Art by Medium: Drypoint

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...

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...

Arnulf Rainer (Austrian, born 1929) Self-Portrait, 1995 Medium: Drypoint etching and aquatinta on wove paper Dimensions: 53.5 x 38 cm Edition of 35: Hand-signed and numbered Publishe...

Edmund Blampied (1886-1966), Loading Vraic St. Malo, drypoint, c. 1926, signed in pencil lower right margin and numbered 50/100 lower left. Reference: Appleby 122. In very good condition, with margins, on an ivory laid paper; 6 7/8 x 10, the sheet 10 x 15 1/2 inches, archival mounting. A fine impression, with substantial burr from the drypoint work. Provenance: Collection: Albert M...

SALVADOR DALI Le Cerf Malade from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Refer...

A very good impression of this extremely scarce drypoint. MacDonald's eleventh state "b" (of 11b), restored after cancellation.

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...

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12...

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 ...

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...

Lesser Ury (German, 1861–1931), , drypoint, Grabender Bauer (Farmer Digging), c. 1920, signed in pencil lower right and numbered xxix/xxx, from the edition of 30 on Japan (another 10...

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...

Signed, titled and numbered from the edition of 50. Roz is particularly interested in exploring the relationship between photography and drawing, line and light. His current work is...

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,...

monoprint with drypoint and chine colle; unframed image size: 10 x 7 inches

Le Diable en Enfer from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 1...

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...

The Pigeon 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 10.75x 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...

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...

La Ressuscitée from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 150 A...

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 ...

204C1741 ABCD (Abstract print) Carborundum and drypoint on copper. Printing on BFK Rives paper 250 g - Unframed. This work is made of 4 elements. Each elements' dimensions: 50 x 50...

Le Jument de Compère Pierre from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edi...

The Spider 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...

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...

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.

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...

Art Sz: 13"H x 11"W *age toning/ condition noted*

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...

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

An original drypoint monotype by American female artist Kathleen Sherin.

An original drypoint monotype by American female artist Kathleen Sherin.

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"

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...

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 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...

"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. ...

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

Signed, dated and numbered in pencil Printer: Rebekah Wilhelm, Zygote Press, Cleveland Created at Zygote Press, Cleveland, 2015, while the artist was an Artist in Residence. Exhib...

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

Triptych of original drypoint etchings by Paul Desmond Brown (1893-1958) depicting: Grasslands 1930/ Wissahickon Cup 1930/ & Radnor 1931 Art Sz: 27"H x 11"W Frame Sz: 33 3/4"H x 17...

Pen & ink drypoint depicting a military rider clearing a tripple bar fences Signed: Paul Brown LR w/ Closson Gallery label on verso c1930s Art Sz: 7"H x 11"W Frame Sz: 16"H x 2...

Using his intuitive skill as a master artist, Miró combines dry-point with cement imprint to create a rich textural experience that is enhanced by beautiful and friendly visual image...

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

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...

ZAO WOU-KI 1921- 2013 Beijing 1921 - 2013 Switzerland (Chinese) Title: Fishing La pêche, 1951 Technique: Original Hand Signed and Numbered Drypoint on Wove Paper Paper size: 25 x...

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

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

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

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

Art Sz: 6 1/2"H x 8 1/2"W Signed lower right Mounted on 4"H x 5"W x 1/4"D wooden block

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...

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...