Art by Medium: Drypoint

Carrie Lingscheit's print often deal with relationships and memories. "Human experience is plagued by an inherent incompleteness—both perception and memory being naturally imperfect,...

Andre Masson, French (1896 - 1987) - Self-Portrait I (Portrait de l'artiste I), Year: 1946, Medium: Drypoint and aquatint on BFK Rives, signed and numbered in pencil, Edition: 50,...

"Holiday" is a work that displays Richard Jacobs early Balinese influence. This abstract work made with drypoint etching manifests a layer of depth and contrast that is achieved through an Indonesian technique of drawing the lines of the resist or printing it with a copper stamp that allows an artisan to selectively color the work through the soaking process. "Holiday" is exemplary of this earlier aquatint process before Jacobs would go on to apply a diversity of colors to his work. The print is 39 x 29 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 17 as there are multiple prints in the possession of Collected Detroit...

A lovely dark and inky impression, signed by the artist. Drypoint etching on cream laid paper, 10 7/8 x 8 5/8 inches (275 x 218 mm), full margins. Signed in pencil, lower center marg...

Guardians of the Spire; Amiens Cathedral Number 2 New York: 1937. Etching and drypoint on watermarked F.J. Head cream-colored, antique laid paper, 6 3/4 ...

Artist: Dali, Salvador Title: Macbeth Series: Much Ado About Shakespeare Date: 1968 Medium: original drypoint engravings Unframed Dimensions: 17.72" x 12.6" Framed Dimensions: ...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

Artist: Dali, Salvador Title: The Sun Series: The Hippies Date: 1969 Medium: drypoint with added color Framed Dimensions: 33" x 28" Unframed Dimensions: 25.5" x 20" Signature:...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

"Travelers" is a work that displays Richard Jacobs early Balinese influence. This abstract work made with drypoint etching manifests a layer of depth and contrast that is achieved through an Indonesian technique of drawing the lines of the resist or printing it with a copper stamp that allows an artisan to selectively color the work through the soaking process. "Travelers" is exemplary of this earlier aquatint process before Jacobs would go on to apply a diversity of colors to his work. The print is 39 x 29 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 16 as there are multiple prints in the possession of Collected Detroit...

Salvador Dali (1904-1989) - Gala's Godly Back Drypoint etching with stencil from 1973. Editon A 55/195 on Arches paper. Dimensions of work: 65.4 x 50.4 cm Publisher: Transworld A...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X ...

Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Signed in pencil and annotated "imp" lower right; Dedicated lower left: "To Bob Nisbet from…" Note: Desgined by William M. Kendall of McKim, Mead and White, this classical skyscra...

Heckel, Erich (German, 1883-1970). WINTERSONNE. Dube 318. Drypoint, 1913. Edition size not known. Signed and dated "Heckel 1913" in pencil. Printed on heavy wove paper. 4 3/4 x 6 1/...

Tête d’homme barbu by Pablo Picasso is a powerful and expressive portrait that highlights the artist’s mastery of form and character. The image depicts a bearded man, constructed thr...

Le Sculpteur by Pablo Picasso is a compelling and refined representation of the artist at work. The composition focuses on a sculptor figure, reduced to essential lines and forms, ye...

A set of three monumental etchings by Italian contemporary artist, Mimmo Paladino. Each nicely framed in black. Artist: Mimmo Paladino Title: Si...

Artist: Hans Bellmer, German (1902 - 1975) Title: VIII from Les Marionnettes Year: 1969 Medium: Hand-colored Drypoint Etching on Rice Paper, signed in pencil Image Size: 12 x 11 inch...

Nicola Tyson is known for her assertive depictions of the human body, typically odd arrangements of patched-together, distorted, or missing parts rendered in a bright but reduced col...

Tete De Femme Fernand Leger, French (1881–1955)\ Date: 1952 Drypoint Etching, stamp signed and numbered in pencil Edition of 100 Image Size: 7.75 x 4.75 inches Size: 12.5 x 9.25 in. ...

Pablo Picasso was one of the most influential artists of the 20th century, known for co-founding Cubism and constantly reinventing his artistic style. His *Portrait of Olga* depicts ...

Puffin is a hand coloured limited edition drypoint etching with carborundum by artist and printmaker, Kate Boxer. Kate Boxer brings the vibrant colours of the puffin's beak to life i...

Chinois inventa, dit-on, la poudre a canon, nous en fit don (The Chinese invented gunpowder, they say, and made is a gift of it) Aquatint, roulette, drypoint, acid bite, and scorper...

This original etching and drypoint is hand signed in pencil by the artist "Nicholson" at the lower left margin and dated “65” next to the signature. It is also hand numbered from the...

Profil de Femme Fernand Leger, French (1881–1955) Date: circa 1931 (pulled 1961) Drypoint Etching on Richard de Bas Edition of 102 Image Size: 10 x 8 inches Size: 15.75 x 12 in. (40....

Etching on laid paper Inscribed in pencil: Épreuve tirée de la planche donnée personnellement par l’artiste pour la Société des Aquafortistes Published by Cadart & Luquet, Éditeu...

The Donkey is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8 inches,...

"Love" Vintage San Francisco Drypoint Print Abstract print featuring a stylized version of the Japanese kanji for love, 愛, by S.T. Chang (American, 20th century.) The kanji is outli...

Girl's Head - Woman's Head (Harvard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from the original zinc an...

This print of a pine tree uses kitakata Japanese tissue chine collé to depict the warmth and colour of early autumnal light. It is then backed onto Hahnemule printmaking paper. The subject matter is from Ashton Court Estate in Bristol. This body of work is based on the book by Suzanne Simard, 'Finding the Mother Tree'. Trees communicate via mycorrhizal fungi to trade water and other nutrients. Ancient and mature trees nurture their offspring via these networks, as well as trading nutrients between other species. Botanist Simard has spent years working on this theory as part of a wider body of work, discovering what it means for forests, the climate and the wider Anthropocene. My work explores the ecological sublime and an appreciation of the majesty of nature. I use detailed intaglio etching, drypoint, lithography and chine collé to draw the viewer into an ethereal landscape that has an impact on our sense of place in relation to the natural world. I use primarily black and white with natural tones of chine collé and sometimes layers of lithographic texture to introduce warmth to the stark palette and to invoke a sublime emotional connection. I work from sketches, photographs, notes and memory to create my prints. ADDITIONAL INFORMATION: Black & White, Chine Collé, Drypoint, Drypoint print, Etching, Etching print on Paper Edition of 20 44 H x 32 W x 1 D cm (17.32 x 12.60 x 0.39 in) Sold unframed Image size: Height: 30cm (11.81 in) Width: 20cm (7.87 in) Complete size of sheet Height: 44cm (17.32 in) Width: 32cm (12.60 in) Depth: 1cm (0.39 in) ARTIST BIOGRAPHY: Fiona Hamilton is a printmaker based in Bristol. Interested in process she uses a combination of mediums, both traditional and contemporary, to produce unique imagery, often as one off pieces or in small limited editions. She currently works in silkscreen, cyanotype and foil. Fiona’s artwork draws on a lot of natural themes such as plants, leaves, trees and creatures including lots of birds. She mostly works directly from nature or from photographs she has taken. She regularly lugs a heavy telephoto lens about to get photos of birds...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

Camille Pissarro (1830-1903), Grand-mere (effet de lumiere), etching and drypoint, 1889, signed in pencil lower right, titled lower left, inscribed “No 3 – ...

Nadelman, Elie (Born Poland, 1882, Died in New York, 1946). WOMAN'S HEAD (WOMAN'S HEAD WITH RIBBON). Drypoint, 1920. 4 1/4 x 2 3/4 inches, 106 x 69 mm., plus margins. Unsigned, as us...

“Slope w/five trees” is a drypoint engraving created by Robert Kipniss in 2020. The paper size is 12.50 x 10.50 inches and the printed image size is 6.75 x ...

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...

Artist: Dali, Salvador Title: God, Time, Space, and the Pope Series: After 50 Years of Surrealism Date: 1974 Medium: drypoint engraving with hand coloring on Arches Unframed Dim...

Bare Arms (The Practice #1) Drypoint on Aluminum, 2019 Signed with the artist's initials (see photo) The first plate from a proposed suite of 9 drypoints, all printed in an edition o...

Whistler, James A. M. SAN BIAGIO. Etching and Drypoint, 1880. Glascow 237, K.197; M.194; W.163. State 8 of 17. With the printed butterfly at left, and with the butterfly signature in...

Lewis, Martim (American, born Australia, 1881-1962). ICE CREAM CONES. McCarron 78. Drypoint, 1928. Edition of 75, of which only 70 were printed. Signed in pencil, lower right. 9 3/4 ...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

Hermine David (1886-1970) La Corrida, etching and drypoint, 1929, signed and numbered (20/100) in pencil (Inventaire Bibliotheque Nationale de France #22)....

Artist: Percy John Delf Smith (English, 1882-1948) Title: "Scythers Resting" *Signed by Delf Smith in pencil lower right. It is also signed in the plate (printed signature) lower lef...

Edition of 50 printed by Charles White in 1951 for the estate Bibliography: Lincoln Kirstein, Elie Nademan (New York: The Eakins Press, 1973),, 20 Elie Nadelman Born 1882, Warsaw...

1926. Drypoint. Appleby 119. 6 7/8 x 8 7/8 (sheet 9 x 12 1/4). Edition 100, #97. Printed by David Strang on cream laid paper. Wrinkling in the margins; otherwise fine condition. A rich impression with tonal wiping and drypoint burr. Signed and numbered in pencil.n pencil. Housed in a 16 x 20-inch archival mat, suitable for framing. The bathing machine...

Appleby 97. 4 x 6 15/16 (sheet 8 1/8 x 10 3/8). Edition 100. A rich impression with drypoint burr and carefully wiped plate tone, printed on 'FJ Head' paper, on the full sheet with ...

Salvador Dalí  Argus from Mythology, 1963 Heliogravure and drypoint  Hand signed lower right Numbered  31/150 Image size: 39.5 x 49.5 cm Sheet size: 56 x 76 cm Published by Pi...

Salvador Dalí  Oedipus from The Mythology, 1963 Heliogravure and drypoint  Hand signed lower right Numbered  31/150 Image size: 49.5 x 39 cm Sheet size: 76 x 56 cm Published b...

Salvador Dalí  Athena from The Mythology, 1963 Heliogravure and drypoint  Hand signed lower right Numbered  31/150 Image size: 52.5 x 41.5 cm Sheet size: 76 x 56 cm Published ...

Sloan, John (American, 1871-1951). NIGHT WINDOWS. Morse 152. Etching and drypoint, 1910. The 5th state of 5. Edition of 100. Titled, signed, and inscribed...

PATSY CLINE (UNFRAMED) Drypoint, acrylic ink and gouache 27 3/8 x 17 7/8 in 69.5 x 45.3 cms Artist biography: Kate Boxer, artist and printmaker, was born in Sussex in 1961 and studi...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

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...

An etching from the Journal D'un Graveur which is made up of 3 Volumes, each containing a suite of 15 dry-points, preceded by an engraving in color wash, etching and aquatint. All th...

An etching from the Journal D'un Graveur which is made up of 3 Volumes, each containing a suite of 15 dry-points, preceded by an engraving in color wash, etching and aquatint. All th...

Salvador Dali (1904-1989) - Guerre de 1914–1918 (The 1914–18 War) Drypoint etching from 1967. The edition of 122/145 on Japan paper. Enhanced with watercolor.. Dimensions of work:...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...

Rare deluxe issue printed on extremely fine Japanese paper (hand colored in stencil). Limited edition, numbered 235/250 in lower left corner. Signed in pencil by artist in lower rig...

"Mr. Thirteen" is an etching, engraving and drypoint created in 1995, edition: 12 signed in pencil. The print has an embossed chop in the lower right corner, a capital P in a circl...