Art by Medium: Engraving

Maurice Pasternak has created a surreal landscape that includes traditional images of a sun-filled sky, dark shadows cast on water and through leafy trees all under the guise of thre...

'Prosp. du Chasteau de Irrois en Champagne' Copper-line engraving by Matthaeus Merian. From 'Topographia Galliae', a fine series of engravings of 17th-century French landscapes, g...

A superb, richly-inked impression, with skilfully wiped plate tone and burr in the drypoint, printed in dark sepia ink on cream laid paper, with the Louis LeGrand watermark in the bo...

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...

A group of mezzotint engravings of flowers from: "Phytanthoza Iconographia", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-174...

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...

Gabor Peterdi (1915-2001). Dark Landscape, 1958. Etching, engraving and aquatint with five stenciled colors. Image measures 20 x 24 inches. Signed, date...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Clerodendrum Macrophyllum" (Broad-Leaved Clerodendrum), plate 2356, published in London in 1824 ...

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...

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...

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4 (sheet 11 7/16 x 16 1/8). Edition 100. A rich impression printed on cream laid paper wi...

Ruben Rodriguez (Cuba, 1959) 'Untitled', 2001 collagraph on paper Velin Arches 300 g. 29.6 x 21.5 in. (75 x 54.5 cm.) Edition of 8 ID: ROD-301 Hand-signed by author

'Michel Grove, Seat of Thomas Walker Esq'. Michel Grove was a house in Sussex which Humphrey Repton was commissioned to landscape. Published by Rudo...

Artist: William Curtis (English, 1746-1799) Titles: "Epilobium Tetragonum (Square Stalked Willow Herb)" (Vol. 2, Plate 131), "Stellaria Holostea (The Greater Stitchwort)" Vol. 2, Pla...

Copper-line engraving by Jacobus Houbraken (1698-1780) after the painting by Peter Lely. Houbraken was a Dutch engraver famous for his series of portraits of famous English historic...

Artist: Mark Kostabi (1960) Title: Body by Jake Year: 1989 Edition: 27/56, plus proofs. Medium: Mezzotint on Rives BFK paper Size: 21.25 x 15 inches Condition: Good Inscription: Sign...

'Helonias bullata - Spear-leaved Helonias' Native of Carolina, North America. Original copper-line engraving with original hand-colouring from Henry Andrews' 'The Botanist's Repos...

SALVADOR DALI (1904-1989) THE BELOVED FEEDS AMONG THE LILIES, 1971 Board for the series "The Song of Songs hymns" Aquatint and dry point on wove paper...

Antonio Diaz Cortes (Mexico, 1935) 'Encuentro' (meeting), 2006 woodcut on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) P/A (Artist Proof), unique piece Unframed ID: DIA-10...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Smithii" (Hispid-Stemmed Tree Houseleek), plate 1980, published in London in 1818 in...

Artist: Salvador Dali Medium: Woodblock engraving Title: Purgatory Canto: 11 Portfolio: The Divine Comedy: Purgatory Year: 1963 Edition: 4765 Framed Size: 19 1/8" x 16 5/8" Sheet Siz...

This attractive and interesting map of Bermuda by Henricus Hondius in 1633 is entitled "Mappa Aestivarum Insularum, Alias Barmudas". It is based on a ...

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...

French botanical flower engraving, 1818. Colour-printed stipple engraving by J Lambert after Pierre Turpin (1775-1840) From Francois Pierre Chaumeton's 'Flore Medicale' which portrayed a variety of flowers, trees and herbs which could be used for treating illnesses. The engravings were produced during the great period of French colour printing using the stipple-engraving process pioneered by the great botanical artist Pierre-Jospeh Redoute. The artist is the celebrated Pierre Jean Francois Turpin...

'A Canine Aesculapius' From the Picture by JC Dollman, Exhibited in the Dudley Gallery. English 19th century fold-out wood-engraving, 1878, from 'The Graphic'. John Charles Dollma...

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

Hand colored original engraving from the Academie de l’Espee ( full title can be translated as Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and horseback ) by Girard Thibault...

Winslow Homer Snap The Whip, 1873 Engraving Sight: 14 1/4 x 20 in. Framed: 20 x 26 3/4 x 1 1/4 in. Inscription: in block: "Homer 1873, Lagarde Sc." printed below image: "Snap-the-Whi...

Izzy, a charming characterful terrier stands alert, holding her ball in her mouth. Colour etching hand made and printed by the artist. Helen Fay's art for sale online and in our gall...

Richard Hricko has exhibited internationally in museums, galleries and juried competitions, including the National Academy Museum in New York, Glynn Vivian Art Museum in Wales, and G...

Mixed media incorporating heliogravure and drypoint etching hand-colored on Arches paper , edited in 1963 Limited edition of 150 copies , numbered 71/150 in lower left Hand signed by...

Fritz Scholder (United States, 1937-2005) 'Mask of a mystery woman', 1982 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-002-000 Unframed

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

En Pension. 1929-30. Drypoint. Appleby 142. 8 1/2 x 12 1/8 (sheet 11 1/2 x 18 5/16). Edition 100. A rich impression printed on cream wove paper with wide margins. Signed in ink. H...

Subject : Ancient Greek vase-painting depicting satyrs and maenads. Technique : Copper-line engraving with original hand-colouring Background information : From the scarce Floren...

This very rare, first edition, folio hand-colored engraving of an eagle is plate 215 from Ulisse Aldrovandi’s 'Opera Omnia', published between 1599 a...

'Part of Middleham Castle, NW Riding, Yorkshire' Engraving by T Woodyer after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England...

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...

This architectural drawing showcases the intricate details of a classical column and entablature, emphasising the ornate pediment and decorative frieze. The original plate was made ...

This architectural drawing showcases the intricate details of a classical column and entablature, focusing on the ornate pediment and frieze. The original plate was created in 1757 ...

London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). Mat line; otherwise fine condition. A rich impression with dryp...

English Bar. 1908. Etching and drypoint. Exsteens catalog 275 state ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed ...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century are evident in the palette of greens and grays, with additional touches of violet, eggplant and ochre. The suite of...

Mezzotint print. Edition of 18, signed, titled and numbered by the artist. Caulfield has exhibited his prints, drawings, installations and artist’s books extensively throughout Cana...

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

The fourth of 20 of this limited edition Marielle Guégan engraving created in 2011 The engraving size : H 34.5 cm x w 13.5cm Marielle Guégan is a French painter and engraver. Durin...

'Derwent Water with Lowdore Waterfall' Aquatint by William Green, 1804 William Green of Ambleside was a Lake District draughtsman, soft ground etcher ...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...

Drypoint, on Chine collé to Hahnemühle Copperplate paper Edition 9 of 35 48.3 x 40.6 cm (19 x 16 in) 53 x 45.5 x 3.8, 20.9 x 17.9 x 1.5 in Signed, numbered and dated on the front Min...

Woman's Head - Woman's Head in Profile (left) (Havard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from th...

Etching with drypoint on Japan paper, 9 3/4 x 12 3/4 inches (245 x 322 mm), full margins, from an edition of approximately 50. Signed by the artist in pencil, lower center margin, t...

Medium: Mezzotint Year: 2023 Edition: 25 Image Size: 9.25 x 6.25 inches Signed, titled and numbered in pencil by the artist One of a series of prints created to accompany a deluxe l...

Magnificent print by Robert John Thornton. Aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. [London 1799] First state. Thornton was a prolific medical author and Doctor of Medicine, practicing at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the Sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle and others as painters; Francesco Bartolozzi, Richard Earlom and John Landseer. Most of the images were painted by Peter Charles Henderson and Philip Reinagle. These botanical illustrations are unique as they were the first flower prints with landscape backgrounds, depicting the natural habitat of the plant. The life-size flowers stand out dramatically and the whole effect is startlingly modern. Thornton's announced intention was to make this work the most magnificent tribute ever paid to the famous Swedish botanist Linnaeus by illustrating his Sexual System with the finest possible prints. All these were engraved on a larger scale than anything which had hitherto appeared and then were printed in colour, an expensive and uncommon method in England at this time. A brilliant effect. This rare and celebrated plate of the Roses...

This is a striking original antique colored botanical mezzotint and line double page engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 1. Musa,...

This is a hand-colored engraving depicting the natural history of Pinkunderwing Moths, Cream Spotted Tyger Moths in their natural botanical environment, which is plate 4 from Moses H...

'Passereaux. Dentirostres. 1. Le Roi des Gobe -Mouches ou Moucherolle a huppe transverse, Buff. (Muscicapa regia) 2. Menure lyre (Macnura lyra. Vieill) ' Steel-engraving with origin...

Subject : Ancient Greek vase-painting depicting Paris seated, turns toward Helen, who leans on a pillar. Left : Pan and hind. Right : satyr. Above : Aphrodite and Eros. Technique : ...