Art by Medium: Etching

L'Angellus Etching, engraving and acquatint on Arches paper, 1902 Signed lower right by the artist (see photo) This is a first state impression printed in a brown/black ink, one of ...

Johnston, Ynez. UNTITLED. Etching, not dated (but likely 1950s). Edition of 20, signed in pencil and numbered 4/20. 6 7/8 x 9 inches (plate), 8 x 10 5/8 inches (sheet). In excellent ...

The 1998 Pirelli Calendar was photographed in Miami by Bruce Weber. Tanga Moreau was among the many iconic models photographed. 'Tanga Moreau is a Belgian model. She has appeared on...

Robert Savoie, Canadian (1939 - ) - Graffiti, Year: 1977, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, titled on verso, Edition: 39/50, Image Size: 2...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Different worlds are melted together in the remarkable etches of Dutch artist Gea Karhof. Ancient cultures go hand in hand with 20th century icons. It is po...

Maurice de VLAMINCK Main Street of a Traditional French Village, 1951 Original etching with aquatint Printed signature in the plate On vellum 33 x 43 cm (c. 13 x 17 in) REFERENCES ...

Portrait of Clemency is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge...

Situation #3 Shlomo Cassos, Moroccan (1936) Date: circa 1980 Etching, signed and numbered in pencil Edition of 63/95 Image Size: 26 x 19 inches Size: 30 ...

Medium: original etching. This work is also known as "Summer". This impression was printed in 1882 on cream laid paper and published in Boston by Estes and Lauriat for the "Nature an...

Sloan, John (American, 1871-1951). NIGHT WINDOWS. Morse 152. Etching and drypoint, 1910. The 5th state of 5. Edition of 100. Titled, signed, and inscribed...

Image dimensions: 16 x 7 cm. Fable and Truth is an original etching on paper, realized by an Anonymous artist of the XX century, titled in French on the bottom center. The State o...

From Historia de Don Quichotte de la Mancha. Etching and aquatint on Japon paper. Edition AP 23/50. Sheet size 29.875 x 22.125 inches. Image Size 15.75 x 17.5 inches. Frame size ap...

Elisa and the Dragon is an original etching realized by Leo Guida in 1989. Good condition. Mounted on a white cardboard passpartout (50x35). Hand-signed and dateb by the artist. ...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

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

Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usual for the Whitney edit...

Medium: original etching. This impression on laid paper was printed in 1903 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 1/2 x 4 5/8 inches (167 x 11...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Night Time in a Stable. 1927-28. Drypoint. Appleby 131. 10 1/8 x 12 1/8 (sheet 11 1/2 x 16 1/2). Edition 100. Illustrated: Print Collector's Quarterly 25 (1...

Owl is an Etching realized by Enotrio Pugliese in 1963. Limited edition of 14 copies numbered and signed by the artist. Good condition on a white cardboard. Enotrio Pugliese (May ...

Medium: etching (after the painting). Etched by a French engraver after the Corot painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the rare "Recueil D'Estampes Gra...

Etching on cream wove paper, 4 3/4 x 3 3/4 inches (120 x 95 mm), wide margins. Scattered light surface soiling, unevenly trimmed wide margins, all consistent with age. Likely printed...

Debris Etching, engraving and color aquatint, 1947 Signed, dated, titled and number Edition: 25 (1/25), never fully realized Created in the artist's first year studying at the Univer...

Richard Haas The Rookery Courtyard, Chicago, 1974 Etching on etching rag paper Signed, titled and numbered 11/50 in graphite pencil on the front Frame included Etching on etching ra...

Hand-signed and numbered in pencil, 14/30. Engraved at Marcoussus' studio and printed by Lacouriere, Paris. Co-published by Pierre Loeb, Paris and Pierre Matisse, New York. Literatu...

This artwork "l'Entree du Port, Netherland" c. 1930 is an original color aquatint on wove paper by French/Armenian artist Heran Chaban, 1887-1939. It is h...

20th century figurative etching print by Polish artist Leszek Rozga. Artwork depicts italian landscape in classic style. This piece is signed by the artist and it comes from limited ...

The Barker Etching, 1931 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh, Thirty Etc...

Guy Allen Labrador and Bumblebee Original Etching and Gold Leaf on Paper Image size: 20cm x 30cm Edition size: 75 Please note the price is for the unframed original etching. Please n...

Alméry Lobel-Riche Woman Adjusting her Earring Handsigned original engraving Signature printed in the plate Numbered /12 On parchment 31 x 22.5 cm (c. 12.2 x 8.9 inches) Excellent ...

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 ...

Auguste RODIN (after) Dante, 1897 Etching enhanced with watercolor On vellum 42.5 x 31 cm (c. 16.7 x 12.2 inches) Edition limited to 125 copies, send with the certificate of authent...

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with platetone, 1879-80. From the Second Venice Set. Signed on the tab with the butterfly in pencil. Printed in sepia on laid paper with no visible watermark. Trimmed just outside the platemark, leaving the tab. In excellent condition. As with all of the Whistler Nocturnes, each impressions of this print is different, dependng on how Whistler wiped and manipulated the platetone. 11 5/8 x 7 7/8 inches (plate and sheet, plus the tab). Framed to 20 x 16 inches. Provenance: Collection of Thomas Jefferson Coolidge, Jr. with his collection stamp (Lugt 1429) verso; Kennedy Galleries, with its inventory number a65609 in pencil verso, and with another inscription, "FWCX" in pencil, verso. Thomas Jefferson Coolidge, 1831-1920, was a great-grandson of Thomas Jefferson, a powerful Boston businessman, and an Ambassador to France. In 1875 he became the manager of the largest textile mill in America, the Amoskeag Mill in Manchester New Hampshire, and had major financial interests in the textile, banking, railroad, publishing and electrical industries. In 1880 he became the President of the Atchison, Topeka & Santa Fe Railway. He was one of the founders of the United Fruit Company...

Medium: original etching. This impression on cream laid paper was printed in 1884 for the "French Etchers" portfolio, and published in New York. Image size: 9 x 11 3/4 inches (225 x ...

Pursued Centaur (Verfolgter Centaur) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the...

Rocking horse is an original Artwork realized in 1973 by Zivko Djak (1942-2011). Original black and white etching Good conditions. Includes frame: 32 x 1.5 x 26 cm Hand signed and dated on the lower right margin Numbered on the lower left. Edition of 75. Image Dimensions: 12 x 10 cm Zivko Djak (1942-2011). One of the most important Serbian artists...

This early 19th century etching entitled "Veduta di Piazza Navona sopra le rovine del Circo" was created by Jean Barbault (1718-1762) after a painting by...

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...

Minotaur is an original etching artwork by Marcel Chirnoaga (Romanian, 1930–2008) one of the most important artists of fantasy painting and mythology subjects in the XX century. The...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

The Elephant and Jupiter's Monkey. Mixed colored etching on Japan paper. Signed on the lower right margin. Numbered on the lower left margin. Edition of 249/250. The artwork is from...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fro...

Etching and drypoint on cream wove paper, full margins. Signed and numbered 59/75 in pencil, lower margin. Notations in pencil along the lower sheet edge, recto, well outside of ima...

Camille Billops, 'Mondo Negro III', color etching, 2000, edition 20. Signed, dated, titled, and numbered '7/20' in pencil. A superb, richly-inked impre...

For Alberti, For Spain! is an artwork realized by Joan Mirò in 1975. Etching and aquatint, 90 x 66 cm. Hand signed. Edition 64/90. Reference: Dupin 926. Printed on Fabriano paper, ...

The architect is Paolo Posi, and the image is engraved by Giuseppe Vasi.  Etching on paper. Good condition. The title:  Celebratasi colla Machina della precedente sera la beneficenz...

Jose Sacal (Mexico, 1944-2018) 'Angel', 2002 mezzotint on paper 22.1 x 18.4 in. (56 x 46.5 cm.) Edition of 25 ID: SAC-101 Hand-signed by author

Krol also designed and engraved medals for the Paris mint, painted murals for various schools throughout France, created tapestries, and produced over 200 works in enamel. His work ...

Richard Haas Central Synagogue - Lexington Avenue Looking North, 1991 Etching and aquatint on wove paper Signed, dated and numbered 8/35 in graphite pencil on the front; bears the or...

Salvador Dali The liars (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Field p...

Charles Bastard, Swiss (1854 - 1924) - Arcade du Molard, Year: 1890, Medium: Hand colored etching on Arches, signed, titled and dated in the plate, Image Size: 6 x 8 inches, Size: ...

Richard Haas Downtown Los Angeles MOCA (Museum of Contemporary Art), 1991 Etching and aquatint on paper with printers blind stamp SIgned, dated '91 and numbered 14/35 in graphite pen...

Medium: original etching. Published in Paris in 1906 for the Revue de l'art ancien et moderne. This is a magnificently rich, dark impression on laid paper. Sheet size: 11 1/2 x 8 inc...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

Etching on cream laid paper, 6 1/8 x 4 3/4 inches (156 x 120 mm), full margins. In good condition with some minor, uniform age tone. Printed by George Bertauts, Paris. [Beraldi II.140.26] Henri Béraldi Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes. Librairie L. Conquet, vol. XII, Paris, 1885–1892, cat. no. 34, p. 140. __________ Well known in his native Germany as a watercolorist, Karl Bodmer had a rich experience exploring in North America in the 19th century, accompanying German explorer Prince Maximilian zu Wied-Neuwied as the official artist on an expedition which toured the Missouri River...

Untitled (Still Life) Etching, aquatint and soft ground, 2001 Signed in pencil (see photo) Edition: 260 Published by the Print Club of Cleveland, Publication 80, 2002 Printed by Felix Harlan at Harlan and Weaver, New York William Bailey, Modernist Figurative Painter, Dies at 89 He swathed his nudes and still lifes of eggs, vases, bottles and bowls in a breathless, deceptively serene atmosphere heavy with mystery. The painter William Bailey in 2009. He was never given a career survey in a major museum, but his influence, particulary on students at Yale, was deep.Credit...Ford Bailey By William Grimes for the New York Times April 18, 2020 William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. His muted ochres, grays and powdery blues conjured up a still, timeless world inhabited by Platonic forms, recognizable but uncanny, in part because he painted from imagination rather than “They are at once vividly real and objects in dream, and it is the poetry of this double life that elevates all this humble crockery to the realm of pictorial romance,” Hilton Kramer wrote in The New York Times in 1979. Mr. Bailey’s female figures, some clothed in a simple shift or robe and others partly or entirely nude, are disconcertingly impassive, implacable and unreadable, fleshly presences breathing an otherworldly air. The critic Mark Stevens, writing in Newsweek in 1982, credited Mr. Bailey with helping to “restore representational art to a position of consequence in modern painting.” But his version of representation was entirely idiosyncratic, seemingly traditional but in fact “a modernism so contrarian,” the artist Alexi Worth wrote in a catalog essay for the Betty Cuningham Gallery in 2010, “that it feels, despite its historical sophistication, almost like a brand of outsider art.” William Harrison Bailey...

Plate V, Le Cocu Magnifique Etching, 1968 Unsigned From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 impressions The set of...

Etching and Aquatint on Montval paper. Hand Signed. Edition of 260 prints (not numbered and generally not signed). Plate 24 from "La Suite Vollard". Catalogue Bloch no. 227; Baer 44...

ARTIST: Salvador Dali TITLE: Petites Nus (From Ronsard) E MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Editions Argillet EDITION NUMBER: 26/95 MEASUREMENTS: 15.2" x 11.4" Y...