Engraving Figurative Prints

Medium: black and white mezzotint Year: 2024 Edition: 25 Image Size: 24 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic mezzotint of the tattooed back of a ...

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...

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 (...

Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. 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. Matted to museum standards, unframed. Scarce. 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. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). 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...

Rev William Carey and his Brahmin Pundit (Mritunjaya) Steel-engraving by Joseph John Jenkins after Robert Home (1752-1834). 1836. Depicts the orientalis...

Ian Hugo, 'Forest Woman', engraving, 1945, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack E...

Artist: Aegidius Sadeler II Petronia, First Wife of Vitellius, from set of Roman Emperors and Empresses, c. 16th-17th century Engraving Publisher: Marcus Christoph Sadeler Sight: 15 1/4 x 10 3/4 in. Framed: 19 3/4 x 15 1/4 x 1 in. This image was conceived in the 16th century by Aegidius Sadeler II and published by Marcus Christoph Sadeler. It is unclear when the present version was executed. Aegidius Sadeler or Aegidius Sadeler II[1] (1570–1629) was a Flemish engraver who was principally active at the Prague court of Rudolf II, Holy Roman Emperor and his successors. Sadeler was born in Antwerp in the Sadeler family of print dealers and engravers. He was the son of Emmanuel de Sayeleer and the nephew of Aegidius I, Jan I en Raphael Sadeler.[2] He was trained by his uncle Jan I and became a member of the Antwerp Guild of St. Luke in 1589. He was active in Munich the next year in 1590, in Rome in 1593, in Naples and then again in Munich in 1594–1597. From 1597 he settled in Prague where he became court engraver for Rudolf II and made engraved portraits of notables and engravings after artworks there, most notably paintings by Bartholomeus Spranger, Roelant Savery, Hans von Aachen, Giuseppe Arcimboldo, and sculptures by Giambologna and Adriaen de Vries. His early engravings were mostly faithful copies of works by Albrecht Dürer in the Imperial collection and copies of paintings by notable Italian painters such as Raphael, Tintoretto, Parmigianino, Barocci and Titian or by Northern painters who worked there, such as Paul Bril and Denys Calvaert. In Prague he also engraved portraits of the notables of Rudolf's court, and collaborated with Spranger, Joseph Heintz the Elder, Jacobus Typotius and his friend Anselmus Boece de Boodt (1550-1632), Rudolf II's gemologist and physician.[3] After Rudolf II died he enjoyed the favour and protection of the two succeeding Emperors, Matthias and Ferdinand II.[4][5] According to Michael Bryan...

Le Buisson is a photogravure realized in the 19th Century. signed. Good condition.

Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; ; Eric Denker, Reflections & Undercurrents: Ernest Roth ...

Ruga, Pietro (after Luigi Magozza). Veduta della Piazza del Popolo. Rome: Giacomo Antonelli, 1825. Engraving with hand coloring in watercolor on cream wove paper with a "PM" watermar...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

The Workshop (Stirling). 1905. Etching and drypoint. Rinder 369 state .ii/iv.Image: 8 3/16 x 12 (sheet 8 5/16 x 12). No published edition. A rich impression with drypoint burr printe...

The Right Hon Henry Herbert Asquith, Prime Minister Mezzotint. 1918. India-laid proof before lettering with a remarque of a doorway centre bottom. Herbert Henry Asquith, 1st Earl of Oxford and Asquith, KG, PC, KC, FRS (1852 – 1928), generally known as H. H. Asquith, was a British politician and statesman who served as Prime Minister of the United Kingdom from 1908 to 1916. Norman Hirst...

Etruscan Vase-painting Copper-line engraving with later hand-colouring. 1808. From Millin's 'Peintures de Vases Antiques' published in Paris in 1808. Depicts scene from an ancient ...

William Hogarth was an English painter and engraver, the outstanding British artist of his period. During his childhood, his father, a schoolteacher, was imprisoned for debt, and th...

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...

Subject : Ancient Greek vase-painting from depicting a departure scene with a young warrior between two women. Technique : Copper-line engraving with original hand-colouring Back...

Etching with engraving on cream laid paper with a Garden of Holland or Maid of Dort Pro Patria watermark, 11 x 14 1/4 inches (278 x 361 mm), thread margins. Lettered with the title in a cartouche at the top-center sheet, continuing "a Latere Occidentali Prospeus AD MDCCXXXIX," with numbers over the image at right that correspond to a key 1 to 29, and with publication details: "Georgius Vertue Londini delineavit et Sculpsit anno MDCCXXXIX". Multiple expert repairs, notably a Y-shaped, expert paper tape repair on the verso. Handling creases, toning. All issues are consistent with age. An impression of this work may be viewed in the permanent collection of the British Museum, registration No. 1880,1113.3963. A bird's eye view of the college in Broad Street, London, showing the courtyard, adjoining stable yard to the right, and the buildings at the back. This work was included in Frederick Crace...

Raphael Sanzio da Urbino, Italian (1483 - 1520) - David Brings the Gold Shield to Jerusalem, Year: 1649, Medium: Engraving on laid paper, plate signed, Size: 9.5 x 11 in. (24.13 x...

In medieval universities, the trivium comprised the three subjects that were taught first: grammar, logic, and rhetoric. The word is a Latin term meaning "the three ways" or "the thr...

Paint by Anatole Vely Engraved by Herman Eichens Entered according to act of congress in the year 1878 by M. Kneeler & co in the office of the librarian of congress at Washington New...

'John Evelyn Esq' Copper-line engraving, by WH Worthington after Robert Walker. John Evelyn FRS was an English writer, landowner, gardener, courtier and minor government official, ...

Heinrich Ulrich (aka Heinrich Ullrich) (fl.1567–1621) “Soldier with Hellebarde”, 1598, out of the series, “The Guard of Emperor Rudolph” (aka “Old German Soldiers...

The Leper is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs to a late edition of ...

Self-Portrait is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition of the 19...

Jorge Castillo - COMPOSICIÓN ERÓTICA (Erotic Composition) Date of creation: 1977 Medium: Etching on paper Edition: 75 + 20 E.A. Size: 50 x 65,5 cm Condition: In perfect conditions an...

JAMES ABBOTT MCNEIL WHISTLER (1834 – 1903) THE FORGE 1866 (Kennedy. 68 iv/vi: Glascow 86 vi/vi) Etching and drypoint. Signed and dated in the plate 1866. VERY GOOD IMPRESSION WITH...

'Sir John Ross' Steel-engraving. C1850. 220mm by 130mm (sheet) Sir John Ross (1777-1856) became an Arctic explorer after distinguished naval service in the Napoleonic Wars. In 18...

Saskia with the Pearl is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1634. This piece of sublime artwork belongs to an ed...

Original work of the graphic of the Spanish teacher Antoni CLAVE. engraving 55/60 ej CLAVÉ I SANMARTÍ, Antoni (Barcelona, 1913 - Saint Tropez, France, 2005). Antoni Clave is one of...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his d...

New York: Associated American Artists, 1950. Drypoint and aquatint on white wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed in pencil in the lower margin. Pri...

London: Allen & West, 1797. Engraving with hand coloring in watercolor on cream wove paper, 8 1/8 x 10 5/8 inches (213 x 270 mm), wide margins. Scattered toning, mat tone, and dog-e...

Etching with drypoint on cream wove paper, 11 3/4 x 13 3/4 inches (297 x 347 mm), full margins. Signed in pencil and numbered 32/40, lower margin. Minor mat tone and several small lo...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig;...

A fascinating image of a well-known theif robbing a merchant of goods held atop her head. Paris: circa 1670. Etching and engraving on cream laid paper, 6 3/4 x 4 15/16 inches (17...

''Teofrasto' (Theophrastus) Copper-line engraving by Silvestro Pomarede after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico Campiglia (1692–1768) was an Italian painter and engraver from Florence, active under the patronage of the House of Medici. Illustration of an Ancient Greek marble...

Published in Paris by Chalcographie Louvre around 1910. Drypoint etching on buff wove paper, 7 x 11 inches (175 x 278 mm) full margins. With the "Musée Louvre Chalcographie" blind st...

Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In...

Engraving on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'Âge de Soleil, 1950. Published by Robert J. Godet, Paris; rendered by ...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

'N Poussin' Steel-engraving, by J Posselwhite after a self-portrait by Poussin. C1850. 125mm by 100mm (image) 270mm by 175mm (sheet) Nicolas Poussin was a French painter who was ...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

London: J. Taylor, 1820. Etching and aquatint with engraving on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full margins. Small spots of adhesive resi...

A rare early 19th century view of the Great Fire of London over Ludgate, enhanced with hand coloring. London: Robert Wilkinson, 1811. Copperplat...

A superb, richly-inked impression of an early etching and drypoint. With burr throughout and crisp plate edges. First state (of 2). Edition of 100. Signed in pencil by Chagall. Print...

London: Thomas McLean, 1825. Aquatint with engraving and handcoloring in watercolor on wove paper, 8 7/8 x 10 3/4 inches (225 x 272 mm), wide margins. Light handling wear and four s...

Hand signed. Includes passepartout (cm. 53x37). Lino Selvatico was an Italian painter. The elegance of his portraits is close to the atmosphere of the Post-Impressionism. This artwo...

William Hogarth (1697-1764) Original engravings 155 pсs., 1 piece with blend. 1822 London From A. Neibergs collection

Warrington Colescott Your Day in Court, from the portfolio Wisconsin Graphics, 1971 Drypoint, etching, aquatint, woodcut, & soft-ground etching, w roulette, vibrograver, letterpress ...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Fourth state (of 5). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 113]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Giovanni Domenico Campiglia, 'Bacchus', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original by Giovan...

A 17th century hand-colored copper plate engraving entitled "Caryophyllus Maior Sylve Strisvarie Gatus" (Wood Pink & Cottage Pink Flowers) from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This engraving is presented in a silver and gold-colored wood frame with a green edge and three elaborate cream-colored French mats...

Beggar in a High Cap, Standing and Leaning on a Stick is an engraving on ivory-colored paper realized bu Charles Amand Durand after an etching by Rembrandt dated 1630. This wonderful...

JOHN MARTIN (1789 – 1854) DEATH OF THE FIRST BORN, Dedicated to His Majesty King Louise Philippe, King of the French, as a Tribute of the Artist’s Grateful...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...

Wood engraving on extremely fine onion skin paper, signed in ink and numbered 13/35. 10 3/4 x 7 inches (272 x 177 mm), full margins. From the special ...