Drypoint Art

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fro...

Artist: Aileen Mary Elliot (English, 1896-1966) Title: "Crab Boats, Southampton Water" *Signed by Elliot in pencil lower right Circa: 1925 Medium: Original Drypoint Etching on laid p...

Bacon, Peggy. THE CLINIC. Flint 109. Drypoint, 1932. Edition size not known, but likely very small as the print is rare. 4 15/16 x 6 7/8 inches, plus wide margins (the sheet is 11 x ...

French Village with Church is an artwork realized in the first half of the 20th century by Eugène Corneau. Etching and drypoint on paper. Monogrammed in pencil by the artist on the ...

Joan Miro - L'Issue Dérobée - Original Aquatint One plate from Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (D. 687-706; C. books 187) 1974 Dimensions: 36 x 54 cm Ed...

Charles Dufresne (1876-1938), Une Escale au Brasil (A Stopover in Brazil), etching and drypoint, c. 1920, signed in pencil lower right margin and inscribed “epreuve de artist” lower ...

Etching, aquatint, drypoint & roulette in colors on arches paper. Hand signed lower right by Henry Moore. Hand numbered 38/50 lower left (there were also 15 artist's proofs). Shee...

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...

This drypoint from 1942 was printed in a very small edition. Signed under the image in pencil at the lower right. Armin Landeck (1905-1984) was born in Crandon, Wisconsin, June 4...

Basketball is an original print in etching and drypoint on white paper realized by an anonymous artist of the mid-20th Century. In very good conditions. The artwork created through ...

Walt Kuhn (1877-1949), Advice, etching and drypoint, 1915, signed in pencil lower right and titled lower left. In generally good condition but obviously a proof impression, with marg...

- handsigned on the lower right - dated and unreadable inscripted in the plate - from the Suite Vollard - plate size: 19,5 x 27,6 cm; sheetsize: 34 x 44,5 cm - edition of 260, unnumb...

“Sky High” is a two-color a la poupee etching, aquatint, and drypoint, created in 2011, in an edition of 50. This impression is inscribed “15/50”. The paper size is 16 x 12 inches, ...

A superb impression of Martin Lewis's consummate image of Japan. Etching with drypoint on fine cream laid paper, 13 7/8 x 10 3/8 inches (352 x 265 mm); sheet 17 3/4 x 14 1/4 inches ...

Salvador Dali (1904-1989) - Holed Fruit from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand...

Hand signed. Artist's proof. Etching and drypoint on ivory colored paper. In excellent condition. Image Dimensions : 48 x 32 cm Reference: I Selection, Plate IV, Propyläen, berlin,...

A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...

Salvador Dali (1904-1989) - Holed Fruit from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Salvador Dali (1904-1989) - Don Quixote Pear from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. ...

An extremely scare impression of an image Landeck etched while touring Europe after his graduation from Columbia University. Drypoint etching on Japon paper, 9 11/16 x 9 7/8 inches ...

Profile Bust of a Girl - Woman's Head in Profile (Havard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from ...

A nostalgic image of a bucolic farmyard and thatched cottage, hearkening to a bygone era. c 1920. Etching with drypoint on laid watercolor paper with deckle edges, and an indiscerni...

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 ...

Evening, Port of Genoa. 1915. Drypoint. Dodgson 337.i/v. 7 5/8 x 9 15/16 (sheet 9 1/8 x 14). Edition of 45 in five states. An exceptionally rich impression with drypoint burr, printe...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

Drypoint etching on buff wove paper, 9 3/4 x 12 3/4 inches (250 x 322 mm), full margins. Signed in pencil, lower right margin. Some general age tone, and minor mat tone around the pe...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

The Sparrow Hawk 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, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

Lawrence Nelson Wilbur (1897-1988), 'The East River', drypoint, edition 65, 1946. Signed, titled, and annotated 'A. Jones Proof 1946' in pencil. Signed and dated in the plate, lower ...

Salvador Dali (Spanish, 1904 – 1989) The oak and the reed Drypoint etching with hand coloured pochoir, on Richard de Bas Auvergne, 1974 From the suite Le Bestiaire de la Fontaine pri...

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...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. Some small, scattered light spots...

Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margin...

The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Illustrated: Fine Prints of the Year, 1927. Printed on antique wove pap...

Salvador Dali (1904-1989) - Holed Fruit from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand...

Portrait of Adolph Menzel is a magnificent drypoint realized by Giovanni Boldini in 1897. Reference: Buzzoni / M. Toffanello, Museo Giovanni Boldini, G...

Jennifer Bartlett Graceland Mansions, 1978-79 Drypoint, aquatint, silkscreen, woodcut, and lithograph on J. Green Cold Press paper and Rives BFK paper 24 x 120 inches, unframed Ed...

Portrait of Albert Schweitzer. Etching. 11 3/4 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205....

“Nocturnal” was created in 1996 using etching, aquatint, and drypoint techniques with added hand color. The edition is 80 - this impression is inscribed “63/50”. The paper size is 1...

The Letter. 1921. Drypoint. Appleby 107. 7 x 9 3/8 (sheet 10 1/2 x 15 7/16). Edition 100. Illustrated: Fine Prints of the Year, 1925; Salaman, Modern Masters of Etching: Edmund Blamp...

“Urban Scope” is an etching, aquatint, and drypoint, with hand colored. Created in 2006 in an edition of 50. This impression is inscribed “19/50” – meaning it is the nineteenth imp...

The Greek-American artist George Constant is known for his modernist approach to traditional subject matter. This portrait of a young woman holding a book titled "When We Were Very Young...

Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108. 7 x 9 (sheet 10 1/2 x 15 1/2). A rich impression printed on cream wove paper with full margins. Illustrated: Salaman, Modern...

Chez Madame Dupont. 1931-32. Drypoint. Appleby 158. 8 3/16 x 11 3/4 ( 11 1/8 x 18 1/3). Edition 100, #75. A fine impression on pale cream-colored laid paper, printed on the full shee...

This artwork titled "Vegetation III" 1963, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, titled, dated and numbered 14/50 ...

George Zachary Constant (American/Greek 1892-1978), "Untitled: Head Of A Woman No. 1", Portrait/ Figurative Etching and Drypoint signed on Paper, 12 x 10 (15 x 13 Framed), Early to M...

Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent i...

Etching with drypoint and aquatint on light cream wove paper, 5 1/2 x 5 inches (140 x 122 mm), full margins. Signed in pencil in the lower margin. One of a total of 400 signed impres...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...

Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...

Salvador Dali (1904-1989) - The Museum of Genius and Fancy Drypoint etching with stencil from 1973. Editon A 55/195 on Arches paper. Dimensions of work: 65.4 x 50.4 cm Publisher:...

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 ...

This artwork titled "Fallscape" 1961, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated and numbered 15/40 in pencil by ...

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

4 individual drypoint engravings sold as a grouping that forms the whole. There are only 5 sets. This is #2 of 5. Paper size is 30 x 32 cm. Paper is Grabado, Punta seca. We are ...

'New Rochelle - Before the Wind', drypoint, 1931, edition 30 (only a few impressions printed), Rose l.163. Signed, dated '1932' and numbered '1 – XXX' in ...

Etching and drypoint on cream wove paper, full margins. Signed and numbered 59/75 in pencil, lower margin. Notations in pencil along the lower sheet edge, recto, well outside of ima...