Art by Medium: Engraving

An 18th century color printed in addition to hand colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering amaranthus p...

Etching with engraving on cream laid paper with a partial watermark, 12 x 8 1/4 (305 x 210 mm); sheet 16 3/4 x 11 inches (425 x 280 mm), full margins. Signed by both Sweet and Shapla...

A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...

Gustave Dore, After by George C. Finden, French (1832 - 1883) - The Joyous Sprites, Portfolio: Guinevere, Year: 1867, Medium: Engraving, Image Size: 9.5 x 7.25 inches, Size: 16...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Interior with a red shawl conveys a quite different mood and feeling: one of calm, and suspension of time. Here the suggestion is that the woman is waiting ...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Three Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All three works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". All three, "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" have an unidentified watermark in the center of their sheets resembling "XV". Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

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...

Map of Persiae, Armeniae, Natoliae et Arabiae Descriptio per F de Wit 1688 engraving from: Atlas Contractus Orbis Terrarum Praecipuas ac Novissimas Complectens Tabulas. Amsterdam, N. Visscher, 1656-77. (Koeman III, Vis5-8) This highly decorative map of the Middle East is by the Dutch engraver, publisher, and map seller...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

Signed, titled and numbered in pencil from the edition of 40. Atmospheric mezzotint still life of two roses. Marina Lazareva was born in Moscow in 1961. She is a member of Union of ...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Lone Tree Schoodic Point is part of James Groleau’s Salt Granite Spruce series, a body of mezzotints drawn from the rugged coastline and inland waterways of Maine. Through dense blac...

Cowboy is a limited edition drypoint etching made with carborundum on paper by printmaker and artist, Kate Boxer. The classic black and white artwork is somewhat reminiscent of the o...

Engraving, 1976 Handsigned by the artist in pencil Edition : 115 Publisher : Galerie Schmücking (Braunschweig) Printer : Lacourière et Frélaut (Paris) 28.00 cm. x 37.50 cm. 11.02 in. x 14.76 in. (paper) 19.50 cm. x 25.50 cm. 7.68 in. x 10.04 in. (image) Original drypoint etching by Zoran Music...

Ana Maria Pacheco portrays the fear and feelings of the displacement of refugees cowering beneath helicopters overhead. The title of the work refers ...

Produced in 1889 by Boussod, Valadon & Co., this original chromotypogravure entitled The Eiffel Tower presents the celebrated Parisian monument in the year of its completion. Pub...

Artist: Johannes "Jan" Kip (Dutch, 1652/3-1722) Title: "The West Prospect of the Cathedral of York" (Vol. 3, Plate 31) Portfolio: Britannia Illustrata / Le Nouveau Théâtre de la Grande Bretagne Year: 1715-1724 (Third edition) Medium: Original Engraving and Etching on cream laid paper Limited edition: Unknown Printer: Joseph Smith, London, UK Publisher: Joseph Smith, London, UK Sheet size: 19.25" x 24.19" Image size: 16.75" x 22.5" Reference: "London Illustrated 1604-1850" - Adams No. 22; Crace No. 201; Brunet IV No. 114; Lowndes No. 1277; Lewine page 263-264 Condition: With centerfold as issued. Some light toning and foxing mainly in margins, and some light edgewear. Has been professionally stored away for decades. It is otherwise a strong impression in very good condition Rare Notes: Provenance: private collection - Ross-on-Wye, UK. Engraved by Dutch artist Johannes "Jan" Kip (1652/3-1722) after a drawing by Dutch artist Leonard Knyff or Leendert Knijff (1650-1722). Comes from Kip's six volume (including Supplement and 'Atlas Anglois') "Britannia Illustrata" / Le Nouveau Théâtre de la Grande Bretagne", (1724-1728) (Third edition), which consists of 394 engravings and etchings. Printed in one color from one copper plate: black. Biography: Johannes "Jan" Kip (1652/53 in Amsterdam - 1722 in Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses. Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill's "A Collection of Voyages & Travels" (first published 1704). He signed the African scenes in volume V of the 1732 edition as "J. Kip". His most important works were the large fold-out folio illustrations for "Britannia Illustrata", 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, "The Ancient and Present State of Glostershire", 1712 (1st edition); and for "Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne", 1715, an extended reprint in collaboration with other artists. The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was "Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates", London (1707, published in the winter of 1708–9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water...

Salvador Dali (1904-1989) Portrait de Marguerite (Portrait of Marguerite) Original drypoint etching with roulette and hand-applied watercolor on Japanese paper, from the deluxe edit...

Medium: mezzotint and aquatint Year: 2014 Edition: 30, signed in pencil. Image Size: 12 x 15.75 inches Signed, titled and numbered by the artist. The illusions and reflections in Si...

Metamorphosis Insectorum Surinamensium, Plate No. 39; Unidentified tree with moth, caterpillar and pupa. The Netherlands: 1705....

Color drypoint etching on Japan nacré paper, edited in 1968 Limited edition, numbered as 146/175 in lower left corner.
 Hand-signed in pencil by artist in lower right corner. Plate ...

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...

The Roman general Mark Antony dies in the arms of his lover Cleopatra in this finely detailed engraving by Johann Georg Wille (1715-1808) after a 1763 painting by Pompeo Batoni (1708...

"Prometheus" is an original Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Map...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the 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 in this way 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...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

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...

'Yucca filamentosa' (Adam's Needle) Original copper-line engraving with original hand-colouring. From 'Herbier general de l'amateur' by Jean Louis Auguste Loiseleur-Deslongchamps &...

Title: Circles of Strength Original One-of-a-kind Freedom Blue Extra-large Geometric Striking Elephant Unity Karnish’s 'Circles of Strength' masterfully merges a complex geometric ...

This is a hand-colored engraving of a parrot bird entitled "La Perruche-Ara, de Cayenne (Parrot)" by Francois Nicolas Martinet, plate 864 from 'Histoire Naturelle des Oiseaux' in ass...

Salvador Dali (1904-1989) - Le Cavalier Triomphant Drypoint etching on chromolithograph, embossed from 1973. The edition HC. Countersigned by the editor. Additionally dedicated b...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

"Illustrations of the Book of Job" Engraving "The Fire of God is Fallen From Heaven...And the Lord said unto Satan Behold All that he hath is in thy Power" Engraving, third printing...

Unframed. Edition of 1 copy, numbered 1/1. Dated, numbered, and signed by the artist in pencil. The copy offered for sale is No. 1/1. This work will be shipped rolled in a tube. Fo...

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne ,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. Housed in an archival folder ------------------------------------------------------------------------------------------------------- Winged Love...

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

A fine early 19th Century engraving, showing the Biblical scene of Balaam's Donkey. The artist has inscribed their name and date in plate at the lower edge, along with an inscription...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

Vesuvius, engraving with original hand-colouring, 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic collection of I...

An Inland View in Atooi ( Hawaii ) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. This engraving depicts ...

Portrait of Albert Schweitzer. Etching. 11 3/4 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205....

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...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32. Third state of three, with the revisions to the sitter's facial expression and the dar...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue "Liebe" (Dear), Text in German on the plate, The drawing created unusually bold erotic subjects through deft strokes. Good conditions. Mihály Zichy...

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

Storm Wave III is a dynamic etching with aquatint by Art Werger, created in 2001. The composition focuses tightly on a breaking wave, capturing the moment where crest, spray, and und...

Ciro Quintana (Cuba, 1965) 'Abstraccion de Vereda Tropical', 2016 silkscreen on paper Canson 320 g. 30 x 22.1 in. (76 x 56 cm.) Edition of 50 ID: QUI-301...

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

Joan Ponç - SIN TÍTULO 1 Date of creation: 1975 Medium: Etching on paper Edition number: 70/75 Size: 56 x 76 cm Condition: In perfect conditions and never framed Observations: Etchin...

This refined 1841 engraving by Alfred Edward Chalon presents a formal portrait of Alexander II Romanov, future Emperor of Russia, at a moment when dynastic imagery still played a cen...

Artist: Salvador Dalí­ Title: Man Kissing Shoe Medium: Engraving on Paper Image Size: 5 7/8" x 4 3/4" Frame Size: 23" x 18.5" Edition: 25/145 Condition: Museum quality Salvador Dalí...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "Spring Song" *Signed by Soper in pencil lower right Year: 1924 Medium: Original Etching on cream laid paper Limited edition: 178 Printer: Likely printed by Eva Soper, London, UK Publisher: H C Dickens, London, UK Sheet size: 8.13" x 10.13" Image size: 6.63" x 9.63" Reference: "The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper" - Beetles No. 83, page 119, 141, 157 Condition: Paper trimmed in the margins. A few faint areas of discoloration. It is otherwise a strong impression in very good condition Notes: Provenance: private collection - Boulder, CO. Biography: Eileen Soper was born in 1905 in the Municipal Borough of Enfield and moved to the house where she was to spend the rest of her life in Harmer Green, Welwyn in the Hertfordshire countryside in 1908. The house she later named "Wildings" was built by her father, the artist George Soper...

Heliogravure, etching, and drypoint, 1934. From the deluxe edition of 40 with the drypoint remarqué, before the published edition of 100 printed from the reduced plate. From the po...

'Antirrhinum Orontium' Mezzotint printed in colours. Circa 1740. From Johann W Weinmann's Phytanthoza Iconographia, published in Regensburg 1737-45. The first botanical series to u...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full mar...

The Swiss-born Rudolf Häsler (1927-1999) lead a varied and busy artistic life, living and working in his native Switzerland, the United States, Spain, where he died, and for an exten...

Artist: Dali, Salvador Title: Tristan and the Dragon Series: Tristan et Iseult Date: 1970 Medium: drypoint printed in color Unframed Dimensions: 17.7" x 13" Framed Dimensions:...