Art by Medium: Engraving

"The Boat" Hand Signed Drypoint Print Maritime drypoint print by Jeannette Maxfield Lewis (American. b 1894 d. 1982.) A boat is docked in a harbor, its sails are lowered over the c...

The Grand Coronation Banquet of King George IV at Westminster Hall, the oldest building on the Parliamentary estate. A Prospect of the Inside of Westminster Hall; The Grand Coronati...

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...

"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Bowles, Thomas III (after John Donowell) John Bowles & Richard Wilkinson, 1751. Steel engraving with extensive hand coloring in watercolor on cream wove paper, 10 1/4 x 16 inches (...

Rhaidder Fawr, a Great Cataract three miles from Penmaen Mawr,' an engraving with hand colouring by John Boydell (1720-1804). Well presented in a gilt frame. Signed within the plate....

Beggars Receiving Alms at the Door of a House is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece ...

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered 49 in pencil from the edition of 110, at the lower left margin. There were 84 impressions on laid paper and a further 26 impressions on Japan paper. It was published by Paul Cassirer, Berlin in 1923. Note: The work was part of Chagall's important and renowned series "Mein Leben...

A stunning pair of original 19th-century hand-colored botanical engravings featuring Ipomoea horsfalliae and Chirita walkeria, attributed to renowned British botanists William Jackso...

After William Holman Hunt (1827-1910) ‘Shadow of Death’ Mezzotint Image: 73 x 57cm Frame: 104 x 84 cm Engraved by Frederick Stacpoole (1813-1907), on wove paper published 1878 by T...

Salvador Dali (1904-1989) - Sator Drypoint etching with roulette from 1969. The edition 4/95. Dimensions of work: 38 x 28 cm. Hand signed. Publisher: Pierre Argillet, Paris. Re...

Paris: Gazette des Beaux-Arts, 1856. Drypoint etching on cream laid paper, 4 7/8 x 8 3/8 inches (124 x 245 mm), full margins. In good condition with light uniform age tone. Fourth s...

Stella Drypoint, handcoloured Limited edition print Edition of 30 Image Size 72.4cm H x 72.4cms W (28 1/2 x 28 1/2 in) Unframed ARTIST BIOGRAPHY: Kate Boxer makes the plates in her...

Haarlem: c1700. Mezzotint on watermarked laid paper, 11 1/2 x 18 1/4 inches (290 x 462 mm), thread margins. In good condition with expert repairs at the right corners, and upper-lef...

George Andreas Böckler, 'Chalice Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked ...

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

This richly engraved map of Rome and its environs entitled "Urbis Cum Vicis Seu Pagis Adiacentibus Dissertationi III De Aq et Aqueaed Veteris Promae Praemissa Authore Raph Fabretto G...

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...

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 ...

Nymph and Goat 3 (Black) by Reuben Nakian, 1897 - 1986 Date: 1979 Medium: Drypoint Etching with Chine Colle, signed and numbered in pencil Edition: XXV Size: 20 in. x 26 in. (50.8 cm...

A striking 19th-century botanical engraving depicting Ipomoea horsfalliae, also known as Lady Doorly’s Morning Glory. This exquisite floral illustration is attributed to the renowned...

Lumbermen. 1923. Etching. Appleby 91. 9 x 12 (sheet 12 3/8 x 18 1/8). Edition 100. A cleanly-wiped impression printed on off-white 'FG Head & Co' laid paper with full margins. Signed...

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

Sepia mezzotint by Richard Earlom (1743-1822) After Claude Gellee ('Claude Lorrain') (1600-82). From 'Liber Veritatis; or A Collection of Prints after the original designs of Claude le Lorrain...

This is an 18th century mezzotint portrait of Elizabeth, Countess of Northumberland, Baroness Percy by Richard Houston after a painting by Joshua Reynolds, published in London by Robert Sayer in 1763. It is a rare, full length portrait of Elizabeth, who was known as Lady Betty. Lady Betty stands, facing to the right, holding her coronet, and wearing her peeress’s ermine and velvet robes over a brocade dress. In the background are a column, a billowing drape, and the grounds of Alnwick Castle...

Die Zisterne is a black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, a port...

Alfredo Sosabravo (Cuba, 1930) 'Mi torre de Babel acuática', 2001 silkscreen on paper 25.2 x 30.4 in. (64 x 77 cm.) Edition of 100 Unframed ID: SOS1289-003-100 ______________________________________ Manuel Alfredo Sosabravo  Born: 1930, Sagua la Grande, Matanzas, Cuba.  Studies: Between 1955-1957 he studied at the Elementary School of Applied Plastic Arts attached to the Academy of Fine Arts San Alejandro, in Havana, Cuba.  Experience: Member of the Association of Cuban Recorders and teaches several drawing and engraving courses at the National School of Art Instructors. In 1965 he entered the Graphic Experimental Workshop of Havana. In 1993 he teaches a mural ceramic course at the Faculty of Fine Arts of the University of Tenerife in the Canary Islands, working in turn at the Giuseppe Mazzotti Museum House 1903 in Albissola Mare, Italy.  Exhibitions: It is included in the 1959 annual Salon, Palace of Fine Arts, Havana. He made the first personal exhibition of importance in 1967 with oil-collages and ceramics in the Havana gallery. In 1973 he placed on the mezzanine floor of the Habana Libre Hotel a mural composed of 555 pieces of ceramics started since 1971. In 1997 he presented Sosabravo, The Guardian of the Small, in the Art Gallery, Madrid, Spain. In 2001 he exhibited graphic and painting works in El Comune de Orvieto Italia, in the Sala Conca de la Laguna, Tenerife and at the Feria de la Estampa in Madrid. In Cuba, he built the 10 m2 mural called Carnaval de la Habana for the Residencial América real estate. In 2002, Galería Cernuda Arte, Coral Gables, Florida, shows his works at the Art Miami Fair. In the United Kingdom he exhibited Murano glass oil paintings and sculptures. The Biennale di Ceramica nell'Arte Contemporary of Albissola Mare, Savona, invited him to participate with works that he would carry out in the San Giorgio da Poggi workshop. In 2003 his work was part of the Important Cuban Artworks...

Engraving printed in black ink on hand-made, thin-laid paper, 3 5/8 x 3 5/8 inches (84 x 84 mm), 3/4 inch margins. In excellent condition, printed 19th century.

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...

‘Duff House, the Seat of the Earl of Fife, in Bamffshire’ Engraving by P Mazell After C Cordiner, From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England, Sco...

Provenance: Edouard Schultze (Lugt 906) References: Bartsch 34 Boorsch & Lewis 38 Notes: A fine impression of this engraving. Boorsch and Lewis state that this work dates from “the mid-1560s” and suggest that it was after a work by Giulio Romano...

Artist: Salvador Dali (1904–1989) Title: Eye Watches from Peephole (Œil regardant par le trou de serrure) Year: April 14, 1967 Medium: Engraving in colors on velin pur chiffon de Rives paper Paper Size: 14.875 x 11.25 inches (37.78 x 28.58 cm) Condition: Well preserved, consistent with age and medium Inscription: Signed in the plate and unnumbered as issued Publisher: Cercle du Livre Precieux, Paris Printer: Haasen, Boileau and Cappelle, Paris Catalogue raisonne references: Field, Albert, and Salvador Dali. The Official Catalog of the Graphic Works of Salvador Dali. S. Dali Archives, 1996, illustration 67-4; Michler, Ralf, et al. Salvador Dali: Catalogue Raisonne of Prints. Prestel, 1994, illustrations 174–187 Notes: Excerpted from the folio (translated from French), Dali illustre Casanova was realized at the expense of the Cercle du Livre Precieux by Haasen, Boileau and Cappelle for the print of engravings and by Viglino, art printer for the text, under the direction of Claude Talon. The draw has been completed, April 14, 1967. Justification of the draw—a single example on Japon nacre, to which were added V original watercolors and V inked copper plates, as well as a suite of engraved lines on silk, a suite on papier de Rives, and a color suite of the XIV illustrations, numbered I. II examples on Japon nacre, including II original watercolors, II inked copper plates, a silk suite of engraved lines, and a color suite of illustrations, numbered II and III. V examples on Japon nacre, including an original watercolor, an inked copper plate, a silk suite of engraved lines, and a color suite of illustrations, numbered IV to VIII. XVII examples on velin pur chiffon de Rives, to which were added a silk suite of engraved lines and a color suite of illustrations, numbered IX to XXV. CCCLXV examples on velin pur chiffon de Rives, numbered XXVI to CCCXC. In addition, some examples marked H.C. were produced for the publisher and his friends. Additional notes: This exquisite engraving in colors by Salvador Dali (1904–1989), titled Œil regardant par le trou de serrure (Eye Watches from Peephole), from the folio Dali illustre Casanova (Dali Illustrates Casanova), originates from the 1967 edition published by Cercle du Livre Précieux, Paris, and printed by Haasen, Boileau and Cappelle, Paris. The composition exemplifies Dali’s extraordinary command of classical engraving combined with his visionary Surrealist imagination, where symbolic imagery, meticulous draftsmanship, and psychological suggestion converge in an evocative interpretation of the literary world of Giacomo Casanova. In Œil regardant par le trou de serrure (Eye Watches from Peephole), Dali transforms the human eye and the intimate act of looking through a concealed opening into an enigmatic meditation on voyeurism, curiosity, secrecy, and forbidden desire. The eye, one of the most powerful recurring symbols within Surrealist art, evokes perception, consciousness, and the mysteries of the subconscious mind, while the peephole introduces associations with concealed observation, erotic intrigue, and the tension between revelation and concealment. These themes resonate with Casanova’s celebrated memoirs, whose accounts of romance, seduction, and clandestine encounters provided Dali with a rich imaginative framework for exploring the complexities of human desire. Through his characteristic combination of technical precision, provocative symbolism, and imaginative ambiguity, Dali transforms the simple act of observation into a psychologically charged exploration of temptation, intimacy, and the mysteries of human experience. Dali illustre Casanova (Dali Illustrates Casanova), published in Paris in 1967 by Cercle du Livre Précieux, represents a distinguished collaboration between Salvador Dali’s visionary Surrealist imagination and the literary legacy of Giacomo Casanova, the celebrated eighteenth-century Venetian adventurer, writer, and chronicler of European society. Conceived within the tradition of the French livre d’artiste, the publication unites original graphic works, literary narrative, and exceptional craftsmanship in a refined edition intended for collectors of fine art and illustrated literature. Casanova’s memoirs, renowned for their vivid accounts of romance, intrigue, travel, aristocratic society, and the complexities of human desire, provided Dali with a particularly fertile imaginative framework through which to explore his lifelong fascination with eroticism, symbolism, psychological transformation, and the irrational dimensions of human experience. Rather than approaching the literary subject through conventional illustration alone, Dali interprets the world of Casanova through his distinctive Surrealist vocabulary, transforming objects, figures, and symbolic motifs into enigmatic compositions that evoke the sensuality, theatricality, and psychological tensions of the narrative. Through its synthesis of eighteenth-century literary culture, Surrealist symbolism, original etching, and traditional French bookmaking, Dali illustre Casanova stands as an important expression of Dali’s engagement with the illustrated book and his ability to reinterpret historical literature through the imaginative possibilities of modern art. SALVADOR DALI (1904–1989) was a Spanish painter, draughtsman, printmaker, sculptor, designer, filmmaker, and writer whose astonishing technical virtuosity, theatrical imagination, and psychologically charged dream imagery established him as one of the most celebrated and recognizable artists of the twentieth century and one of the defining figures of the Surrealist movement. Born in Figueres in Catalonia, Spain, Dali demonstrated exceptional artistic talent at an early age and later studied at the Real Academia de Bellas Artes de San Fernando in Madrid, where he absorbed the traditions of Renaissance draftsmanship, Spanish Golden Age painting, and the radical visual innovations transforming modern European art. During this formative period he became aware of the revolutionary achievements of Pablo Picasso, whose Cubist experiments reshaped modern painting, while also engaging with the poetic symbolism of Joan Miro, the experimental photography of Man Ray, the conceptual provocations of Marcel Duchamp, the sculptural investigations of Alberto Giacometti and Alexander Calder, and the spiritual abstraction of Wassily Kandinsky. In the late 1920s Dali moved to Paris and joined the Surrealist circle led by Andre Breton, quickly distinguishing himself through his extraordinary technical skill and his ability to translate psychoanalytic ideas into unforgettable visual form. It was during this period that he developed the paranoiac-critical method, a process intended to access the subconscious through controlled irrational associations, enabling him to create images that shift between multiple interpretations and symbolic meanings. Through this method he produced some of the most iconic works of modern art, including The Persistence of Memory, The Great Masturbator, and Soft Construction with Boiled Beans, paintings that introduced imagery such as melting clocks, distorted landscapes, and dreamlike spaces rendered with the precision of Old Master painting. Throughout his prolific career Dali worked across painting, sculpture, printmaking, jewelry design, photography, theater, literature, and film, collaborating with figures such as Luis Bunuel on the landmark Surrealist film Un Chien Andalou, designing the dream sequence for Alfred Hitchcock’s film Spellbound, and even producing experimental animation with Walt Disney. Dali also became one of the twentieth century’s most prolific printmakers, producing extensive bodies of etchings, lithographs, and illustrated works that brought Surrealist imagery to collectors worldwide. His flamboyant public persona and instantly recognizable mustache made him a cultural icon, yet beneath the spectacle lay a disciplined artist deeply informed by art history, drawing inspiration from Renaissance and Baroque masters such as Leonardo da Vinci, Raphael, Velazquez, and Vermeer while pushing painting toward psychological and symbolic exploration. Dali’s imaginative universe influenced generations of artists across many disciplines, including Andy Warhol, Jeff Koons, Damien Hirst, Matthew Barney, and numerous contemporary painters, photographers, filmmakers, and designers exploring dream imagery, hyperrealism, symbolism, and the subconscious mind. Today his works are held in many of the world’s leading museum collections, including the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Salvador Dali Museum in St. Petersburg, Florida, the Museum of Modern Art in New York, the Centre Pompidou in Paris, the Tate in London, and the Art Institute of Chicago. Salvador Dali’s paintings, sculptures, drawings, and graphic works remain among the most recognizable and widely collected works of twentieth century art, and the highest auction record for a painting by Salvador Dali is Portrait de Paul Eluard (1929), which sold for 21,671,500 GBP at Sotheby’s London on February 10, 2011, confirming his lasting importance in the international art market and the continuing demand for his visionary works among collectors worldwide. Salvador Dali Œil regardant par le trou de serrure (Eye Watches from Peephole), Salvador Dali Casanova, Dali illustre Casanova, Dali 1967 engraving, Salvador Dali color engraving, Dali Cercle du Livre Précieux Paris, Dali Haasen Boileau Cappelle, Dali vélin pur chiffon de Rives, Dali Surrealist print, Dali eye...

Artist: Salvador Dali (1904–1989) Title: Cut Cucumber (Concombre coupe) Year: April 14, 1967 Medium: Engraving in colors on velin pur chiffon de Rives paper Paper Size: 14.875 x 11.2...

58.42 x 66.04 cms (23 x 26 ins) Edition of 40 Published by Bernard Jacobson Gallery

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

The Dancing Children,' an engraving by Alexander Bannerman (c.1730) after Antoine Le Nain (1593-1648) published by John Boydell (1720-1804) in 1767. Inscribed within the plate below ...

This is an original 18th century hand-colored map entitled "An Accurate Chart of The Mediterranean and Adriatic Sea's; with the Archipelago & Part of the Black Sea. Exhibiting all th...

Medium: engraving (after the painting). Engraved by French artist Henri Bérengier (1881-1943) after the Manet painting. Printed in 1910 on watermarked BFK Rives paper and published i...

Juan Sebastián Barberá Durón (Mexican, 1964) 'Decantación verde', 2004 Engraving Series number: HC Archivo Limited edition of 99 Size: 50 x 70 cm. (19.7 x 27.6 in.) Surface: Guarro S...

Artist: Salvador Dali (1904–1989) Title: Large Flask (Grande fiole) Year: April 14, 1967 Medium: Engraving in colors on velin pur chiffon de Rives paper Paper Size: 14.875 x 11.25 in...

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...

Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...

engraved Aguatinta. Arches paper 63x90, Arches filigree. Ed. Galerie Lelong. Paris. 50 ejs numbered 1/50 and 15 HC ejs numbered 1/15 catalogue raisonné image 801, 1981 ANTONI TAPI...

John Sartain (1808-1897) after Gilbert Stuart (1755-1828) George Washington and Martha Washington, A Pair Mezzotints, handsomely framed in period style reproduction frames with silk ...

Engraving Handsigned by the artist in pencil and numbered 33/35 72.00 cm. x 91.00 cm. 28.35 in. x 35.83 in. (paper) 49.00 cm. x 71.00 cm. 19.29 in. x 27.95 in. (image) LCD5238

Daphne Du Maurier Kate Boxer Contemporary Drypoint Print Edition of 30 Image Size: H 65.5cm x W 76cm Paper Size May Vary Sold Unframed Please note that in situ images are purely an i...

'Rent Day' Engraving by Abraham Raimbach (1776-1843) after Sir David Wilkie RA (1785-1841). Circa 1820. 'Second Plate' printed under engraver's name. Wilkie was an important Scot...

"Kvetch" monoprint in oil with collage, engraving and embossment on handmade paper by artist Mel Bochner from Two Palms Publishing. Signed and dated Bochner 2021 lower right recto. I...

Pierre-Yves Trémois’s Le singe à l’électronique (1976) merges scientific imagery with primal instinct, juxtaposing a pensive baboon beside circuit-like engravings and a serene human ...

King, Daniel (with Wenceslaus Hollar) Ordinis Benedictini monialis; Saint Thecla of Kitzengen c 1650. Etching with engraving on cream laid paper with an indiscernible watermark wit...

Artist: Salvador Dali (1904–1989) Title: Six Eggs (Six œufs) Year: April 14, 1967 Medium: Engraving in colors on velin pur chiffon de Rives paper Paper Size: 14.875 x 11.25 inches (3...

Emile Vainqueur a la Course,' a stipple engraving by Louis-Marin Bonnet (1736-1793) after Jean Frédéric Schall (1752-1825). The scene illustrates ...

Work on paper without frame from Alexandre Mairet

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 ...

This is an early 18th century hand-colored copperplate engraving of the anatomy of grapefruit by Johann Christoph Volkhamer, entitled "Pompelmus (Grapefruit), Der Herra Sitz und Burg...

Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg. While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting. Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked. Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium. Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print. There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers. But making mezzotints was not a paying job. Marchant and his South African wife...

This colorful and detailed early 18th century copperplate map by John Cary entitled "A New Map of Persia from the Latest Authorities" was published in London in 1801. It depicts Persia, the region of modern day Afghanistan, the Caspian Sea, the Sea of Aral, the Persian Gulf...

Salvador Dali (1904-1989) - Grenade et l’ange (Pomegranate and Angel) Lithograph with drypoint etching from 1969. The edition E.C. /b on Auvergne paper. Dimensions of work: 74.5 x...

Etching with drypoint on hand made laid Japan paper with a deckle edge, 8 9/16 x 11 5/8 inches (220 x 296 mm), full margins. Signed, dated and titled in pencil in the margin, recto. ...

In "Still Night", Frederick Mershimer depicts a row of brownstone houses on Seventh Avenue near Flatbush Avenue between Park and Stirling Places. Mershimer remembers that as he was ...