Art by Medium: Drypoint

I Won't Eat You by Kate Boxer is a limited edition drypoint etching. This contemporary art print with gouache depicts a lion and is a humorous work of art by Kate Boxer. Kate Boxer m...

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

One of the founders of Impressionism and certainly one of its greatest masters, Pierre-Auguste Renoir (1841 - 1919) was not a prolific printmaker, but he explored several different m...

Salvador DALI Surrealist Boat (Vaisseau fantome), 1969 Original etching Handsigned in pencil Numbered /200 on Rives BFK vellum 58 x 45 cm (c. 23 x 18 in) REFERENCE : - Catalog rai...

Paulo Picasso - Picador Drypoint etching from 1964. The edition of 6/245 on Arches paper. Dimensions of work: 35 x 26 cm. Publisher: Éditions Français Réunis, Paris. Reference: ...

Medium: original etching and drypoint. This work by Rodolphe Piguet (sometimes spelled Piquet) was printed in 1904 and published in Paris by the Revue de l'art ancien et moderne. Pla...

Etching with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

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...

Cowboy and Horse - Blue is a handmade drypoint and chine colle print by artist Kate Boxer. Featuring a Cowboy racing through a blue composition on a wild rearing horse. If you would ...

Jim Dine (American, b. 1935) Etching depicting Pinocchio Published by Enitharmon Press for Whitman College, London 1999 Hand signed in pencil lower right. Measures 9" x 7" sheet siz...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...

Come Here and I'll show you something beautiful is a limited edition drypoint etching finished with oil pastel by artist and printmaker, Kate Boxer. The work is soft purple pastel c...

Medium: original etching and drypoint. This impression on wove paper was printed in 1904 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 5/8 x 4 3/4 inc...

Etching and drypoint on laid paper, 1651. New Hollstein's third, and final, state. Full sheet size 5.38 x6.5 inches. Frame size 14.25 x 16.75 inches. Catalogue raisonné references...

Etching and drypoint in black on laid paper, with wide margins Signed in the plate From La Vie Artistique by Gustave Geffroy Literature: Delteil 8; Stella 8 Le Chapeau...

untitled (Returning Home with Supplies) Signed in pencil by the artist lower right (see photo) Signed by his printer, Otto Felsing lower left ((see photo) Annotated in pencil: "In kupfer geschnitten von einen Lapplander" Printed by Otto Felsing, one of Germany's master printers of the era One of several engravings Hagemann made based upon actual drawings given to him by Laplanders. Gustav Hagemann was born on February 17, 1891, in Engelnstedt, Salzgitter, Germany. Hagemann attended high school in Wolfenbüttel and studied at the art school, in Kassel, Germany. After graduating as an art teacher, he became a trainee teacher in Torgau in Saxony. He fought in the First World War between 1914-1918. After the war he studied art from 1920...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

This piece titled "I-76" is original artwork made from pencil, marker, carborundum drypoint print adhered to panel by Miriam Singer. This piece measures 10"h x 6"w. Miriam Singer grew up in Buffalo, New York, In 2000 she received her BA from Brandeis University, and in 2003 her MFA from Massachusetts College of Art. Since moving to Philadelphia in 2004; Miriam Singer has exhibited at James Oliver Gallery. Stanek Gallery, LG Tripp Gallery, Woodmere Art Museum, Space 1026, Friends of the Print and Picture...

Salvador Dali (1904-1989) - Japanese Fairy Tales Portfolio with 10 drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 6...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

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

This print of a pine tree uses kitakata chine collé to depict the warmth and colour of early autumnal light. This print of a chestnut tree depicts the harsh light and dark light and...

Drypoint, aquatint and heliogravure, 1965. Signed by the artist and dated in pencil, lower right margin. Numbered 42/150 in pencil, lower left margin. Printed by Robbe, Paris. Pub...

Wassily Kandinsky (1866-1944), Etching 1916 Number II, drypoint, signed in pencil lower right, titled, numbered (No. 9) and dated lower left [also with initials and date in the plate lower right]. Reference: Roethel 154, only state, edition of 10. In excellent condition (the barest handling fold at sheet edge), printed on a heavy ivory wove paper, the full sheet with full margins, 4 7/8 x 3 1/4, the sheet 17 1/2 x 13 inches, archival mount with window mat. A fine fresh impression of this great rarity, printed in a dark brown ink. Kandinsky created this drypoint (erroneously named Etching 1916) in early 1916 while staying with Gabriel Munter in Stockholm during the winter of 1915-16. This is from the second series of drypoints he made; the first was in the year 1913-14. Provenance: Kornfeld Auction, Bern, June 2007. The tiny size of this edition (10) makes this print a great rarity within the Kandinsky’s printed...

Good Ordinary Claret is a hand coloured limited edition drypoint etching by Kate Boxer. Features a man with his dog. This work is sold unmounted and unframed. ADDITIONAL INFORMATION...

London: Fine Art Trade Guild, c1900. Etching with drypoint on cream laid paper with a deckle edge 11 1/2 x 8 1/4 inches (290 x 208 mm); sheet 15 x 11 5/8 inches (380 x 294 mm), full...

Created by the artist in 1987-88, Ramblas is an original lithograph, drypoint, and etching in colors on Rives BFK paper. Hand-signed, dated, and numbered from the edition of 75 in pe...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Drypoint etching on Japanese paper, edited in 1969 Limited edition, numbered as 27/75 in lower left corner. Hand-signed by artist in pencil in the lower right corner. Paper size: 38...

Salvador Dali (1904-1989) - La Plage de Sète (The Beach at Sète) Drypoint etching from 1967. The edition of 122/145 on Japan paper. Enhanced with watercolor.. Dimensions of work: ...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Drypoint etching on Arches paper, edited in 1973. Limited edition of 400 copies, numbered 352/400 in lower left corner. Hand-signed by artist in pencil in the lower right margin. Pa...

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...

Drypoint and aquatint in colour "Ein Stück Hinterglas" by Georg Baselitz from 1997/98. The edition on BFK RIVES comprises approx. 25 copies. The present copy is inscribed in penc...

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

"Astonishing, Health and Sunshine" triptych by artist Jim Dine. Three spitbite aquatint, drypoint and lithographs with additional hand coloring on Shiramibe paper mounted onto three ...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Hand coloured drypoint, etchings on Arches paper Edited in 1969/1970. Limited edition of 145 copies, numbered 55/145 in lower left corner. Hand-signed by artist in pencil in the lowe...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

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),...

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, const...

Kollwitz, Kathe. TOD, FRAU UND KIND (DEATH, WOMAN AND CHILD). Knesebeck 108, Klipstein 113. Etching, drypoint, sandpaper, and soft-ground with the imprint of Ziegler's transfer paper...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

Robert Indiana American Dream (EAT / DIE / HUG / ERR) (Sheehan, 136), 1986 Hard and soft-ground etching, aquatint, drypoint and stencil on white Arches paper 37 inches × 21 inches ...

An extensive, rare herbarium of Atlantic coast seaweed specimens collected between 1884 and 1885 from New York City to Nantucket. American School, 19th century Flowers of the Sea; H...

En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...

Artist: Jim Dine Title: Dynamite Year: 1998 Medium: Woodcut, aquatint, etching and power tool drypoint in colors on Folio Antique paper Edition: 18; signed, numbered and dated in pen...

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 ) signed in pencil by artist in lower right corner paper size: 38.5 x 28.5 cm framed size: 65 x 55 cm very good conditions Bibliography: Salvador Dalí Catalogue Raisoneé of etchings and mixed media prints Ref 369 pag 178 Fast and Tracked shipping with express currier DHL . We offer professional packaging and tracked shipping with DHL Express courier ( shipping time: 24 hours for European countries and 4 to 6 days for America and other non-eu countries...

A rare, signed image from a lesser-known female impressionist printmaker. c. 1900. Etching with drypoint on cream laid paper with a partial watermark, 11 x 5 1/4 inches (280 x 133 m...

Auguste Rodin, French (1840 - 1917) - La Ronde, Year: 1883, Medium: Drypoint, signed in pencil, Image Size: 4 x 5.75 inches, Size: 13.25 x 9.5 in. (33.66 x 24.13 cm), Reference: Del...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

You are so serious is a hand coloured limited edition drypoint etching on chîne collée paper by Kate Boxer. You are so Serious shows Napoleon Bonaparte riding his horse into battle. ...

This original drypoint is hand signed in pencil by the artist “Kandinsky” at the lower right margin. It is also monogrammed and dated in the plate “VK 22” at the lower left image. It...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

Cowboy dancers by Kate Boxer is a drypoint and carborundum print on paper. Additional information: Limited edition print Edition of 30 Signed by artist and inscribed with edit...

Medium: original etching and drypoint. This pair of drypoints was printed in Paris in 1917 and published by Gazette des Beaux Arts. Plate sizes: 3 1/2 x 2 1/4 inches (89 x 58 mm) and...