Art by Medium: Engraving

Contemporay figurative drypoint print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts portrait of a woman with a bird next to her. On the bottom of the composition there is a ship. Behind a woman there are buildings- maybe towers. Print is made in small scale. Composition is quite surrealistic. The title of this print is 'Wild geese' EWA KUTYLAK She graduated from the Academy of Fine Arts in Wroclaw. The subject of work Kutylak oscillates around the animal and plant symbolism combined with stylized depictions or portraits of people silhouettes. These motifs, often scaled to each other, are placed against or in combination with views of gardens and landscapes. Biblical references and scenes reminiscent of the illustrations of medieval bestiaries are also frequent. She has participated in numerous contest exhibitions in the world (Italy, Belgium, Portugal, Bulgaria, Denmark, Egypt...

Contemporay figurative etching print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts a scene at the table on the foreground. In the background there is a...

The painting is being offered with a work and authenticity certificate

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...

Henry Isaacs (United States, 1951) 'Retrato de Girona', 1989 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: ISA1446-001-099 Hand-signed by author

Martin Chirino (Spain, 1925-2019) 'Sin título (azul y negro)', silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 ID: CHI1205-010-001_3 Hand-signed by author

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair Lecture" Levon West In a supplemental list prepared by Otto Torrington he lists seven views of Venice. No edition of these Vencie images was ever printed. Only rare proof exist. I cannot find another impression of this image on line or in reference books. Condition: Very good impression with selective inking to the plate. Imperfections on the bottom edge of the sheet. Image/Plate size: 14 5/16 x 8 3/8 inches Sheet size: 17 1/2 x 11 1/2 inches Also known as Ivan Dmitri, Levon West gained international fame for his portrayals in color photography, etchings and watercolors. During his youth, West moved throughout North Dakota, as his father was a congressional preacher. After graduating from high school he taught school for a year and enlisted in the United States Navy. West was the recipient of a scholarship to the University of...

Joan Ponç (Spain, 1927-1984) 'La cabra', 1979 lithograph on paper 14.6 x 10.7 in. (37 x 27 cm.) ID: PON1135-046-000 Hand-signed by author ____________________________________________...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

Antoni Miró Bravo (Spain, 1944) 'Untitled', 1996 engraving, silkscreen on paper 15.8 x 11.9 in. (40 x 30 cm.) Edition of 150 ID: MIR1205-005-150_2 Hand-sig...

'Azalea Pontica - Yellow Pontic Azalea' Native of the coat of the Black Sea. Original copper-line engraving with original hand-colouring from Henry Andrews' 'The Botanist's Reposi...

A wonderful 19th century stipple engraving by Thomas Gauguin (1756-1831) after Joseph Barney (1753-1832). The print depicts a young boy sat on his red jacket, ready with his kite at ...

Depicted is the birthplace of John Howard Payne in Easthampton, Long Island, N.Y. The prepatory drawing for this drypoint is in the collection of the Brooklyn Museum. The print is ...

Carlos Uribazo (Cuba, 1951) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 ID: URI-302 Hand-sign...

Artist: Dali, Salvador Title: Paysage Iberique from Pasiflore Series: Neuf Paysages Date: 1980 Medium: Aquatint and photogravures with black drypoint remarques Framed Dimensions...

Stanley William Hayter Big Horse (Black & Moorhead 46), 1932 Engraving & Drypoint on antique white Canson Vidalon laid paper affixed to original matting Hand signed, numbered and dat...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

The painting is being offered with a work and authenticity certificate

Joan Ponç (Spain, 1927-1984) 'Mar interior', 1973 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: PON1135-008-000 Hand-signed by author ___________________________________________...

Joan Ponç (Spain, 1927-1984) 'Esfinx acrobàtica', 1975 engraving on paper 22.1 x 30 in. (56 x 76 cm.) ID: PON1135-030-000 Hand-signed by author Unframed _____________________________...

Sensations engraving surrealist limited edition painting Paper handmade of 600 grs. Edition of 100 copies Numbered in pencil and signed Born in Vic, Cataluña, in 1947, he resides in Mexico since 1998. Heir of the Spanish school by tradition and through his personal relation with the three Spanish giants of the 20th Century: Picasso, Dalí and Miró. He has over 50 individual exhibitions presented in Mexico, El Salvador, Puerto Rico, Spain, Sweden, France, and the U.S.A., such as “The color of the music of Rodolfo Halffter”, Pecanins Gallery (Mexico City, 2005); “Opus in color”, Museum of Anthropology (Jalapa, Ver., Mexico, 2004); Museum of Art of Queretaro (Queretaro, Mexico, 2001); Spanish Institute of Culture in El Salvador (San Salvador, El Salvador, 2000); “From flesh to passion”, Siqueiros Cultural Polyforum (Mexico City, 1999). He arrived in Mexico in 1997 with an invitation to present the exhibition “Germ of Illusions”, Pemex (Mexico City). Before his experience in Mexico, he realized the Olympic Suite “Homage to the Olympic Subvenues Barcelona 92...

Etching and engraving on handmade cream laid paper, 3 7/8 x 6 7/8 inches (97 x 173 mm), full margins. In good condition, consistent with age. Several small notations in pencil in t...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X Total edition in 10 states 125 printed Note: The scene depicts the Church of San Rocco on the right at the intersection of via Schiavoria and via di Ripetta. Guichard considers this image to be among the artist's most desirable. Condition: Exceptional, rich impressions, printing with extensive burr. Printed on a medium weight Japanese paper. Image/Plate size: 12 x 9 inches Sheet size: 15 7/8 x 11 inches Sir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. A figure in the last generation of the Etching Revival, Bone's early large and heavily-worked architectural subjects fetched extremely high prices before the Wall Street Crash of 1929 deflated the collectors' market. He was well known, if not notorious, for publishing large numbers of different states of etchings, encouraging collectors to buy several impressions. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum. Early life Muirhead Bone was born in Partick, Glasgow. His parents were journalist David Drummond Bone (1841–1911 and Elizabeth Millar Crawford (1847–1886). The Bone and his siblings attended the local Board school and were placed in apprenticeships from the age of fourteen. James Bone...

Ernesto Garcia Peña (Cuba, 1949) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 ID: GAE-309 Hand...

Andy Rivero (Cuba, ) 'Untitled (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-250 Hand-signed by author

Yalili Mora y Daniel Rivero (Cuba, 1972 y 1972) 'L.O.R.M. (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-238 Hand-signed by au...

Juan Carlos Menendez (Cuba, ) 'Untitled (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-234 Hand-signed by author

Copper-line engraving with original hand-colouring by John Harris after George Catlin (1796-1872), 1842. Depicts a native American Indian warrior 'Hee-ohks-te-kin, Rabbits Skin Legg...

Robert Indiana ERR (Sheehan 29), 1963 Photoengraving and Etching on off-white Rives BFK paper Hand signed, dated and annotated on lower front with artist's blind stamp from Coenties ...

PABLO PICASSO (1881-1973) "Minotaure aveugle guidé par Marie-Thérèse au Pigeon dans une Nuit étoilée" 1934 Numbered 1/3 (in Red on lower left) and signed in red Picasso (on lower right) Aquatint, scraper, drypoint and burin in parchment paper. 13 1/8 x 17 5/16 inches Image Size 9.1/2"H x 13 3/16"W Sheet Size : 16 7/16"H x 21" W Framed Size: 27.5"H x 31.25"W x 1.5"D From the Suite Vollard...

18th-century celestial FLAMSTEED, John. Cetus London, C. Nourse, 1753. A fine star chart from the Atlas Coelestis, the largest and most accurate star atlas published up to that ti...

Visca original engraving abstract paintiong. virtual framed edition de 50 ej. TÀPIES PUIG, Antoni (Barcelona, 1923-2012). Antoni Tàpies begins in art during the long convalescence fr...

Grande Albero. Original aquatint and dry-point, 1992-3. Edition of 60 signed and numbered impressions on Arches paper. Safet Zec is a Bosnian painter and graphic designer, known as one of the major artists of poetic realism. At the beginning of the 90’s he became one of the most important artists...

Artist: Salvador Dali Title: Paradise: Canto 16 Portfolio: The Divine Comedy: Paradise Medium: Woodblock engraving Year: 1963 Edition: 4765 Framed Size: 19 1/4" x 16 3/4" Sheet Size:...

Ernesto Rios (Mexico, 1975) 'Untitled', N/A embossed on paper 19.7 x 14 in. (50 x 35.5 cm.) Edition of ID: RIS-101 Hand-signed by author

Eduardo Naranjo (Spain, 1944) 'Sin título', ca.2000 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 ID: NAR1115-005-099 Hand-signed by author

Brian Nissen (England, 1939) 'Mariposa obsidiana 8', 1981 engraving on paper 27.6 x 21.3 in. (70 x 54 cm.) Unframed ID: NIS1331-007-000 Hand-signed by author ________________________...

Artist: Dali, Salvador Title: Untitled II (Le Tricorne) Series: Le Tricorne (The Three-Pointed Hat) Date: 1959 Medium: Wood engraving Framed Dimensions: 20" x 17.5" Signature: Unsigned Edition: 24/30 Literature: AF 20...

Lynd Ward, 'Dogs of War' from the series 'Moriae Encomium (The Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. A proof impression apart from the Limited Editions Club impressions. Matted to museum standards, unframed. Scarce. Image size 7 3/4 x 4 13/16 inches (197 x 122 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

Robert Indiana Star of Hope, 1972 Enamel on Metal with Artists Stamped Name. Date and Copyright Artist stamped name and copyright on lower right front Frame Included: held in a white...

Rafael Paneca (Cuba, 1949) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 ID: PAN-301 Hand-signe...

Engraving:  The Ibex hunting with snakes Historical , mythological, religious, allegorical subjects, genre scenes, landscape painter. Mannerist. He settled in Antwerp, Venice, Flore...

" Noon 2007" Portrait of Musician Ryan Bingham engraving by Kiki Smith of a young man looking directly at the viewer. His look is not one of challenge, but more of a questioning nature. It is numbered on verso 28/33, and dated 2007. Kiki Smith (1954 - ) is a West German-born American artist. Her work encompasses many themes: sex, birth, regeneration and death along with personal investigation of her life and those of her family. Her figurative work of the late 1980s and early 1990s confronted subjects such as AIDS and gender. Her recent works have depicted the human condition in relationship to nature. Smith lives and works in New York City and the Hudson Valley, New York State. Her father was sculpture artist, Tony Smith and her mother was actress and opera singer Jane Lawrence. Although Kiki's work takes a very different form than that of her parents, early exposure to her father's process of making geometric sculptures allowed her to experience formal craftsmanship firsthand. Smith was enrolled at Hartford Art School in Connecticut for eighteen months from 1974 to 1975, then moved to New York City in 1976 and joined Collaborative Projects (Colab), an artist collective. The influence of this radical group's use of unconventional materials can be in seen in her work. For a short time in 1984, she studied to be an emergency medical technician and sculpted body parts, and by 1990, she began to craft human figures. In addition to print making Kiki Smith has created in a number of different mediums such as film, sculpture, tapestries, books and the confines of commissions. She experimented in a wide range of printmaking processes. Some of her earliest print works were screen-printed dresses, scarves and shirts, often with images of body parts. In association with Colab, Smith printed an array of posters in the early 1980s containing political statements or announcing Colab events. In 1988 she created "All Souls”, a fifteen-foot screen-print work featuring repetitive images of a fetus, an image Smith found in a Japanese anatomy book...

This beautiful 19th century framed engraving "Dover" by Thomas Lupton is based on an original painting by the renowned British artist J.M.W. Turner, which depicts a panoramic view of the harbor of Dover, a town in southeastern England, that has been an important port for centuries. The engraving captures the dramatic sky and sea that Turner was known for, with billowing clouds and waves crashing against the shore. The town and its famous white cliffs are visible in the background, while ships and boats dot the harbor in the foreground. Several wooden rowboats...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives off-white wove paper Signed, tit...

Artist: Salvador Dali Title: Inferno: Canto 2 Portfolio: The Divine Comedy: Inferno Medium: Woodblock engraving Year: 1963 Edition: 4765 Framed Size: 19 1/4" x 16 3/4" Sheet Size: 13...

The painting is being offered with a work and authenticity certificate

Printed in 1941, this work entitled Morning Paper is a mezzotint and was the 32nd Presentation Print of the Chicago Society of Etchers. Founded by Chicago artist Bertha Jacques in 19...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Cambridge (1690) Engraving 80 x 50 cm Loggan's marvellous and large view of Trinity from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells...

PABLO PICASSO 1881-1973 Málaga 1881- 1973 Mougins (Spanish) Title: Caricature of General de Gaulle and Two Women, from: Series 347 Caricature du général de ...

Brian Nissen (England, 1939) 'Mariposa obsidiana 8', 1981 engraving on paper 27.6 x 21.3 in. (70 x 54 cm.) Unframed ID: NIS1331-007-000 Hand-signed by author ________________________...

Brian Nissen (England, 1939) 'Mariposa obsidiana 7', 1981 engraving on paper 27.6 x 21.3 in. (70 x 54 cm.) Unframed ID: NIS1331-005-000 Hand-signed by author ________________________...

Brian Nissen (England, 1939) 'Mariposa obsidiana 2', 1981 engraving on paper 27.6 x 21.3 in. (70 x 54 cm.) Unframed ID: NIS1331-004-000 Hand-signed by author ________________________...

Brian Nissen (England, 1939) 'Mariposa obsidiana 6', 1981 engraving on paper 27.6 x 21.3 in. (70 x 54 cm.) Unframed ID: NIS1331-003-000 Hand-signed by author ________________________...

Joan Ponç (Spain, 1927-1984) 'Madrid', 1976 lithograph on paper 22.1 x 30 in. (56 x 76 cm.) ID: PON1135-032-000 Hand-signed by author Unframed _______________________________________...

Joan Ponç (Spain, 1927-1984) 'Unanista', 1975 engraving on paper 22.1 x 30 in. (56 x 76 cm.) ID: PON1135-031-000 Hand-signed by author Unframed ______________________________________...

Joan Brossa (Spain, 1919-1998) 'Laberint Poema visual de Joan Brossa', 1996 engraving, silkscreen on paper 15.8 x 11.9 in. (40 x 30 cm.) Edition of 150 ID: BRO1205-005-150_3 Hand-sig...