Art by Medium: Drypoint

Image dimensions: 17 x 13 cm. Etching and Drypoint on ivory colored laid paper with embossing stamp "Libreria Prandi Reggio E." in lower-right corner. Edition of 13 prints. Wonderf...

Image dimensions: 16 x 15 cm. Interesting etching and burin, titled and hand-signed with pencil on lower margin by the Italian artist, Walter Piacesi. Artist's Proof. In very good c...

Landscape is a black and white print realized by Edmone A. Ades in the First Half 20th Century. Etching and drypoint. The artwork represents a landscape. Hand-signed on the lower ...

Portrait d'un homme is a beautiful original pencil drawing on paper, realized at the beginning of XX century by an unidentified artist. Unsigned This original sheet is glued to a wh...

Jean- Louis Forain (1852-1931), Similitudes, etching and drypoint, not signed [signed in the plate upper right], 1880, from the total edition of 545, on wove paper, in generally good...

Alluvions is an original artwork by the artist Paulette Humbert during the 1980s. Hand-signed on the lower right. Etching and drypoint on paper. Titled on the lower left. Edition o...

Hand Signed. Edition of 50 pieces. Original title: "L'insidia". Very good conditions.

Image dimensions: 17.5 x 23.7 cm. Redemption is a splendid etching and drypointr ealized by the Italian artist Riccardo Tommasi Ferroni (1934-2000). Hand-signedin pencil on the low...

Image dimensions: 7.8 x 5.8 cm. Elder Graduated Man is a beautiful black and white etching on paper, realized at the middle-end of XX century by the Italian artist Riccardo Tommasi ...

Image dimensions: 18 x 24.8 cm. The Scrap Yard is a splendid etching realized by the Italian artist Riccardo Tommasi Ferroni (1934-2000). Hand-signed in pencil on the lower right m...

Image dimensions: 32 x 50 cm. Etching, wide margins, hand-numbered and hand-signed with pencil on lower-right margin. Edition of 35 prints. In excellent condition. Wonderful print ...

Interesting b/w etching and drypoint, representing the Parisian foreshortening of a bridge on the Seine. Edition of 50 prints. Signature, date, technique and print run, title handwri...

Study of Five Heads is a beautiful black and white etching with drypoint interventions on paper, realized at the end of XVIII century by the French artist Jean-Jacques de Boissieu (Lyon, 1736- 1810). Five study of heads of which two profiles (a female and a male) are lightly sketched with the drypoint technique, and we could appreciate the incredible draftsmanship. Instead, the bigger three portraits are very detailed and etched with a superb technique. Although the subjects are drawn in different scales and with different degrees of finish, each portrait has the dignity of a unique piece and the composition is very balanced. In particular on the lower margin at the center there is the portrait of "Le Père Cotrot, Garçon Teinturier à Lyon'", an elderly man, toothless and with a large-nosed, slightly turned to left, with a hat and unbuttoned jacket over waistcoat, shows all his wrinkles in a very realistic way. Signed on plate on lower right margin “De Boissieu”. This old master’s original print with fresh impressions, is in very good conditions, except for a usual yellowing of the paper above all on the edges and some signs of the time and light foxing along the margins, do not affect the image. Jean-Jacques de Boissieu (Lyon,1736 –1810) Jean-Jacques de Boissieu was a French artist studied at the École de Dessin in Lyon, but he was mostly self-taught. His first prints were realized between 1758–64. When he went to Italy in the retinue of the ambassador and Duc de la Rochefoucauld d’Enville, he had the lifechanging encounter: he met Voltaire and he entered in the world of luminaries, he had the opportunity of realizing some plates for the Diderot-d’Alembert’s Encyclopèdie. Then he continued to produce prints in Lyon, Boissieu made many etchings of the Roman and Dutch countryside, as well as the French countryside around Lyon, which earned him a reputation as the last representative of the older etching...

Study of Six Heads is a beautiful black and white etching with drypoint interventions on paper, realized at the end of XVIII century by the French artist Jean-Jacques de Boissieu (Lyon, 1736- 1810). Six study od heads ( four elder men, a middle-aged man at the center, and a woman with turbant) etched with a superb technique and an incredible draftsmanship are drawn to different scales and with different degrees of finish, have the dignity of six different portraits with the same passion and effort. Signed on plate on lower right margin “De Boissieu”. Inscription ( number plate) on higher-right corner "10". This old master’s original print with lifetime impressions, is in very good conditions, except for a usual yellowing of the paper above all on the edges and some signs of the time,do not affect the image. Jean-Jacques de Boissieu (Lyon,1736 –1810) Jean-Jacques de Boissieu was a French artist studied at the École de Dessin in Lyon, but he was mostly self-taught. His first prints were realized between 1758–64. When he went to Italy in the retinue of the ambassador and Duc de la Rochefoucauld d’Enville, he had the lifechanging encounter: he met Voltaire and he entered in the world of luminaries, he had the opportunity of realizing some plates for the Diderot-d’Alembert’s Encyclopèdie. Then he continued to produce prints in Lyon, Boissieu made many etchings of the Roman and Dutch countryside, as well as the French countryside around Lyon, which earned him a reputation as the last representative of the older etching...

Please note that these are six individual prints, Drypoint on Okawara paper. The main image is meant to show how them might look grouped together. Each is signed and numbered by the ...

Hand signed. Edition of 75 prints. Includes passepartout: 49x34 cm. Very good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy creat...

French Village is an original artwork realized by Eugène Corneau between the end of the 1920s and the beginning of the 1930s. The monogram of the artist is present on the lower left...

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...

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...

Carrie Lingscheit originally hails from South Dakota, where her love of printmaking was galvanized through involvement in several Frogman’s summer print workshops. She received her B...

Hand signed. Edition of 75 prints.Original Prints. From the suite: “Huit Illustrations de Guerre”. Image Dimensions : 16.5 x 11 cm This artwork is shipped from Italy. Under existing...

Lesser Ury (German, 1861–1931), Beim Kornpuppenbinden, drypoint, 1923, signed in pencil lower right and numbered 45/100, from the edition of 100. Reference: Rosenbach 17, only state...

Jean-Emile Laboureur (1877-1943), Orage en Briere, etching and drypoint, 1932, signed in pencil lower left, numbered lower right and annotated “imp” (impressit, printed by the artist...

CONRAD FELIXMÜLLER 1897 - 1977 Dresden 1897 - 1977 Berlin (German) Title: The Old Collier Der alte Kohlenarbeiter, 1921 Technique: Original Hand Signed Drypoint on Wove Paper Pa...

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...

Jacques Villon (1875-1963), two drypoints, 1905, (Ginestet and Pouillion E156) each signed in pencil: an impression of the final state (third state of three) printed in bistre, with ...

Arthur B. Davies (1862-1928), Baptism (or, Group of Ten Men – One Seated), drypoint on zinc, 1917, signed in pencil , printed in black on very thin laid paper. In very good condition...

Jean-Emile Laboureur (1877-1943), Printemps Breton, 1926, drypoint, roulette, aquatint, etching; signed in pencil lower left and numbered lower right (37/50) with the imp inscription...

Charles Dufresne (1876-1938), Chasseurs de Lion (The Lion Hunters), etching, aquatint and drypoint, 1921, signed in pencil lower right and numbered (40/40) lower left [also signed in the plate lower center]. Reference: Thomas Dufresne 39. In very good condition, with full margins, on an ivory/tan laid Arches paper, with a (partial) Arches watermark. 11 3/4 x 14 7/8k, the sheet 14 5/8 x 21 3/4 inches. Published by Editions Sagot, with the blindstamp of Edmund Sagot Lugt 2254) bottom margin. A fine rich impression, printed in a brownish/black ink, with substantial drypoint burr. The Lion Hunters is a tour de force of printmaking. Dufresne skillfully utilizes a range of techniques including etching, drypoint, aquatint and perhaps even soft-ground etching. Dufresne’s stunning composition in The Lion Hunters of course shows the influence of both cubism and Parisian School – after all he was born in France and studied at the Edole des Beaux Arts – but it also shows the influence of the years he spent in Africa, and his origins as part of a seafaring family. In 1910 he won the Prix de l’Afrique du Nord...

Signed and numbered from the edition of 13. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. He has exhibited regularly since 1995 and has won numerous priz...

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, constantly switching between mediu...

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,...

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,...

HELLEU, PAUL CÉSAR (1859 -1927) "MADAME GEORGES MENIER" Montesquiou XXI Drypoint in colors, c. 1900 Signed in pencil, lower right Printed on wove paper Full...

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...

A superb, richly-inked impression of this extremely scarce etching and drypoint. Second state (of 2). Edition of approximately only 10. Signed in pencil by Marin in lower right margi...

Art Sz: 7 1/2"H x 11 1/4"W Frame Sz: 14"H x 17 3/4"W Paul Desmond Brown (American; 1893 – 1958) Down the Field #2 Etching on paper Signed to the lower right Dedication lower right: To Roy Chapman Andrews with kindest personal regards Paul Brown

Marc Chagall, Russian (1887 - 1985) - La Visite par la Fenetre, From Maternite, Year: 1926, Medium: Etching with drypoint and aquatint on Van Gelder Zonen laid paper, Edition: 960, ...

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....

Bernard Buffet Sailing boats stranded at low tide, 1980, Drypoint in black Hand signed lower right Numbered 100/150 lower left Image size: 62.5 x 47.5 cm Sheet size 76 x 58 cm Refer...

Max Beckmann (Leipzig 1884 – New York 1950), Portrait of Baron Simolin II (large version)(1928) Drypoint, 38 x 25 cm (plate), 48 x 40 cm (sheet), signed and dated lower right.

Etching, drypoint and aquatint in 28 colours, edited in 1977. Limited edition of 75 copies, numbered as 70/75 in lower left corner. Hand signed by artist in pencil in the lower right...

Drypoint, etching. Limited edition, numbered as 169/250. Signed in pencil by artist. Paper size: 46.5 x 32 cm Framed size: 59.5 x 45.5 cm very good condition Bibliography: Dalì – C...

Sunstorm, 24 x 24 inches, drypoint on aluminum (Frame Size: 25 x 25 in.) by Paul Vincent Bernard. $2,450 PROCESS AND MEDIA: Scratched, etched, and rubbed enamel-coated printing plat...

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...

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. ...

This is a collage of proofs of etchings that I had saved for years then one day I decided to construct new images from them. They are dry point, aqua tint with the addition of paint ...

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. ...

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...

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 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...

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...

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...

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...

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.

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

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...