Art by Medium: Drypoint

Werner Drewes brought his modernist vision to this subject but created, in my opinion, a great work of the Etching Revival. The reference is Rose 183. It...

William Kentridge (b. 1955) is an internationally acclaimed South African artist renowned for his dynamic prints, drawings, large-scale installations, and animated films. Through his...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

Murex I, Diamond drypoint by Jakob Demus. In the 1986-1988 period Demus immersed himself in the depiction of flowers, and it was then that the most important works in this genre wer...

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...

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...

Le demon Ailé is a wonderful black and white drypoint realized in 1969. The artwork is from the portfolio "Vénus aux fourrures", edited by Pierre Argillet, Parigi, 1969. Hand signed in pencil by the artist on the lower margin. Dry stamp on the lower right margin Numbered on the lower left margin. Ed.21/75. Good conditions except for some light yellowing of paper along the margin. Ref: Michler Lopsinger, "Salvador Dali Catalogue Raisonne of Etchings and Mixed-Media Prints 1924-1980", Prestel 1994, n. 371. Salvador Dalí (Figueres, 1904 – Figueres, 1989) is considered one of the most versatile and prolific artists of the XX century and the founding father of Surrealism. In the course of his long career, he successfully experimented with sculpture, fashion, writing, and filmmaking. Dalí epitomizes the idea that life is the greatest form of art; André Breton said about him: “It is with Dalí that, for the very first time, the windows of the mind are wide open”. He always pushed boundaries, and he did the same with conventional lithography. He experimented a lot, also with techniques that would not be allowed today. He was a prolific printmaker, using techniques as drypoint, etching, woodcut and lithography. His output is esteemed at 1700 prints...

Dancers is an original artwork realized by Ilse Voigt in the first years of the 1950s. Etching and drypoint on Japan paper. Good conditions except for some wide stains on the corners. Ilse Voigt (Chemnitz, 1905 – Magdeburg, 1990) was an artist, pastellist, illustrator, and drawer. She attended the Fine Arts Academy of Berlin where she took Emil Orlik's classes. From 1964, she participated in international collective exhibitions. At the Salon des Indépendants, she became one of the company members. She exhibited in many art galleries in Paris and Switzerland. She painted and illustrated flowers, portraits...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

La Toilette Drypoint, 1908 Signed and numbered in pencil by the artist (see photos) Edition: 65 this state (35/65) Published by Gustave Pellet (1859-1919),...

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185. Provenance: Kraushaar Gallery, New York A fine impression, with wide margins. The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery. The plate is on a large scale and shows the change in the artists approach to the Thames since the etchings he had made in Wapping and the docks in the summer of 1859. The central motif is the old bridge, by this stage somewhat dilapidated. It was shortly to be demolished and replaced by the new bridge of Cornish granite...

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...

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. Fr...

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...

Sloan, John (American, 1871-1951). NIGHT WINDOWS. Morse 152. Etching and drypoint, 1910. The 5th state of 5. Edition of 100. Titled, signed, and inscribed...

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...

Keresan Dancers Etching & drypoint, 1962 Signed lower right (see photo) Inscribed lower left: "Artist's Proof Keresan Dancers" Depicts Keresan speaking peoples at Sam Felipe Pueblo Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico. Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

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. Fr...

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...

Chevalier à Genou (Kneeling Knight) is an artwork realized in 1968/69, from the Series "Faust" (La Nuit de Walpurgis). Etching, Drypoint, Watercolor a...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

Still Life 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 ...

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 ...

The Cat is an Original etching and drypoint print on paper realized by an Anonymous artist in 1950 ca. Good conditions with some foxing.

This surreal botanical print by Salvador Dali is from a suite of 10 engravings called "Flora Dalinae". Growing from a vine are leaves shaped like lips an...

Delicate and detailed etching by Orpha Klinker (American, 1891-1964). At the edge of an old Adobe building, a staircase leads to the second floor. The stucco on the walls of the building is cracked, revealing the stonework below. Next to the building is a garden with Corkscrew Willow trees. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. Signed in plate, lower left. Paper size: 8.5"H x 10.5"W Mat size: 10"H x 12"W Orpha Klinker (American, 1891-1964) graduated from Polytechnic High School, L.A. and later studied at U.C.L.A. Art School and at the Cannon Art School. Artists Paul Lauritz and Anna A. Hills of Laguna Beach were her first art teachers. She continued her study of art at the Julian and Colarossi Academies in Europe. Some of her earliest work was in designing. Many pages of her fine pen work drawings appeared in Los Angeles newspapers, illustrating the fashions of the day, not only in clothes but in furniture and other things. Then for a time she did her work in New York City and later with the Ladies Home Journal in Philadelphia. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. From the Mexican border to Death Valley she roamed, meeting and painting portraits of such characters as Death Valley Scotty, Shoshone Johnny, the ancient Indian who supposedly saw the first white man come to Death Valley, Emanuel A. Speegle, "The Last of the 49'ers" (over 90 years of age) and others. Orpha was active in keeping alive the memory of one historical event in particular, the signing of the Treaty of Cahuenga ending the Mexican War...

Drypoint print onto photolitho printed kitakata with subtle gold ink and mounted onto Hahnemule printmaking paper. This print of a tree uses litho printed kitakata chine collé to dep...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

Wonderful and evocative abstracted dry point etching of dragon fly and barbed wire titled "Rebirth" by Tomoya Uchida (Japanese, b. 1947). Presented in new custom cut mat. Unframed. Image size: 9"H x 15"W Titled "Unremembered Dream" along the bottom edge. Signed and dated "T. Uchida '89" in the lower right corner. Presented in a new custom-cut mat with foam core backing. Tomoya Uchida (Japanese, b. 1947) was born in Tsuyama City in the Okayama prefecture in Japan. He graduated from Doshisha University, Kyoto, in 1970, and went on to become the artist-in-residence at the KALA Institute of Prints in Berkeley, CA, in 1989. He then moved to Australia, where he studied under Prof. Jorg Schmeisser...

Etching with drypoint on hand made laid Japan paper with a deckle edge, 8 9/16 x 11 5/8 inches (220 x 296 mm), full margins. Signed, dated and titled in pencil in the margin, recto. ...

The Goldfinch 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 11.2 x 8.25 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...

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

Sander's interiors are always intriguing. This work also reads as a stage with a dance; it recalls the Porch of the Maidens at the Erectheum at the Acropolis in Athens. There of cour...

Cheryl Warrick (American, b. 1956), "Peace Makes Plenty" Color etching, soft ground, white ground, drypoint, and chine colle, on Hahnemuhle Copperplate...

Artist: Dali, Salvador Title: El Padre Perdonado (Galofre edition) Series: La Vida es Sueno Date: 1975 Medium: drypoint engraving in sanguine ink Unframed Dimensions: 11" x 15"...

Madame M. is a black an white etching and drypoint realized by a French artist active at the end of XIX century, Maurice Deville in 1894. This original print, representing a superb...

Lewis, Martin (American, born Australia, 1881-1962). QUARTER OF NINE, SATURDAY'S CHILDREN. McCarron 79. Drypoint, 1929. McCarron says the intended edition was 100 , but 107 were prin...

Amicalement is a hand-colored etching and drypoint, signed by Chas Laborde on the lower right margin. Hand-titled on the lower left margin. This original print is hand-colored with t...

Artist: Dali, Salvador Title: Parade Series: Femmes et Chevaux Date: 1973 Medium: drypoint printed in color Framed Dimensions: 25" x 19.5" Signature: Pencil signed Edition: E...

Nude 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 confid...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

Wonderful etching and drypoint on ivory colored paper, representing a woman lying on a sofa. Signed and dated (1873) on plate on the lower left margin. Fourth and final state on four...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

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...

The Portrait of Oedipus king is an original etching realized by Giacomo Manzù in 1968. Racocin Press inc New York, Officina Bosoni Verona. Numbered on the lower left. Ed. 38/105. ...

Abstract Composition is an original print in etching and drypoint on white color paper, realized by an anonymous artist of the Mid-20th Century. In very good conditions. The artwor...

Don Quichote is an original etching, aquatint and drypoint, frontispiece for La Gazette des Beaux Arts, realized by Frenc artist Félix Henri Bracquemond...

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

Edvard Munch (1863-1944) Kristiania Boheme I (or Kristiania Bohemians I; Drinking Session/Drinking Bohemians), etching, drypoint and burnishing, 1895, signed in pencil lower right, a...

Villon, Jacques. CAKE WALK DES PETITES FILLES. GP.102, second state of four. Drypoint and aquatint in colors, 1904. Edition of only 10 (there was an edition of 30 in state 4, with th...

"Le Bouclier" is an original drypoint etching by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (25/100) in the lower left. This piece depicts ...

Etching and aquatint on cream paper. Signed in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Plate in excellent co...

A very good impression of this scarce color etching and drypoint. Fourth state (of 4). Signed and numbered 54/100 in pencil, lower margin.

Peter Voulkos (American, 1924-2002) Atlantis Codex Series II, 1984 Drypoint/etching Pencil signed lower right, edition 3/35 Image: 24in H x 17 3/4in L. Sheet: 30in H x 22 1/2 in L. ...

LUDWIG MEIDNER (1884-1966) Bernstadt 1884 - 1966 Darmstadt (German) Title: Street in Wilmersdorf, from: The Creators Straße in Wilmersdorf, von: Die Schaffenden...

Hutty, Alfred. PHOEBE PASSES MY GATE. Drypoint, c. 1931. Edition size c.75. 8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet). Print...

En passant (Passing by) Drypoint, 1909 Unsigned (as issued in the deluxe portfolio) From the album "Les Bars" (8 plates plus cover illustration) Edition: 30, this state with remarque Published by Gustav Pellet, Paris A very rich impression wwith burr Condition: Excellent Image/Plate size: 9 7/8 x 6 3/8 inches Reference: Arwas 391a (remarque) Exteens 277 i/II IFF 148 (portfolio) Louis Auguste Mathieu Legrand (29 September 1863 – 1951) was a French artist, known especially for his aquatint engravings, which were sometimes erotic. He was awarded the Légion d'honneur for his work in 1906. Life Legrand was born in the city of Dijon in the east of France. He worked as a bank clerk before deciding to study art part-time at Dijon's Ecole des Beaux-Arts. He won the Devosge prize at the school in 1883.[2] In 1884 Legrand studied engraving under the Belgian printmaker Félicien Rops. Legrand's artworks include etchings, graphic art and paintings. His paintings featured Parisian social life. Many were of prostitutes, dancers and bar scenes, which featured a sense of eroticism. According to the Hope Gallery, "Louis Legrand is simply one of France's finest early twentieth century masters of etching." His black and white etchings especially provide a sense of decadence; they have been compared to those of Henri de Toulouse-Lautrec, though his drawings of the Moulin Rouge, the can-can dance and the young women of Montmartre preceded Toulouse-Lautrec's paintings of similar scenes. He made over three hundred prints of the night life of Paris. They demonstrate "his remarkable powers of observation and are executed with great skill, delicacy, and an ironic sense of humor that pervades them all." Two of his satirical artworks caused him to be tried for obscenity. The first, "Prostitution" was a symbolic drawing which depicted a naked girl being grasped by a dark monster which had the face of an old woman and claws on its hands; the second, "Naturalism", showed the French novelist Émile Zola minutely studying the thighs of a woman with a magnifying glass. Defended by his friend the lawyer Eugène Rodrigues-Henriques (1853–1928), he was found not guilty in the lower court, but was convicted in the appeal court and then given a short prison sentence for refusing to pay his fine. Legrand was made famous by his colour illustrations for Gil Blas magazine's coverage of the can-can, with text by Rodrigues (who wrote under the pseudonym Erastene Ramiro). It was a tremendous success, with the exceptional quantity of 60,000 copies of the magazine being printed and instantly sold out in 1891. In 1892, at the instigation of the publishing house Dentu, Legrand made a set of etchings of his Gil Blas illustrations. The etchings were published in a book, Le Cours de Danse Fin de Siecle (The End of the Century Dance Classes). Legrand took a holiday in Brittany, which inspired him to engrave a set of fourteen lithographs of simple country life called Au Cap de la Chevre (On Goat Promontory). It was published by Gustave Pellet who became a close friend of Legrand's. Pellet eventually published a total of 300 etchings by Legrand, who was his first artist; he also published Toulouse-Lautrec and Félicien Rops among others. He did not only work in graphics; he exhibited paintings at the Paris salon of the Société Nationale des Beaux-Arts starting in 1902. In 1906 he was made a chevalier of the Légion d'honneur. Legrand died in obscurity in 1951. A retrospective exhibition was held at the Félicien Rops museum in Namur, Belgium in 2006 to celebrate his graphic art. The art collector Victor Arwas published a catalogue raisonné for the occasion. Books illustrated de Maupassant, Guy: Cinq Contes Parisiens, 1905. Poe, Edgar Alan: Quinze Histoires d'Edgar Poe...

drypoint etching with stencil on extremely fine Japanese paper , Edited in 1974 Limited edition, numbered 245/250 in lower left corner. Signed in pencil by artist in lower right corn...

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...