Art by Medium: Engraving

Ferdinand Springer, 'Arbre-Homme', engraving, 1945, edition 23. Signed and numbered '23/20' in pencil. A fine, richly-inked impression, on heavy, b...

An original 18th-century engraving by Pierre Maleuvre (1740–1803), based on an original painting by Dutch artist Ludolf Backhuysen. The scene depicts a dramatic shipwreck near a coas...

A finely detailed stipple engraving by Thomas Cheesman (1760-1834) after a painting by George Romney (1907-1995). The sitter is a Miss Vernon, although there is some dispute as to wh...

A finely detailed mezzotint engraving depicting William George Frederick, Prince of Orange-Nassau (1774–1799). Well presented in a gilt frame with beaded running patterns. On paper. ...

A finely detailed engraving depicting Princess Jakobea of Baden (1558–1597) by the Dutch artist Crispijn van de Passe the Elder (1564–1637). Jakobea married Duke John William of Jüli...

A striking black and white print by Russian-born French artist William Brui, titled 'Boules dans différents espaces'. The composition features dense, intricate cross-hatching and lin...

A remarkable engraving produced by the Augsburg publisher Jeremias Wolff (1667-1724) depicting studies of facial features and heads in profile. Well presented in an antique maple fra...

An amusing satirical print from 'Human Passions Delineated' by the self-proclaimed 'Lancashire Hogarth' Tim Bobbin, a pseudonym of John Collier (1708-1786). Well presented in a rusti...

A finely detailed engraving by Carlo Antonio Porporati (1741-1816) after Charles-André van Loo (1705-1765). This scene is from Torquato Tasso’s (1544-1595) popular epic poem 'Jerusal...

A unique artwork combining engraving with reverse glass painting, also known as verre églomisé. The engraving is by Daniel Berger (1744-1824) after Daniel Nikolaus Chodowiecki (1726-...

A finely detailed 1795 stipple engraving by Robert Mitchell Meadows (1763-1812) after George Morland (1763-1804), beautifully presented in a black frame with gilt running patterns. I...

A finely detailed engraving by Gaspard Duchange (1662–1757) after a painting by Antoine Coypel (1661–1722). The work depicts a scene from Book XIV of Homer’s 'Iliad' in which Juno, c...

A 17th-century engraving by influential Dutch Baroque engraver Johannes Luyken (1649–1712) depicting Herod's Massacre of the Infants at Bethlehem. The print illustrates the biblical ...

A finely detailed 1795 stipple engraving by Robert Mitchell Meadows (1763-1812) after George Morland (1763-1804), beautifully presented in a black frame with gilt running patterns an...

An impressive engraving by John Hall (1739-1797) after Benjamin West's (1738-1820) 1772 painting. The scene depicts William Penn, founder of Pennsylvania, entering into the Treaty of...

A striking seventeenth century engraving depicting Margat, or Marqab, castle in Syria. The castle was a Crusader fortress, and one of the major strongholds of the Knights Hospitaller...

A finely detailed mezzotint portrait of Princess Friederike Luise of Prussia by Charles-Melchior Descourtis (1752-1819) after Francesco Tozelli (1749-1822). Well presented in a black...

A finely detailed engraving by Sir Robert Strange (1721-1792) after a 1635/6 painting by Sir Anthony van Dyck (1599-1641), which is still held in the Royal Collection. The work depic...

A finely detailed copper plate engraving by Karel van Mallery (1571-1635) and Philips Galle (1537-1612) after Jan van der Straet (1523-1605) depicting a lively hunting scene. The pri...

A fine prospect image of gardens at Lincoln's Inn, London. A Prospect of Lincoln's Inn; A Survey of the Cities of London and Westminster; The Fountain and Gardens in New Square, Lin...

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

This refined circa 1818 original Japanese woodblock print by Utagawa Kunisada depicts the celebrated kabuki actor Iwai Kumesaburo II in the role of Oiso no Tora, bringing food to Sog...

Tribute to Artists 17 is a unique painting by contemporary artist Hongyu Zhang. The painting is made with Indian ink, acrylic, charcoal, pastel and engraving on gray cardboard mounte...

A fierce battle scene with women warriors. (after Perino del Vaga) Engraving on oval-shaped light laid paper, 8 1/4 x 10 3/4 inches (260 x 274 mm), the full sheet, trimmed at the pl...

This is a hand-colored copper-plate engraving entitled "Gelsiminum Catalonicum, Mairana Latifollia, Euphasiaramosa Pratensis Flore Albo, Euphasia Minus Ramosa Flore Excereruleo Purpurascente", depicting flowering Jasmine, Mountain Laurel...

Roman Zaslonov is a Russian Postwar & Contemporary artist who was born in 1962. Roman Zaslonov's work has been offered at auction multiple times. Only o...

A superb impression of Martin Lewis's consummate image of Japan. Etching with drypoint on fine cream laid paper, 13 7/8 x 10 3/8 inches (352 x 265 mm); sheet 17 3/4 x 14 1/4 inches ...

Otto Kuhler, 'Grand Central Station', etching and drypoint, 1927, edition c. 50, Kennedy 27. Signed and titled in pencil. A superb, richly-inked impression, in brown/black ink, with ...

This is a colored aquatint and stipple engraving finished by hand entitled "Amicua Melon", drawn and engraved by George Brookshaw and published in London in 1812 as plate LXXII in hi...

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif & Salzer and is in the permanent collection of the Museum of City of New York...

Cornhill: J & A Arch, 1819. Etching and engraving on lightweight cream wove paper, 14 7/8 x 9 1/4 inches (378 x 235); sheet 18 3/4 x 13 1/8 inches (477 x 334 mm), full margin. In ve...

This exquisite hand-colored 18th century folio-sized engraving of a papaya plant and moth metamorphosis is plate 64 from Maria Sibylla Merian's publication '...

Etching with engraving on thin laid paper with an unidentified ovoid purple ink stamp (not in Lugt), 9 3/4 x 12 7/8 inches (247 x 326 mm), thread margins. Uniform age tone with scatt...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

'Maniere de Disposer La Menuiserie pour Recevoir La Sculpture' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. F...

Bearing a wry handwritten inscription in the lower margin plate that reads: "un Cochon de propriétaire qui ne fera de bien qu'après sa mort" (A pig of a landlord who will do no good ...

Copper-line engraving. 1781. From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Plate number top left. Laid paper. John Latham was the leading English or...

PAUL KLEINSCHMIDT (German 1883 – 1949) (LADIES AT A DRESSING VANITY) 1930 Drypoint signed, No. 2/6 and dated ’30. 7 ¾” x 11 ¾”. Large full sheet wi...

An early impression from an exceptional English collection. Rome: M. Scheap, 1658. Engraving on cream laid paper, 4 5/8 x 5 7/8 inches (117 x 125 mm); sheet 5 x 6 1/8 inches (128 x...

Signed Limited Edition Geometric Abstract Architectural Print Spanish Modern Art Artist: Jesús Iraizoz Michelena (Spanish, b. 1950) Date: c. 2000 Medium: Original limited-edition pr...

The Dinner Horn Wood engraving, 1870, with grey ink wash by a later skillful artist Signed in type face in the caption below the image. (see photo) One of Homer's most famous illus...

Medium: etching, engraving and mezzotint (after Claude Lorrain). This lovely impression on wove paper was engraved by G.H. Every for the "Beauties of Claude Lorraine" portfolio. The ...

Artist: Pablo Picasso (1881–1973) Title: Untitled (Sans titre) Year: October 25, 1949 Medium: Engraving on velin de Montval paper Paper Size: 13 x 10.187 inches (33.02 x 25.88 cm) Co...

The Wrath of Elihu. 'I Am Young, And Ye Are Very Old, Wherefore I Was Afraid'. 1823-25. Engraving. .Binyon catalog 117 state ii, Bindman catalog 632. Image 7 7/8 x 5 15/16; plate 8 ...

Artist: Pablo Picasso (1881–1973) Title: Untitled (Sans titre) Year: October 25, 1949 Medium: Engraving on velin de Montval paper Paper Size: 13 x 10.187 inches (33.02 x 25.88 cm) Co...

BROWN, Paul Desmond (SIGNED) "Left Backhander and a Hook" International Polo Argentina vs USA (Copa de las Americas) in 1928, etching Matted and framed ...

Troy Kinney (American 1871 - 1938) "Untitled: Female Dancer", Figurative Drypoint/ Etching/ Pencil signed on bottom right hand corner, 13 x 10 (18.75 x 14, In Frame), Early 20th Century Troy Kinney (December 1, 1871 – January 29, 1938) was an American artist, etcher, and author. He was most notable for his works portraying dance performers, fanciful subjects, and classically styled nudes...

"Mizuhiki" is an exclusive publication by Stone + Press in an edition of 100. Katsunori Hamanishi was born in 1949 on Hokkaido island - Japan's second largest island. In 1973 he fi...

Artist: Pablo Picasso (1881–1973) Title: Untitled (Sans titre) Year: October 25, 1949 Medium: Engraving on velin de Montval paper Paper Size: 13 x 10.187 inches (33.02 x 25.88 cm) Co...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

Artist: Pablo Picasso (1881–1973) Title: Untitled (Sans titre) Year: October 25, 1949 Medium: Engraving on velin de Montval paper Paper Size: 13 x 10.187 inches (33.02 x 25.88 cm) Co...

Two Hand Crafted Foster Brothers Frames, Gilded, c. 1920 Wood and gold leaf 22 7/8 x 18 x 3/4 inches each Note: One frame contains a mezzotint by William Henderson. Established by S...

Artist: Pablo Picasso (1881–1973) Title: Untitled (Sans titre) Year: October 25, 1949 Medium: Engraving on velin de Montval paper Paper Size: 13 x 10.187 inches (33.02 x 25.88 cm) Co...

Created to accompany poetry in the book Si je mourais la-bas by Guillaume Apolliaire, this lovely woman detailed in a soft delicate profile we can only a...

Artist: Thomas Dunham Whitaker (English, 1759-1821) Title: "East View of Peel Castle" (Vol. 2, Plate 41) Portfolio: An History of Richmondshire, in the North Riding of the County of York; together with those parts of the Everwicschire of Domesday which form The Wapentakes of Lonsdale, Ewecross, and Amunderness, in the Counties of York, Lancaster, and Westmoreland Year: 1822, (published 1823) (First edition) Medium: Original Engraving on wove paper Limited edition: Unknown Printer: Thomas Davison, London, England Publisher: Longman, Hurst, Rees, Orme & Brown, London, England; Hurst, Robinson, & Co., London, England; Robinson & Hernaman, Leeds, England Framing: Not framed, but matted with hand decorated archival French matting and shrink-wrapped Matted size: 15.57" x 19.07" Sheet size: approx. 10.63" x 16.13" Image size: 7" x 11" Condition: Has been stored away for decades. A strong impression in excellent condition Notes: Provenance: private collection - Aspen, CO. Engraved by English artist John Roffe (1769-1850) after a drawing by English artist John Buckler (1770-1851). Comes from Whitaker's two volume "An History of Richmondshire", (1818-1823) (First edition), which consists of 45 engravings. Printed from one copper plate in one color: black. Old price tag lower center. Peel Castle is a castle in Peel in the Isle of Man, originally constructed by Norwegians. The castle stands on St Patrick's Isle, which is connected to the town by a causeway. It is now owned by Manx National Heritage and is open to visitors during the summer. Biography: Thomas Dunham Whitaker (8 June 1759 – 18 December 1821) was an English clergyman and topographer who was Vicar of Whalley, from 1809 and Blackburn, from 1818. He undertook landscape improvements in the Cliviger area, and oversaw the planting of approximately half a million trees between 1785 and 1815, winning the gold medal of the Society of Arts for planting 64,000 larches in one year. Born at Raynham, Norfolk, on 8 June 1759, he was the son of William Whitaker (1730–1782), curate of Raynham, Norfolk, and his wife Lucy, daughter of Robert Dunham, and widow of Ambrose Allen. In 1760, his father moved to his ancestral house at Holme, in the township of Cliviger, Lancashire, and the boy was, in November 1766, placed under the care of the Rev. John Shaw of Rochdale. In November 1774, after spending a short time with the Rev. William Sheepshanks of Grassington in Craven, he was admitted to St John's College, Cambridge, and went into residence in October 1775. He took the degree of LL.B. in November 1781. His intention to enter the legal profession changed on the death of his father in the following year, when he settled at Holme. Whitaker was ordained in 1785, but remained without pastoral charge until 1797, when he was licensed to the perpetual curacy of Holme Chapel, where he had rebuilt the chapel at his own cost in 1788. He completed his degree of LL.D. in 1801. In 1809 he became vicar of the extensive parish of Whalley, Lancashire. The rectory of Heysham, near Lancaster, was presented to him in January 1813. He resigned it in 1819. On 7 November 1818 he became vicar of Blackburn, a benefice he retained, together with Whalley, until his death. When settled at Holme he instituted a local literary club. He had influence with the people of his parishes, and on several occasions exerted it to quell disturbances, particularly at Blackburn in 1817. For his 'patriotic services' he was presented with a public testimonial in April 1821. He was also very interested in topography and forestry, writing books on the subjects. In 1818, he was elected a Fellow of the Royal Society as "a Gentleman well versed in various Branches of Natural Knowledge being desirous of becoming a Fellow of the Royal Society". Whitaker married Lucy, daughter of Thomas Thoresby of Leeds, on 13 January 1783. The couple had several children, of whom one, Robert Nowell Whitaker, also became vicar of Whalley. Whitaker died at Blackburn vicarage on 18 December 1821, and was interred at Holme. A monument raised by public subscription was placed in the Church of St Mary and All Saints, Whalley in 1842. His library was sold at Sotheby's in 1823, and his coins and antiquities, with the exception of his Roman altars...

Mielatz, Charles. CATHERINE MARKET. Etching, before 1903. Edition size not known. Unsigned. 9 7/8 x 7 inches (plate), 12 x 10 inches (sheet). Printed on very thin tissue. In excellen...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

Hendrick Hondius I Flemish/Dutch, 1573–1650 formerly attributed jointly to Simon Frisius and Hondius Portrait of Pieter Aertsen (“Petrus Petri, Longus, Amstelr. Pictor”) 1610 Engraving on laid paper Plate: approximately 20.4 × 12.8 cm (8 × 5 in.) From Pictorum aliquot celebrium praecipuae Germaniae Inferioris effigies Signed within the image at lower left: Cum priv. Hh. fecit Lettered below the portrait with the sitter’s name and a four-line Latin encomium New Hollstein (Hondius) 105; Hollstein (Frisius) 149 Christopher Mendez stock label verso Attribution and series This engraving was published in The Hague in 1610 as part of Hendrick Hondius I’s celebrated series Pictorum aliquot celebrium praecipuae Germaniae Inferioris effigies—“Portraits of Certain Celebrated Painters, Principally of the Low Countries.” The volume assembled engraved likenesses of distinguished Northern European artists and helped establish an enduring visual canon of Netherlandish art. The old Christopher Mendez label identifies the engraving as “Frisius and Hondius” and calls it number 30 in the series. Current Rijksmuseum cataloguing, however, identifies Hendrick Hondius I as both engraver and publisher, consistent with the inscription Hh. fecit—“Hendrick Hondius made this”—within the image. Simon Frisius contributed other plates to the publication, which presumably accounts for the older dual attribution and the print’s listing under Frisius in Hollstein. Numbering varies between arrangements or parts of the series: another commercial description identifies the Aertsen portrait as plate 27 of the second part. The safest modern attribution is therefore engraved and published by Hendrick Hondius I, while recording the historical Frisius–Hondius attribution. The Rijksmuseum dates its impression to 1610 and gives the plate dimensions as 204 × 128 mm. Catalog Essay and Analysis Pieter Aertsen is represented half-length, seated before an easel and turning slightly toward the viewer. His heavy mustache, rounded beard, furrowed brow and direct gaze communicate experience and intellectual authority rather than courtly refinement. Hondius surrounds him with the material signs of his profession: palette, brushes and mahlstick rest on the ledge at left, while the unfinished or displayed painting behind him depicts the Baptism of Christ. The inclusion of a religious composition is important. Although Aertsen is now especially celebrated for monumental kitchen and market scenes, he was also a highly regarded painter of altarpieces. Many of those religious works were destroyed during the iconoclastic upheavals of the sixteenth century. By placing a sacred history painting so conspicuously beside the sitter, Hondius reminds the viewer that Aertsen was not merely a painter of food, peasants and market produce, but an ambitious inventor of large-scale religious compositions. The Baptism scene also establishes a subtle relationship between the artist and his creation. Aertsen’s large head and upper body dominate the foreground, while the slender figures in the painting recede dramatically. The arrangement transforms the workshop into a site of artistic memory: the painter survives physically through his likeness and professionally through the work displayed behind him. Hondius differentiates the surfaces through exceptionally controlled engraving. Closely spaced, curving lines model the sitter’s face and sleeves, while dense cross-hatching produces the dark wall and garment. The comparatively open white areas of the bald forehead, collar and cloak give the figure monumental clarity. The strict geometry of the chair, easel and background contrasts with the organic lines of Aertsen’s face and beard. The print is also an early example of the artist portrait as cultural historiography. Hondius’s series did more than reproduce appearances. It organized Northern painters into a lineage of recognized masters, pairing each likeness with a concise Latin inscription praising the sitter’s distinctive achievements. The series contained portraits made by Hondius, Simon Frisius, Andries Jacobsz. Stock and Robert de Baudous; the Rijksmuseum describes its set as comprising seventy-two portraits. Inscription The title identifies the sitter as: PETRUS PETRI, LONGUS, AMSTELR. PICTOR That is, “Pieter Pietersz., the Tall, painter of Amsterdam.” Longus translates Aertsen’s familiar nickname Lange Piet or “Tall Pieter.” The Latin verses may be translated: Learned men admire your colors and vigorous draughtsmanship, And the great pictures produced by your right hand. Tall you were in body, and in forming tall bodies; You, O Tall One, show that greatness pleased you. The poem plays repeatedly upon Aertsen’s exceptional height, his nickname, the elongated figures in his paintings and the unusually large scale of his compositions. A period description of another impression transcribes the same inscription and identifies the scene on the easel as the Baptism of Christ. Hendrick Hondius I Hendrick Hondius the Elder was born at Duffel, near Antwerp, in 1573. Trained initially in drawing and engraving, he reportedly studied with the celebrated printmaker Jan Wierix. He also developed interests in mathematics, perspective, architecture and fortification design. Following travels that included Cologne, London and Paris, he settled in The Hague, where he entered the Guild of Saint Luke in 1597. Hondius became an important engraver, publisher and organizer of printed knowledge. His publications ranged from architectural and perspective studies to portraits and reproductive prints. His 1610 Pictorum aliquot celebrium was among his most consequential projects. The collection expanded upon the earlier artist-portrait series issued in Antwerp in 1572 by Hieronymus Cock’s widow, Volcxken Diericx, with texts by Dominicus Lampsonius. By enlarging the group to include later Netherlandish artists—and selected German and English figures—Hondius fashioned a broader history of Northern European art. Hondius should not be confused with the contemporary cartographer Jodocus Hondius or with Jodocus’s son, Hendrik Hondius II. Pieter Aertsen Pieter Aertsen was born in Amsterdam in 1508 and died there on June 2, 1575. By 1535 he was documented as a master in the Antwerp Guild of Saint Luke. He remained in Antwerp for much of his career before returning to Amsterdam around the middle of the century. Known as Lange Piet because of his height, Aertsen was a pivotal figure in the development of Northern European genre and still-life painting. He pioneered monumental compositions in which lavish displays of meat, fish, vegetables, cooking vessels and market goods occupy the foreground, while a comparatively small biblical episode appears in the distance. These deliberate reversals of pictorial hierarchy invite the viewer to choose between material abundance and spiritual meaning. Aertsen’s compositions were deeply influential upon his nephew and pupil Joachim Beuckelaer and, through him, upon subsequent Flemish and Dutch kitchen...

Gustave Dore, After by Charles Henry Jeens, French (1832 - 1883) - The King's Farewell, Portfolio: Guinevere, Year: 1867, Medium: Engraving, Image Size: 9.5 x 7 inches, Size: 1...

1925-26. Drypoint. Appleby 114. 8 9/16 x 12 (sheet 12 x 17). Edition 100, #10. An excellent impression with burr, printed with plate tone on the full sheet of 'VGI' laid paper with ...