Art by Medium: Drypoint

Monogram and date of etching in the plate bottom left. 220mm by 305mm (platemark) 310mm by 390mm (sheet)

Signed, titled and numbered by the artist. Image size: 4.75 x 4.5 inches Medium: aquatint and drypoint Year: 2014 Edition size: 50 Abstract image invoking scenery of the Mediterrane...

Salvador Dali (1904-1989) - Le Buste (The Bust) Drypoint etching with roulette from 1969. The edition 142/145. Dimensions of work: 38 x 28 cm. Hand signed. Publisher: Pierre Arg...

Richly-inked and superb impression of this engraving and drypoint on cream wove paper. This is the eighth state (of 8). Signed, dated and numbered 28/100 in pencil by Bourgeois. Publ...

Ducks is a limited edition drypoint etching by artist and printmaker, Kate Boxer. The monochromatic colour scheme of the work gives the subject matter a gravitas that makes for a con...

Watercolor on paper Fred Borghesi is an Italian artist born in 1987 who lives and works in London, UK. He is above all a multidisciplinary artist, const...

Drypoint etching on laid paper Signed in the plate, lower right Pierre-Auguste Renoir was a leading figure of the Impressionist movement. His early work focused on...

Artist: Jim Dine Title: Dynamite Year: 1998 Medium: Woodcut, aquatint, etching and power tool drypoint in colors on Folio Antique paper Edition: 18; signed, numbered and dated in pen...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...

Etching with drypoint on cream wove paper with deckle edges, 4 3/8 x 12 3/4 inches (233 x 323 mm); sheet 9 1/2 x 15 3/4 inches (240 x 338 mm), full margins. Signed and numbered 4/75 ...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

JAMES ABBOTT MCNEIL WHISTLER (1834 – 1903) THE FORGE 1866 (Kennedy. 68 iv/vi: Glascow 86 vi/vi) Etching and drypoint. Signed and dated in the plate 1866. VERY GOOD IMPRESSION WITH...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

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 ...

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed ...

This piece titled "I-76" is original artwork made from pencil, marker, carborundum drypoint print adhered to panel by Miriam Singer. This piece measures 10"h x 6"w. Miriam Singer grew up in Buffalo, New York, In 2000 she received her BA from Brandeis University, and in 2003 her MFA from Massachusetts College of Art. Since moving to Philadelphia in 2004; Miriam Singer has exhibited at James Oliver Gallery. Stanek Gallery, LG Tripp Gallery, Woodmere Art Museum, Space 1026, Friends of the Print and Picture...

Jean-François Raffaëlli (French, 1850-1924) Le Marchand de Habits, 1895 Etching and drypoint Sight: 6 x 4 in. Framed: 12 x 9 3/4 x 3/4 in. Initialed lower left in plate: R This etc...

Published in Paris by Chalcographie Louvre around 1910. Drypoint etching on buff wove paper, 7 x 11 inches (175 x 278 mm) full margins. With the "Musée Louvre Chalcographie" blind st...

Etching, aquatint and drypoint. Not Signed and not Numbered as issued. Edition of 226 pieces. Belongs to the Suite "Histoire Naturelle de Buffon" (plate p. 86). Printed by Lacourièr...

Etching with drypoint in blackish brown ink on antique cream laid paper with a large crown and crescent moon watermark, 8 1/2 x 4 3/4 inches (215 x 119 mm); sheet 14 1/2 x 10 3/4 inc...

Art Sz: 6 1/2"H x 16 1/4"W Frame Sz: 14 3/8"H x 23 5/8"W Signed lower right: Paul Brown

Spring Night, Greenwich Village--1930, Drypoint and Sand Ground.McCarron 85, only state. Edition 92. Signed in pencil. Signed in the plate, lower rig...

A dynamic football image from the 1920s by a female artist known for her sports scenes. Etching with drypoint on exceptionally fine laid Japon paper with a double watermark, 10 7/8 ...

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...

Etching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the pl...

Eduardo Chillida (Spain, 1924-2002) 'Korapillo I', 1982 chine colle, dry point on japanese paper 25.6 x 19.7 in. (65 x 50 cm.) Edition of 50. Original 62 of which 50 belong to the regular edition. P/A: 7, H.C.: 5 Unframed ID: CHI1038-012 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 288 – 289. Nr 82002. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

Wassily Kandinsky (1866-1944), Etching 1916 Number II, drypoint, signed in pencil lower right, titled, numbered (No. 9) and dated lower left [also with initials and date in the plate lower right]. Reference: Roethel 154, only state, edition of 10. In excellent condition (the barest handling fold at sheet edge), printed on a heavy ivory wove paper, the full sheet with full margins, 4 7/8 x 3 1/4, the sheet 17 1/2 x 13 inches, archival mount with window mat. A fine fresh impression of this great rarity, printed in a dark brown ink. Kandinsky created this drypoint (erroneously named Etching 1916) in early 1916 while staying with Gabriel Munter in Stockholm during the winter of 1915-16. This is from the second series of drypoints he made; the first was in the year 1913-14. Provenance: Kornfeld Auction, Bern, June 2007. The tiny size of this edition (10) makes this print a great rarity within the Kandinsky’s printed...

Etching with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

Medium:  Aquatint, Drypoint, Etching Year: 2010 Image Size:  9.84 x 7.9 inches Edition Size: 85 A dramatic canyon landscape with cascading light breakin...

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Salvador Dali (Spanish, 1904-1989) Le Coche et la Mouche (The Coach and the Fly) 1974 Drypoint etching on Japan paper Signed and numbered '79/250' (lower left) and 'Dali' (lower righ...

A nostalgic image of a bucolic farmyard and thatched cottage, hearkening to a bygone era. Etching with drypoint on laid watercolor paper, 9 7/8 x 11 3/4 inches, (251 x 229 mm), full...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

This piece is an original drypoint created by Pablo Picasso in 1905 and printed by Ambroise Vollard after steel-facing in 1913. It is from a series entitled La Suite des Saltimbanque...

hand watercolored drypoint etching on extremely fine Japanese paper, edited in 1969 limited edition of 145 copies water-colored , numbered in lower left corner ea ( artist proof ) signed in pencil by artist in lower right corner paper size: 38.5 x 28.5 cm framed size: 65 x 55 cm very good conditions Bibliography: Salvador Dalí Catalogue Raisoneé of etchings and mixed media prints Ref 369 pag 178 Fast and Tracked shipping with express currier DHL . We offer professional packaging and tracked shipping with DHL Express courier ( shipping time: 24 hours for European countries and 4 to 6 days for America and other non-eu countries...

Salvador Dali (1904-1989) - Portrait de Marguerite (Portrait of Marguerite) Drypoint etching with roulette from 1969. The edition 142/145. Dimensions of work: 38 x 28 cm. Hand si...

A superb impression from the artist's own collection. Etching with drypoint on watermarked FJ Head & Co. handmade laid paper, 10 3/4 x 9 7/8 inches (272 x 252 mm); sheet 18 1/8 x 14 ...

Victorian-style drypoint etching by James Dobie (British, 1849-1911), after a painting by Walter Dendy Sadler. Printed in London by J. Brooker & Co. and ha...

Cowboy dancers by Kate Boxer is a drypoint and carborundum print on paper. Additional information: Limited edition print Edition of 30 Signed by artist and inscribed with edit...

Bust of a young woman in profile Paul-César Helleu (1859-1927) JEUNE FEMME EN BUSTE, DE PROFIL À DROITE Color drypoint, circa 1900, on wove paper, signed and annotated 29 in pencil,...

Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; ; Eric Denker, Reflections & Undercurrents: Ernest Roth ...

Leaning on a Pedestal Paul-César Helleu (1859-1927) JEUNE FEMME EN BUSTE, DE PROFIL À DROITE Black drypoint, circa 1900, on wove paper, signed and annotated 29 in pencil, with full ...

Tittle, Walter. MANHATTAN MINARETS. Drypoint, 1931. Titled, lower left and signed, lower right. Edition of 75. 14 1/2 x 8 7/8 inches (plate), 17 3/4 x 11 1/8 inches (sheet). In excel...

Etching, aquatint and drypoint in colours, 1987, on Magnani paper, signed and dated in pencil, numbered from the edition of 71 (there were also 8 artist’s proofs), published by 2RC E...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

Etching with drypoint on cream laid paper with a deckle edge, 7 7/8 x 13 1/8 inches ( 200 x 334 mm), full margins. Signed and numbered 27/100 in pencil in the lower margin. With two ...

See you at the palace is a limited edition drypoint etching with medium and gold leaf by Kate Boxer. The golden hooves of the cow give the work a majestic glow and brings life to the...

London: Fine Art Trade Guild, c1900. Etching with drypoint on cream laid paper with a deckle edge 11 1/2 x 8 1/4 inches (290 x 208 mm); sheet 15 x 11 5/8 inches (380 x 294 mm), full...

Etching and drypoint on laid paper, 1651. New Hollstein's third, and final, state. Full sheet size 5.38 x6.5 inches. Frame size 14.25 x 16.75 inches. Catalogue raisonné references...

Salvador Dalí  Argus from Mythology, 1963 Heliogravure and drypoint  Hand signed lower right Numbered  27/150 Image size: 39.5 x 49.5 cm Sheet size: 56 x 76 cm Published by Pi...

La Promenade Etching, soft-ground, aquatint & drypoint, Signed in pencil lower left Published by Edmund Sagot, Paris Edition of 50 in black only, aside from the edition of 50 in co...

Detailed hand colored landscape lithograph of a stone bridge in the countryside by French artist Albert Aristide Seguin. Signed illegibly in the lower right corner, matches other e...

Etching and drypoint on laid paper, 1934. With Picasso's ink stamped signature lower right, and numbered 29/50 in pencil lower left. Image 12.25 x 8.75 inches, full sheet 19.5 x 13...

Kate Boxer Ballerina Is this the hostel where the lazy and the fun-loving start up the mountain? Limited Edition Drypoint Print Edition of 30 Image Size: H 23cm x W 23cm Sheet Size: ...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...