Art by Medium: Drypoint

The image depicts a restaurant on New York's Mott Street with ornamental iron work on the balconies. There are six figures in the scene in various stages of contrast. Mott Street is considered the unofficial Main Street of New York's Chinatown. Ella Fitzgerald sang it best: “And tell me what street compares with Mott Street in July? Sweet pushcarts gently gliding by.” CFW Mielatz was an early influence on the drypoints and etchings of Martin Lewis. This piece was created in 1906 and it is signed in pencil. It is part of the collection of New York's Metropolitan Museum of Art C.F.W. Mielatz American, 1860-1919 Born in Bredding, Germany in 1864, Mielatz emigrated to the United States as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching...

Brussels: Fondation de Dietrich et Cie, 1914. Etching with drypoint on Japon paper, 3 5/8 x 4 inches (93 x 102 mm); sheet 11 1/8 x 9 7/8 inches (283 x 251 mm), full margins. Signed a...

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)

Paris: Henri Petiet, 1923. Etching with drypoint and roulette on buff Van Gelder Zonen paper with a partial watermark, 7 5/8 x 16 inches (194 x 407 mm); sheet 9 5/8 x 17 3/4 inches ...

Art Sz: 6 1/2"H x 16 1/2"W Frame Sz: 12 3/4"H x 22 1/8"W Paul Desmond Brown (American, 1893-1958), Fox Hunting Scene, Etching, signed lower right, ebonized and giltwood frame. Pr...

An extremely scare impression of an image Landeck etched while touring Europe after his graduation from Columbia University. Drypoint etching on Japon paper, 9 11/16 x 9 7/8 inches ...

Beach Hut is a striking contemporary drypoint with monotype by British-born printmaker Jenny Robinson. Depicting an isolated beach lifeguard tower, Robinson transforms a familiar coa...

LOVIS CORINTH (1858-1925) AUS DEM TIERGARTEN 1920 (Schwartz 397) Drypoint, signed and numbered 47/50. BEAUTIFUL IMPRESSION with RICH DRYPOINT. Plate 9 ½ x 12 ½ inches. Full margins...

Salvador Dali (1904-1989) - A Ticket for Glory Drypoint etching with stencil from 1973. Editon A 55/195 on Arches paper. Dimensions of work: 65.4 x 50.4 cm Publisher: Transworld ...

Medium: original etching and drypoint. Catalogue reference: Delteil 10. Published in Paris in 1899 by H. Floury for Auguste Rodin "Statuaire" by Lon Maillard. This impression is prin...

Small Bird is a limited edition drypoint etching by Kate Boxer. Small Bird is a contemporary artwork by Kate Boxer. Kate Boxer's use of line in the background has a great sense of mo...

"Church of St. Aignan Chartres" Etching in Ink on Paper (Demonstration Plate) Delicate and detailed drypoint etching of the Church of St. Aignan in Chartres, France by John Taylor Arms (American, 1887-1953). The viewer stands in an alley near the church, looking out of the shadows at the sunlit towers. The architectural details of the church are well-captured, including the texture of the stone walls, the roof, and ornamental detail. Titled, signed, dated, and inscribed along the bottom edge: Sketch, Saint Aignon, Chartres John Taylor Arms 1950 The inscription includes details about production, as well as a dedication "To my friends Georgia and Jasper Mathews, with my sincerest good wishes" Presented in a wood frame with an off-white mat. Frame size: 12.5"H x 9.25"W Image size: 7"H x 4.5"W John Taylor Arms was born in Washington, DC in 1887. He studied law at Princeton University, transferring to the Massachusetts Institute of Technology, Boston, to study architecture, graduating in 1912. After serving as an officer in the United States Navy during World War I, he devoted himself full-time to etching. He published his first original etchings in 1919. His initial subject was the Brooklyn Bridge in New York City near which he worked. Arms developed a successful career as a graphic artist in the 1920s and 1930s, specializing in series of etchings of Gothic churches and cathedrals in France and Italy. In addition to medieval subjects, Arms made a series of prints of American cities. He used sewing needles and magnifying glasses to get a fine level of detail. A member of many printmaking societies, Arms served as president of the Society of American Graphic Artists. An educator, Arms wrote the Handbook of Print Making and Print Makers (1934) and did numerous demonstrations and lectures. Arms was elected into the National Academy of Design as an Associate member in 1930, and became a full member in 1933. His work was also part of the painting event in the art competition at the 1932 Summer Olympics...

Kings Cross Mosquito, 2000 Peter Doig Etching with drypoint on paper Signed and numbered from the edition of 15 An artist proof aside from the edition of 90 Published by Byam Shaw S...

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...

Paul-César HELLEU (1859-1927) The Violinist, circa 1895-1900 Original drypoint printed in red (like a red-chalk drawing) on paper Signed ‘Helleu’ in pencil in the lower left margin D...

Salvador Dali (1904-1989) - Jugoyoe Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. Hand signed. Publi...

“Nocturnal” was created in 1996 using etching, aquatint, and drypoint techniques with added hand color. The edition is 80 - this impression is inscribed “63/50”. The paper size is 1...

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...

"Field in Darsham" Village in Suffolk - England Darsham village etching by London artist Pip Carpenter (UK, 20th C.) Drypoint etching with hand coloring teal blue wash. The name of...

Salvador Dali (1904-1989) - Pierrot Cherries Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand signed. Publi...

A luminous first state impression, Hamerton's "Portfolio" edition. Etching and drypoint on cream wove paper, 7 3/16 x 9 15/16 inches (135 x 213 mm), wide margins. First state (of 5)...

Etching and drypoint on cream laid Van Gelder Zonen watermarked paper, 8 7/8 x 6 1/2 inches (220 x 164 mm), full margins. Signed, titled, and inscribed "ed. 100" in pencil, lower mar...

Paris: Sagot, c1910. Etching with dryoint on cream laid paper with deckle edges, 7 x 8 3/4 (178 x 223 mm); sheet 10 x 13 inches (254 x 330 mm), full margins. Signed, titled and numbe...

Paris: Seeley & Co, 1884. Etching with drypoint on cream wove paper, 6 1/4 x 9 1/4 inches (158 x 235 mm); 8 1/4 x 12 1/4 inches (210 x 311 mm), full margins. In very good condition....

'New Rochelle - Before the Wind', drypoint, 1931, edition 30 (only a few impressions printed), Rose l.163. Signed, dated '1932' and numbered '1 – XXX' in ...

Signed, titled and numbered from the edtion of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect th...

Chute d’un Ange is an original drypoint on laid paper realized by Félicien Rops, hand monogrammed and inscribed "Ah! N'insultez jambs une femme qui tombe!". In very good conditions....

New York: Sylvan Cole, 1929. Etching on white wove Rives paper with an infinity watermark, 5 15/16 x 3 15/16 inches (151 x 100 mm); sheet 15 7/16 x 11 15/16 inches (392 x 303 mm), f...

Etching with drypoint and aquatint on laid Japon paper, 9 x 11 1/4 inches (228 x 280 mm); sheet 11 7/8 x 13 5/8 (302 x 346 mm), full margins. Signed, titled and inscribed "To my dear...

New York: Associated American Artists, 1950. Drypoint and aquatint on white wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed in pencil in the lower margin. Pri...

This is a limited edition drypoint and carborundum etching by Kate Boxer. Kate Boxer makes the plates in her studio which are then sent to to the master printmakers. After they hav...

Le Vieux Saltimbanque (The Old Acrobat) drypoint on wove Van Gelder Zonen paper, 1933 Unsigned as issued Condition: Excellent Image size: 5 x 4 3/4 inches Sheet size: 10 1/2 x 7 15/1...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwd...

The sailors are still in uniform in this post-World War I print of young people meeting at a semi-secluded park setting, Snug Harbor, along Riverside Drive...

McBey, James (scottish, 1883-1959). BARCAROLLE. Etching and Drypoint, 1925. Carter 233. Edtion of 80. Signed in ink, lower right and numbered lower left. Printed on old laid paper w...

Artist: Salvador Dali (1904-1989) Title: Baignoire à tornade liquide (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Hologram glasses and computers to see ...

Pechstein, Hermann Max (German, 1881-1955): NACH DEM BAD (AFTER THE BATH). Krueger R 118. Etching and drypoint, 1920. Signed in pencil. Published by Die Schaffenden...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

Puffin is a hand coloured limited edition drypoint etching with carborundum by artist and printmaker, Kate Boxer. Kate Boxer brings the vibrant colours of the puffin's beak to life i...

Etching and drypoint on antique cream laid paper, 12 3/8 x 6 9/16 inches (315 x 167 mm), full margins. Signed, dated, and inscribed "Edition 100" in pencil, lower margin. In very goo...

Laburnums and Battersea. 1889-90. Etching and drypoint. Hausberg 34.iii/v. 13 1/2 x 8 5/8 (image and sheet). Only one other known impression in this state (total of about 62 known im...

Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent i...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

A peaceful image by Britian's first official war artist. Drypoint printed in brownish black ink on fibrous, laid Japon paper, 3 3/8 x 6 5/16 inches (85 x 161 mm), full margins. Sign...

Cormorant by Kate Boxer is a limited edition drypoint etching with carborundum on chîne collée. The green background beautifully contrasts the bold use of black in the bright artwork...

Lawrence Nelson Wilbur, 'Gloucester Harbor', drypoint, 1940. Signed, dated, and titled in pencil. Signed in the plate, lower right. Annotated 'PERSONAL...

William Walcot. R.E., R.I.B.A. San Marco. Etching with drypoint and aquatint. Dickins 66, Harvey-Lee 91. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. Housed in a 16 x 20-inch archival mat. Soon after Walcot's arrival in England, the Fine Art Society sponsored a trip sent to Italy. This scene is one of four small drypoints that resulted from the artist’s stay in Venice. When he was seventeen, he began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

Drypoint etching on paper, edited in 1945. Limited edition, printed by Galerie Rive Gauche, Paris, as a New Year’s card. The technique (“Pointe sèche d'Asger JORN”) and the date are ...

Polar Bear (White) is a limited edition drypoint etching with carborundum by Kate Boxer. This contemporary Kate Boxer artwork depicts a polar bear printed in white ink so the imagery...

This piece titled "La Mer VE 3/8" is a variable edition piece by Kate VanVliet and is made from two-plate intaglio with drypoint, aquatint, and soft ground on Rives BFK. This piece i...

Salvador Dali (1904-1989) - Freud with a Snail Head Drypoint etching with stencil from 1973. Edition: F171/195 on BFK Rives paper. Dimensions of work: 65.4 x 50.4 cm Publisher: T...

This piece titled "(Love's) Ring of Fire" is a limited edition piece by Kate VanVliet and is made from intaglio with aquatint, soft ground, and drypoint on Rives BFK. This piece is a...

Drypoint etching on buff wove paper, 9 1/2 x 10 3/4 inches (240 x 271 mm) full margins. Signed in the image, lower left. With the "Musée Louvre Chalcographie" blind stamp in the lowe...

Etching, engraving, roulette and drypoint on watermarked BFK Rives wove paper, 5 x 8 3/4 inches (126 x 222 mm), full margins. Signed and numbered 4/32 in pencil, lower margin. Minor ...

Washington Assumes Command - Etching in Ink on Paper Historical engraving by Ralph Ludwig Boyer (American, 1879-1952). George Washington is shown holding a sword, with an army stand...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his d...

Drypoint etching on buff wove paper, 9 3/4 x 12 3/4 inches (250 x 322 mm), full margins. Signed in pencil, lower right margin. Some general age tone, and minor mat tone around the pe...

Armin Landeck made this drypoint in 1936 in an edition of 100. Signed in pencil just under the image in the lower right and inscribed "Ed 100" in the lower left. This pri...

Etching on laid paper Signed in plate lower left: Jean François Raffaëlli. Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aqua...

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...