Art by Medium: Drypoint

The lotus is a sacred flower in many religious traditions and refers to spiritual awakening and purity of heart. This meditative symbol is a metaphor for rebirth and a life unfolding...

"This image refers to the many passage ways from Paleolithic caves to human-made architecture in the ancient world used for ritual and ceremony. Mimicking the birth canal, they provi...

This one of a kind print draws from a universal visual language of primal forms inspired by nature. The circle is an archetypal symbol that speaks of unity, oneness, and wholeness. ...

Coloured drypoint etchings. Limited edition, numbered as XVII/XXV. Signed in pencil by artist. Paper size: 40 X 26,5 cm Framed size: 71 X 57 cm very good condition. Bibliography: D...

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...

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right corner. It is also hand numbered 6 in pencil from the edition of 100, at...

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 ) si...

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 ) si...

A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.

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...

Claude WEISBUCH The angel of death Original drypoint engraving on Vellum paper Handsigned on bottom right 56 x 76 cm Claude Weisbuch, French (1927 - 2...

Color hard ground etching with aquatint, spit-bite aquatint, drypoint, roulette, and scraping and burnishing ed-30

BROWN, Paul Desmond (SIGNED) "Left Backhander and a Hook" International Polo Argentina vs USA (Copa de las Americas) in 1928, etching Matted and framed ...

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...

Bernard Buffet Annabel, 1979 Drypoint Hand-signed lower right Numbered 48/100 Image size 38.5 x 32 cm Sheet size 66 x 50 cm

Bernard Buffet Vase of Flowers, C. 1980 Drypoint in black, Hand signed lower right, Numbered 63/120 Image size: 65 x 50.5 cm Sheet size: 76 x 58 cm Reference : Buisson, no.56.63

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...

Leon Kossoff Outside Kilburn Underground Station 1984 Drypoint etching, Edition of 40 58.42 x 66.04 cms (23 x 26 ins) (paper size) 31 x 40.5 cms (12 3/16 x 15 15/16 ins) (plate size)

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...

Alexandre Arrechea´s work remains caught in an endless uphill climb towards a new representational framework. The pieces he produces serve as a warning of our own limits and how pret...

An original drypoint monotype by American female artist Kathleen Sherin.

An original drypoint monotype by American female artist Kathleen Sherin.

An original drypoint monotype by American female artist Kathleen Sherin.

This original etching and drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered in pencil from the edition of 110, at th...

This original etching and drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered in pencil from the edition of 110, at the lower left margin. There were 84 impressions on laid paper and a further 26 impressions on Japan paper. It was printed by Pan-Presse, Berlin in 1922 and published by Paul Cassirer, Berlin in 1923. Note: The work was part of Chagall's important and renowned series "Mein Leben...

Color spit bite and sugarlift with soapground and drypoint

“The Rubble” series consists of seven tapestry-like paintings hanging from hand-wrapped dowels. The color choice and materials identify what can be destroyed, re-formed, and at some ...

“The Rubble” series consists of seven tapestry-like paintings hanging from hand-wrapped dowels. The color choice and materials identify what can be destroyed, re-formed, and at some ...

Art Sz: 9 1/4"H x 14"W Frame Sz: 17 1/4"H x 22"W

Arnulf Rainer (Austrian, born 1929) Grüner Strom, 1999 Medium: Drypoint etching on wove paper Dimensions: 53.5 x 38 cm Edition of 35: Hand-signed and numbered in pencil Condition: Ve...

Salvador Dali Don Quichotte et Les Moulins a Vent, 1969 Dry point etching in colours on BFK Rives wove Hand signed and numbered 146 / 200 in pencil Sheet size 39.5 x 29.5 cm Image s...

Alexandre Arrechea´s work remains caught in an endless uphill climb towards a new representational framework. The pieces he produces serve as a warning of our own limits and how pret...

Rare original trio of drawings by Paul Desmond Brown (1893-1958) depicting: Virginia Gold Cup 1931/ Llangollen Farms 1932/ & National Horse Show 1932...

Hand signed and numbered by the artist. Sheet size 19.75 x 13 inches. Image size 14 x 7 inches. Artwork is in excellent condition. Certificate of Authenticity included. Edition of 6...

Image Sz: 5 7/8" x 15 3/4" Sheet Sz: 12 1/2" x 19 1/8"

Tambien esto / So is this (Disasters of War, plate 43, Harris 163, Delteil 162). Original etching, burnished aquatint, and burnisher, c. 1808-1814. The clergy are running; their floc...

Mixed Media (Watercolor, Ink and digital retouch) Archival Giclée print Limited Edition of 30. Fred Borghesi is an Italian artist born in 1987 who lives and works in London, UK. He...

Mixed Media (Drypoint Etching, watercolor and digital retouch), Archival Giclée print Limited Edition of 30. Fred Borghesi is an Italian artist born in 1987 who lives and works in L...

Bacon, Peggy (American, 1895-1987). ICE CREAM. Flint 6. Drypoint, 1918. Edition size not known, but likely very small. Titled "Ice Cream," dated "Nov. 19...

This complete set of fifty etchings, aquatints and drypoints are each hand signed by the artist "Edgar Chahine" at the lower left margins. The folio was printed by A. Routy, Paris and published by Sagot, Paris in 1906. The justification page is additionally hand signed in ink by the artist “Edgar Chahine” and the paper type is handwritten “Hollande”. The impression is numbered in ink from the edition of 75 on the justification page. Each of the 50 plates are hand numbered in pencil to reflect their sequence and refers to the titles on the justification page. Note: In 1906 the Fiancé of Chahine Mary Jacobsen died and the artist lost all love for life. His friend and publisher Sagot send him to Venice, Umbria and Toscana for distraction. Edgard Chahine returned with a sensitive group of etchings from the Italian countryside. Literature: "Edgar Chahine: Catalogue de l'Oeuvre Grave", by M.R. Tabanelli, Published by IL Mercante de Stampe editeur, Milano, 1977. Reference: Tabanelli 180-229. Condition: Very good condition. The etchings, aquatints and drypoints in very good condition and printing with burr. The support pages and justification page with foxing staining. The folio cover...

Art Sz: 6.5"H x 16.25"W Frame Sz: 15"H x 24"W

PAUL DESMOND BROWN (American, 1893-1958), Leaping horse and rider, engraving, pencil signed lower right Image Sz: 5 1/2"H x 7 1/4"W Frame Sz: 11 3...

Paul Desmond Brown steeplechase drypoint Art Sz: 7"H x 10"W Frame Sz: 12"H x 15"W

Stanley Anderson 1884-1966 Drypoint, signed out of the image bottom centre Image size: 9 x 11 inches (22.8 x 28 cm) Acid free mount Alfred Charles Stanley Anderson CBE RA was a Brit...

Image Sz: 4 7/8"H x 6 7/8"W Sheet Sz: 12 1/2"H x 15 1/2"W

MARINO MARINI 1901-1980 Pistoia, Italy 1901-1980 Viareggio, Italy (Italian) Title: Graphic Work / Opera Grafica, 1972 1. Impressions/ Impressioni, 1959 2. Emotion of the Scene / Mo...

Image Sz: 5 7/8" x 7 7/8" Sheet Sz: 9 3/4" x 12 1/2"

Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...

Art Sz: 7 1/2"H x 10 1/2'W Frame Sz: 13"H x 15 7/8"W Inscribed lower right: To Mr. F.S. O'Reilly Very Sincerely Paul Brown

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...

Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, f...

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Art Sz: 6 1/2"H x 8 3/8'W Frame Sz: 12"H x 13 3/4"W Inscribed lower right: To Mr. F.S. O'Reilly Very Sincerely Paul Brown The Cary Collection...

Art Sz: 8"H x 12"W Frame Sz: 13 1/4"H x 17"W w/ linen mat and gilt wood frame

Image Sz: 8 1/8"H x 7"W Sheet Sz: 12 3/8"H x 9 1/2"W *Vertical crease over plate*

This original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It was published in an edition of 110 hand signed impressions by Propyläe...

This one of a kind print draws from a universal visual language of primal forms inspired by nature. The circle is an archetypal symbol that speaks of unity, oneness, and wholeness. ...

The lotus is a sacred flower in many religious traditions and refers to spiritual awakening and purity of heart. This meditative symbol is a metaphor for rebirth and a life unfolding...

Art Sz: 9 3/8"H x 14 1/4"W Frame Sz: 15"H x 19 5/8"W

A Rose... drypoint and etching in colors, on Somerset paper, 2008 Signed and dated in pencil, numbered 7/10 Published by Crown Point Press, San Francisco, with their blindstamp, wit...