969) Butterfly suite : Normandy, 1969 Lithograph and heliogravure Printed signature in the plate bottom right Tall model, from the 700 unumbered edition P...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Salvador DALI (1904-1969, after) Butterfly suite : Paris, 1969 Heliogravure / Photogravure Blind stamp signature bottom right Numbered / 1700 copies Printed in Draeger workshop On v...

Artist: William Henry Toms (English, c.1700-1765) Title: "Draught of a Galley" (Plate 13, Vol. III, page 131) Portfolio: La Spectacle de la Nature Year: 1737 Medium: Original Hand-Colored Engraving on laid paper Limited edition: Unknown Printer: Unknown, London, UK Publisher: Humphreys, London, UK Framing: Recently framed in a Regency style gold moulding with rag matting from Holland and museum glass. The frame is an antique frame we've reused, originally built by Knoedler Gallery, New York, NY Framed size: 10.25" x 10.25" Sheet size (irregular margins): 6.63" x 8.25" Image size: 4.75" x 6.75" Condition: In excellent condition with strong colors and good margins Rare Notes: Comes from the 1737 volume edition of Noël-Antoine Pluche's "La Spectacle de la Nature", translated from the original French by Humphreys as "Nature Displayed". With two soft vertical folds within paper as issued. Various dealer reference numbers and an old price pencil inscribed in margins and on verso. Biography: William Henry Toms (c. 1700–1765) was an English engraver. He worked on portraits, book-plates, landscapes and prints of buildings. Among his works were the plates for Robert West's "Perspective Views of All the Ancient Churches in London" (1736–1739). In 1741, he worked with Thomas Badeslade on "Chorographia Britanniae or a New Set of Maps of all the Counties in England and Wales". The maps were republished on 29 September 1742, with additional place names. Among Toms's apprentices was the engraver and publisher John Boydell. W. H. Toms lived in Masham Street, London, and was the father of the painter Peter Toms. Toms died in 1765. Noël-Antoine Pluche (1688-1761) , known as the abbé Pluche, was a French priest...

The artwork will be sent unframed Unique 1/1 Artwork are signed by artist. Linocut, intaglio, colography and chine collé print technique from 3 matrices Unique 1/1 Size 26,4x18,3...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Artist: Manuel Robbe (French, 1872-1936) Title: "Le Bouquet de Violettes (The Bouquet of Violets)" *Signed by Robbe in pencil lower right Year: 1903 Medium: Original Hand-Colored Etc...

Medium: Intaglio (etching, acquatint, monotype) Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prin...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 10" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

Artist: John James Audubon (American, 1785-1851) Title: "Snow Bunting" (Plate CLXXXIX - 189; part No. 38) Portfolio: The Birds of America, Havell Edition ...

Carborundum and intaglio. Signed and numbered from the edition of 24. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

This image is printed in black ink on Hahnemühle Copperplate paper in an edition of 12 from a copper photogravure plate made from the artist's original 35mm camera negative. The scene was shot in New York City during a snowstorm. The camera's flash illuminated the falling snowflakes. The artist's signature, title, date and edition number are in pencil on the front, lower margin. This print is included in Volume 1 of "Toward What Sun?", the artist's ongoing series of photogravure prints. It is available singly or as part of the ten prints that comprise Vol.I. Philip Van Keuren...

After Georges Braque (French, 1882-1963) "L'Oiseau d'Or," embossed cast-paper intaglio with 18K gold paint after Braque's Oiseau brooch design, unsigned...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

This image is printed in black ink on Hahnemühle Copperplate paper in an edition of 12 from a copper photogravure plate made from the artist's original 35mm camera negative. The artist's signature, title, date and edition number are in pencil on the front, lower margin. This print is included in Volume 1 of "Toward What Sun?", the artist's ongoing series of photogravure prints. It is available singly or as part of the ten prints that comprise Vol.I. Philip Van Keuren...

This image is printed in black ink on Hahnemühle Copperplate paper in an edition of 12 from a copper photogravure plate made from the artist's original 35mm camera negative. The scene was photographed on an Amsterdam street. The artist's signature, title, date and edition number are in pencil on the front, lower margin. This print is included in Volume 1 of "Toward What Sun?", the artist's ongoing series of photogravure prints. It is available singly or as part of the ten prints that comprise Vol.I. Philip Van Keuren...

This image is printed in black ink on Hahnemühle Copperplate paper in an edition of 12 from a copper photogravure plate made from the artist's original 35mm camera negative. The scene was captured in New York City's Central Park. The artist's signature, title, date and edition number are in pencil on the front, lower margin. This print is included in Volume 1 of "Toward What Sun?", the artist's ongoing series of photogravure prints. It is available singly or as part of the ten prints that comprise Vol.I. Philip Van Keuren...

This artwork titled "Gon No Nami IV" 1983 is an original intaglio (unique work) on rag paper laid down to B.F.K Rives paper, by noted Japanese/Americ...

Bilder vom alten und neuer Berlin is an original modern rare book illustrated by Heinrich Zille (Radeburg, 10 January 1858 - Berlin, 9 August 1929) in 1...

Robert Indiana ERR 1963: A rare, sought-after early Robert Indiana print defined by surreal, experimental cinematic-like energy. Hand-signed by Indiana on the lower right. Medium: Photoengraving and etching on Rives BFK. Dimensions: 4 1/2x6 inches (including margins). Very good overall vintage condition. Signed, dated and inscribed "Artist's Proof 'E'" and "CHI" in pencil, lower margin. Rare Trial proof, aside from the main edition of 60. Printed by the artist at the School of the Art Institute of Chicago. Further background: According to Susan Sheehan, Indiana printed only six progressive trial proofs at the School of the Art Institute of Chicago, where he learned printmaking from 1949 to 1952, under the supervision of Vera Berdich (inscribed "CHI"). Additionally 13 trial proofs were printed at the Pratt Graphic Art Center, New York (these inscribed "NYC"). The regular edition was printed by Atelier Georges Lablanc, Paris and published by Galleria Schwarz, Milan to be included in International Anthology of Contemporary Engraving: The International Avant-Garde: America Discovered, Volume 5. The plate used for this print was originally given to the School of the Art Institute of Chicago by the R.R. Donnelly Company, printers of Life magazine. Indiana discovered the plate while visiting Berdich at the school and decided to use it in his contribution to the Avant-garde portfolio. Sheehan 29. Robert Indiana 1991: "When I went back to the Art Institute of Chicago at that particular time - I think I was judging a show - I learned that Vera Berdich (Indiana's former teacher) was still there and the idea occurred to me, wouldn't it be fun to do a visiting artist etching, and she concurred. There on the floor was a box of copper plates and the images had been defaced on each one. These copper plates had been donated by the R.R. Donnelly Company, which put out Life magazine. I used to work for Donnelly. My only commercial art job was with them doing the little drawing that appear in the Yellow Pages, like lawnmowers and vacuum cleaners and things like that. Anyway, the idea being that the student was supposed to turn the plate over to use the back side and forget about the image on the front. But I found this image of this actress sitting on her bed with her ironing board and decided it was only very lightly defaced, so I asked if I could use it. And the word "Err" was actually added in New York; it was not in the first proofs in Chicago. Two weeks later, I was thumbing through LIFE magazine and there was this actress in the same page..." About the artist: Robert Indiana is best known for his iconic “LOVE” image, which has appeared across media including sculptures, prints, and paintings and epitomizes the artist’s graphic, predominantly text-based Pop art practice. Throughout his career, Indiana reimagined the aesthetics of American advertisements...

In this framed wall sculpture, hand-colored intaglio prints on loktah tissue and hand-colored digital prints on kozo paper cut to mimic botanical shapes and pinned with entomology pi...

Layering fabrics, dyes, pigments, crystals, and various other natural materials, Martha Tuttle is a master of juxtaposing textures to explore the relationship between humans and the physical world. Her unique artworks draw upon a variety of mediums to create harmonious compositions vibrating with her artistic energy. Tuttle’s new triptych of prints — "The Colors of a Cholla Cactus...

Artist: Henri Le Sidaner (French, 1862-1939) Title: "La Nappe Rose (The Pink Tablecloth)" Portfolio: Henri Le Sidaner (Camille Mauclair) *Issued unsign...

Artist: Salvador Dali (Spanish, 1904-1989) Title: "Le Téléphone (Lobster Telephone)" Portfolio: Hommage à Leonardo da Vinci (Great Inventions) *Signe...

Bernard Schardt worked on the the WPA in NYC during the Depression. (During this period, off and on, he lived with friend and colleague Jackson Pollock...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a woman posing with her face covered, creating a beautiful shadow concealing her face, the background has an ominous and luminescent quality with all but a lone house in the distance, all these pieces come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a woman posing in front of what looks to be a window looking into an interior with wallpaper covered walls, all these pieces come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea markets

This artwork titled "El Esforzado Rendon Picando un Toro, De Cuya Suerte Murio en la Plaza de Madrid" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravur...

This artwork from the suite "La Tauromaquia, Plate #23" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over this period, he created several series of intricately rendered figurative works, illustrating whimsical scenes featuring animals, plants and nubile winged figures. Boxer had, however, been making drawings of this nature throughout his career, and he insisted they were closely connected to his abstracts, made with similar gestures and motivation. The Tate Museum received twenty-five of Stanley Boxer’s prints as a gift of Kenneth Tyler from Tyler Graphics, comprising a complete portfolio of Ring of Dust in Bloom, 1976, an incomplete portfolio of Carnival of Animals, 1979, and two individual prints. This work is from Carnival of Animals, a portfolio of fourteen intaglio prints on handmade paper. Tate holds eleven of the prints from this portfolio (Elephants, Swan and Fossils are not in Tate’s collection). Stanley Boxer (1926-May 8, 2000) was an American abstract expressionist artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker. He received awards from the Guggenheim Fellowship and the National Endowment for the Arts. Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, A group that included Barnett Newman, Clyfford Still, and Mark Rothko and was a form of Abstract Expressionism and later included Helen Frankenthaler, Ad Reinhardt, Kenneth Noland, Gene Davis, Jules Olitski, Raymond Parker and Morris Louis. Boxer himself was adamant in rejecting this stylistic label. Over the years, he remained loyal to the materially dense abstract mode on which his reputation rested.. Art critic Grace Glueck wrote "Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color." In 1953 Boxer had his first solo exhibition of paintings in New York City, and showed regularly thereafter until his death. His paintings and sculpture were represented in New York City during the late 1960s through 1974 by the Tibor de Nagy Gallery, then by the André Emmerich Gallery from 1975 until 1993, and finally by Salander-O'Reilly Galleries until its demise in 2007. Richard Waller, director of the University of Richmond's Harnett Museum of Art, describes his evolution as an artist: You can see the shift from working with figurative imagery in the 1940s and early '50s to abstraction in the late '50s. The abstraction in the late '60s and '70s was more derived from color-field issues. In the 1980s, Boxer really hit his stride in larger works with lots of thick paint and splashes of color. He sold a lot, and his success in the art world in the 1980s gave him the freedom to do what he wanted to do most. He was married to painter and artist Joyce Weinstein. The Boca Raton Museum of Art in Florida hosted an exhibition entitled Expanding Boundaries: Lyrical Abstraction Selections from the Permanent Collection. At the time the museum issued a statement that said in part: "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Works by the following artists associated with Lyrical Abstraction will be included: Natvar Bhavsar, Stanley Boxer, Lamar Briggs, Dan Christensen, David Diao, Friedel Dzubas, Sam Francis, Dorothy Gillespie, Cleve Gray, Paul Jenkins, Ronnie Landfield, Pat Lipsky, Joan Mitchell, Robert Natkin, Jules Olitski, Larry Poons, Garry Rich, John...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a quiet scene divided in foreground, middle ground, and background that draws the viewer into the atmospheric perspective. In the foreground there is a haunting figure making eye contact, followed by some houses that create a gap to reveal another figure in the background that is out of focus, all if these aspects come together creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints of nineteenth-century statuary and Etruscan figurines utilizing a simplistic camera with a plastic lens. After she acquired a gravure press, Munder taught herself the art of photogravure. Munder explains, "This [plastic] lens produces a soft focus image that is evident in my work…The tree then branches as I work with the process if photogravure. Photogravure is a 19th century technique used to transfer an image to a copper plate by means of photomechanical process... the plate is [then] inked and printed on paper using a gravure press. My current imagery is focusing on wooden sculptures that have been found in French flea markets"

Photogravure was a favorite medium of this artist and its soft, dreamy quality lends itself to us feeling this is a snapshot back in time to another era. As we see in Sailing Boats, ...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stone...

This artwork from the suite "La Tauromaquia, Plate #10" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

This photogravure by Carol Munder, 16 x 16" framed; has a beautiful sense of light that creates an expressive image for the viewer, depicting a serene scene of a figure with a dog, next to a house creating an engaging narrative. Carol Munder (b. 1953) is a Key West based photographer and lithographer. Munder graduated from Colombia College in 1973 with a focus in photography. In 1986, she was the recipient of the NEXUS PRESS Book Competition residency. From the mid-1990s to the early 2000s, she created large-format black and white prints...

HUGNET, Georges. Huit jours a trebaumec [Paris]. Privately printed for the author, 1969. With 82 photogravures after photocollages by the author. Designed by Henri Mercher. Slim 4to, [92] pp; decorated two-color photogravure cover in imitation of a Michelin guide...

Edward Sheriff Curtis, Haschogan - Navaho, House God. 1904. Vintage photogravure on Japanese tissue from Volume 1 (Native American portraiture, N...

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print also uses the Japanese technique Chine-Collee.

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print used the Japanese Chine-Collee technique additionally.