Etching Abstract Prints

Etching with aquatint and embossing on Fabriano Rosaspina paper. Hand signed and numbered Edition of 8/170 prints aside from 15 artist's proofs Printed by Stamperia 2RC – Rome. Publ...

Still Life #2 Juan Manuel Gomez-Quiroz Chilean (1939–2021) Date: 1981 Hand-Colored Etching, signed, titled, numbered and dated in pencil Edition of 19/65 Image Size: 19.75 x 29 inc...

This is a truly stunning work by contemporary great, Glenn Brown. This work is an Artist Proof, one of only 12 created. The frame is handmade by famous London framers, Darbyshire. I...

Aquatint and etching on paper. Hand signed lower right by Roberto Matta. Hand numbered 90/100 lower left. Image size: 14.1 x 18.6 inches. Sheet size: 26 x 19.6 inches. Frame siz...

Artist: Judy Pfaff, American (1946 - ) Title: When the Moon is Full Year: 2002 Medium: Photo-etching, signed, titled and numbered in pencil Edition: 26/30 Image Size: 22 x 87 inches ...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

ANCIENT SCRIPT by the Israeli artist Moshe Castel (1909-1991) is an original etching and aquatint printed in colors with carborundum using traditional hand intaglio techniques on arc...

Aquatint, lift-ground etching and aquatint on Georges Duchene Hawthorne of Larroque handmade paper 87.6 x 61 cm (34 1/2 x 24 inches) Edition of 52

André Butzer (German, b. 1973) Untitled (Ich will erstmal 'ne Cola!), 2011 Medium: Etching on wove paper Dimensions: 34.7 x 25 cm Edition of 30: Hand-signed and numbered in pencil Co...

Untitled is a modern artwork realized by Aldo Turchiaro. Black and white etching. Hand signed and numbered on the lower margin. Edition of IV/XXV Includes frame.

Robert Smith (United States, 1944) 'Last spring', 1972 engraving and etching on paper 21.7 x 29.6 in. (55 x 75 cm.) Edition of 75 Unframed ID: SMI1158-002-075 Hand-signed by author

Artist: Gilou Brillant Title: Untitled 28 Year: circa 1975 Medium: Aquatint Etching, signed and numbered in pencil Edition: 78/99 Size: 35.5 x 25.5 in. (90.17 x 64.77 cm)

A Red, from Three Aquatints, 1979 Aquatint on six copper plates printed on Rives BFK paper Paper Size: 40 3/4 x 40 3/4 inches (103.5 x 103.5 cm); Image Size: 33 x 33 inches (83.8 x 83.8 cm) Signed and titled lower left front Edition of 50, 10 AP, 3 TP Published by Parasol Press, New York Printed by Hidekatsu Takada, assisted by David Kelso, Crown Point Press, Oakland, California Robert Mangold (born October 12, 1937) is an American minimalist artist. He is also father of film director and screenwriter James Mangold. Mangold first trained at the Cleveland Institute of Art from 1956-59, and then at Yale University, New Haven, (BFA, 1961; MFA, 1963). In 1961 he married Sylvia Plimack, and they moved to New York. In the summer of 1962 Mangold was hired as guard at the Museum of Modern Art. Mangold's work challenges the typical connotations of what a painting is or could be, and his works often appear as objects rather than images. Elements refer often to architectural elements or have the feeling architecture to them. He almost always works in extensive series, often carried through both paintings and lithograph works on paper. Mangold’s early work consisted largely of monochromatic free-standing constructions. In 1968 he began employing acrylic instead of oil painting, rolling rather than spraying it on Masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. In 1970 he began working with shaped canvases and within the year began brushing rather than spraying paint onto canvas. Mangold made his first prints in 1972 at Crown Point Press and has made prints throughout his career, working with Pace Editions and Brooke Alexander Editions. In 1965, the Jewish Museum in New York held the first major exhibition of what was called Minimal art (Minimalism) and included Robert Mangold. In 1967, he won a National Endowment for the Arts grant and in 1969, a Guggenheim Fellowship. In 1971, he had his first solo museum exhibition at the Guggenheim Museum. Major museum exhibitions of his work have since been held the Museum of Contemporary Art, San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée d’Orsay in Paris (2006). He has been featured in the Whitney Biennial four times, in 1979, 1983, 1985, and 2004. His work is related to Geometric Abstraction. Select Exhibitions Robert Mangold, Bruce Nauman, Richard Serra: Extended Drawing, Bonnefantenmuseum Accrochage: Donald Judd, Louise Lawler, Sol LeWitt, and Robert Mangold, Galerie Greta Meert, Carl Andre, Dan Flavin, Donald Judd, Robert Mangold, Robert Ryman, Andrea Rosen Gallery, NY Tara Donovan, Sol LeWitt, Robert Mangold, James Siena: Minimalist Prints, Augen Gallery, Portland Modulated Abstraction: Josef Albers, Carl Andre, Donald Judd, Ellsworth Kelly, Sol LeWitt, Robert Mangold, Fred Sandback, Richard Tuttle, Brooke Alexander Editions, New York, NY Drawings from the 1970’s, Mel Bochner, Robert Mangold, Robert Moskowitz, Fred Sandback, Richard Tuttle, Lawrence Markey, New York, NY Systematic: Anne Appleby...

Etching realized by Fausto Maria Franchi in 2013. Edition of 55/200. Hand signed and numbered in pencil. Excellent condition.

Image dimensions: 33 x 49 cm Hand-signed and numbered. Edition of 40 prints. In very good condition, except two light stains on lower left margin. Antonio Corpora (Tunis, 1909 - R...

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...

Luis FEITO (1929-) Balance Original etching and aquatint Handsigned in pencil Numbered / 75 On BFK Rives vellum 91.5 x 62.5 cm (c. 36.5 x 25 inch) Very good condition, light defect...

Arthur Gibbons, American (1947 - ) - Wakoia, Year: 1982, Medium: Monotype Etching with Aquatint, signed, titled and dated in pencil, Image Size: 31.5 x 23.25 inches, Size: 39.5 x...

" Hölderlin: Poèmes " is a hand-signed etching realized by Max Ernst  in 1961. It presents very good conditions. Passepartout included: 49 x 34 cm. Bibliography: Catalog Brusberg n....

Mere Etching and soft ground, 1970 Signed, dated, titled and numbered in pencil Printed in colors by Hector Saunier on BFK Rives paper Published by Georgetown Graphics, Washington, D...

Etching and aquatint, 1975 Edition : 62/75 Publisher : O. Lazar-Vernet, Paris Printer : Georges Leblanc et Morsang, Paris Catalog : Dupin 827 38.00 cm. x 27.70 cm. 14.96 in. x 10.91...

Color Abstract Expressionism aquatint etching. hand pencil signed limited edition. Don Fink (1923-2010) was a well known and well listed Abstract Expressionist who studied at the Art Students League and the Academie Julian. He was born in Duluth , Minnesota, but later moved to Europe where he established himself as an artist. He was first based in Paris where he was a member of the "Jeune École de Paris" (with Karel Appel, Debre, Friedensreich Hundertwasser, Antoni Tapies, Dumitresco, Messagier, Zanartu , etc.) and later moved to Barcelona. A large retrospective of his earlier works was held in Madrid in 1998 with the following promotion: Don Fink Returns to Madrid: American "action" painter Don Fink (b. Duluth, Minnesota, 1923) has a show at Galería Rayuela through September 25. The artist divides his time between Barcelona, Paris, and New York. This is his second exhibition in Madrid in four years. The works on view date from 1952 to 1970. Their "active" surfaces meld the arts of tattooing, calligraphy and three-dimensional terrain mapping, resulting in a meditative and rewarding experience for the viewer. The show was organized by Sebastià Janè of Barcelona and Carmen Muro of Madrid. Galería Rayuela is at Calle Claudio Coello...

Vassily Kandinsky (1866-1944) Surrealist City Scape in Blue, 1965 Heliogravure (photo-etching) Printed signature in the plate On Lana vellum 56.5 × 37.5 cm (c. 22 x 15 in) Authentic...

A Feminine Thought (portfolio), 1971 Plate 11.6 x 9.6 in. / 29.5 x 24.5 cm Paper 27.2 x 20.9 in. / 69 x 53 cm 2 prints in portfolio with label, intaglio printing (drypoint) in dark g...

Date: 1965 Etching with relief on wove paper, signed and numbered in pencil Edition of 17/75 Size: 23 x 30.5 in. (58.42 x 77.47 cm) Frame Size: 26.5 x 34 inches Publisher: Maeght, Paris

203R0946 (Abstract Print) Carborundum etching on zinc printed on BFK Rives 250 gr/m2 paper - Unframed. Edition 3/8 Pierre Muckensturm added printmaki...

Pink Series is an artwork realized by Lucio Fontana in 1966. Etching and Aquatint on BFK Rives. cm 75,5x56, one of the biggest graphic works ever created by Fontana, and a conceptu...

Galloping Horse is an artwork realized by  Jean-Marie Guiny, 2000s.  Etching, Edition 145/160. 40 x 50 cm ; with frame.  Hand signed in the lower right part. Good condtions! J...

This original print is hand signed , dated and numbered by the artist with a pencil. This is an edition of 25 prints in Roman numerals. Piero Dorazio (1927-2005) was an Italian pain...

Signed, titled and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect t...

Man Ray (Emmanuel Radnitsky, aka) Surrealist Figure, 1969 Handsigned original etching Also printed signature in the plate On vellum, 23 x 17 cm (c. 9 x 6,6 inch) Numbered /50 copie...

Artist: Jack Sonenberg, American/Canadian (1925 - ) Title: Perimeter Year: circa 1965 Medium: Etching with Aquatint, signed and numbered in pencil Edition: AP Size: 36 x 29.5 in. (9...

Artist: Terry Winters, American (1949 - ) Title: untitled 6 from Album Year: 1988 Medium: Etching with Aquatint, signed and numbered in pencil Edition: HC 2/2 Image: 20 x 16 inches S...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

Lovely etching, framed, with fine art glass. Signed, E/A.

Artist: Pablo Picasso Title: Le Grenouille (The Frog), from Buffon's l'Histoire Naturelle Medium: Original etching with sugar-lift aquatint and drypoint on Vidalon paper with Vollard...

Antoni Tapies (Spain, 1923-2012) 'Grille de papier colle', 1976 aquatint, collage, lithograph on paper Velin Arches 250 g. 24.9 x 35.5 in. (63 x 90 cm.) Edition of 50 Unframed ID: TA...

Artist: Gloria Garfinkle, American (1929 - ) Title: Ginza 3 Year: 1993 Medium: Etching and Aquatint, signed and numbered in pencil Edition: 11/20 Ima...

Adan Paredes (Mexico, 1961) 'Untitled 5', 2020 collagraph on paper 42.6 x 29.2 in. (108 x 74 cm.) Edition of 40 ID: PAD-105 Unframed

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) created this limited edition Etching on Arches paper at the Lakeside Studio. The LITHOGRAPH PRINT is from a limited edition of 25 (Roman Numerals), printed in black on Arches Cover White (archival paper). with chopmarks and blindstamps. published by The Lakeside Studio (chopmark lower right). THE LITHOGRAPH IS SIGNED TITLED AND ANNOTATED BY THE ARTIST in pencil EXCELLENT condition. Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. From 1955-57 Petersen along with Mel Strawn founded the Bay Printmakers Society. He resumed exhibiting: International Color Lithography, Cincinnati Art Museum; Gravures Americaines d’aujourd’hui, Paris; & received an MFA on the GI Bill (with Nathan Oliveira) from the California College of Arts and Crafts where Richard Diebenkorn was on the faculty. Petersen meets Kerouac, Gary Snyder, Phil Whalen, Allen Ginsberg, McClure, and Rexroth. Petersen’s now famous “Stone Garden” essay is published in Evergreen Review. 1956 In storefront studio in Oakland, California, creates serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud...

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 ...

" Zodiaque " is an etching realized by Max Ernst in 1971. This print is hand signed and numbered. This is an edition of 100 prints. Reference: Catalogue Spies n. 144. Originally a ...

Agnes Mills (American, 1915-2008) Guignol Intermezzo, 1982 Hand colored etching (UNIQUE) Sight: 13 3/4 x 11 1/4 in. Framed: 19 1/2 x 17 x 3/4 in. Titled lower right Inscribed "AP" bo...

Medium: etching and aquatint Image size: 18 × 11.875 Edition: 10 Year: 2021 Abstracted image with references totopographical maps or satellite imagery. Rosalyn Richards has been a ...

Period mixed media print and painting by California artist Katherine Chang Liu (American, 20th-century). Signed "Fireworks Series #39" Katherine Chang Liu '87. Presented with a white...

This artwork "Untitled I" c.1970 in an original color aquatint on Arches paper by noted Polish artist Johnny Friedlaender, 1912-1992. It is hand signed and numbered 128/135 in pencil...

Roberto Antonio (Echaurren) Matta (1911 - 2002) "Driote Liberees" Etching & Aquatint on Japon Nacré Paper. Signed in pencil and numbered 73/100. Published and printed by Georges Visat...

This original etching and aquatint in colours is hand signed in pencil by the artist "Zao Wou-Ki" in Chinese and Pinyin at the lower right margin. It is hand numbered in pencil from ...

This etching is hand signed in pencil by the artist "Klee" at the lower right margin. It is dated in pencil ‘1930’ in the lower left margin. It is also inscribed ‘K 10’ in pencil ne...

Untitled is an etching and collage on paper realized by Hans Richter in 1973. Published by La Nuova Foglio, a publishing house of Macerata. Monogrammed by Frida Richter and numbered in pencil on the lower margin. Edition of 99 prints. Good conditions. On the lower left margin of the back, there are a dry-stamp of the publishing house and a black-ink stamp "Estate Hans Richter". From a portfolio of seven etchings published by The New Sheet under the supervision of Hans Richer, who signed for each " bon à tirer " before his death, which took place in Locarno on 1 February 1976...

Robert Savoie, Canadian (1939 - ) - Bois Nocturne, Year: 1964, Medium: Etching and Aquatint, signed, dated, numbered and titled in pencil, Edition: 48/50, Image Size: 15 x 13.25 inch...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Georges Braque The bird Etching in colors (Crommelynck workshop) Signed in the plate with the monogram Edition of 250 copies not numbered On Arches vellum 38 x 28 cm (c. 15 x 11 in...

Arthur-Luiz Piza, Brazilian (1928 - 2017) - Etoiles, Year: 1965, Medium: Etching on Arches, signed and numbered in pencil, Edition: 12/60, Image Size: 17 x 12 inches, Size: 26 x...

George Dannatt (1915-2009) Line Drawing No.1 1996 Etching Editions available: 10/16, 14/16, 16/16 signed by George Dannatt Image measures: 12.5 x 16.5 cm Unframed George Dannatt’s...

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

Original aquatint etching “Untitled” by the Germans artist, Ferdinand Springer. Signed in lower right margin in pencil by the artist and dated 1951. Condition is excellent. Edition size in pencil in lower left margin 98/200. Sheet size (full) is 115 by 22.75. Image size is 9.75 by 18.75. The artwork is housed in a thin antique silver contemporary frame. Overall framed measurements are 19.5 by 27 inches. Under glass. Provenance: A St. Petersburg, Florida collector. Ferdinand Springer, painter and printmaker, was born to a German father and a Swiss mother in Berlin on October 1, 1907. After graduating from high school in Potsdam, he studied art history at the University of Zurich. He began painting in 1927 and visited Milan where he met the Italian painters Giorgio Morandi and Carlo Carrà. Springer moved to Paris in 1928 where he studied with Roger Bissière at the Académie Ranson. In 1932, he learned intaglio techniques at Atelier 17 in Paris and, in 1937, he traveled to New York where he exhibited at the Julian Levy Gallery. During this time he met Alexander Calder and Salvatore Dali...

Willibrord Haas Arches and Stripes (Bögen und Streifen) (Post-war Abstraction, Joseph Beuys, German painter) Color Etching Year: 1986 Size: 15.4×19.3 on 25.4×31.3in Edition: 30 Si...

Artist: Jack Sonenberg, American/Canadian (1925 - ) Title: Castle No. 1 Year: circa 1965 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 13/60 Size: 30 in. x 22...

20th century figurative etching print by Polish artist Leszek Rozga. This piece is signed by the artist. LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska pri...