Engraving Figurative Prints

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

Hand signed and numbered in pencil. From the series La Conquete du Cosmos (Conquest of Cosmos). Authenticated by Albert Field on verso. Sheet siz...

the painting is being offered with a work and authenticity certificate

Hand signed and numbered by the artist. Sheet size 19.75 x 13 inches. Image size 14 x 7 inches. Artwork is in excellent condition. Certificate of Authenticity included. Edition of 6...

SOLD UNFRAMED Two Women by a River by Paulémile Pissarro (1884 - 1972) Wood engraving 12.5 x 17.3 cm (4 ⅞ x 6 ¾ inches) Signed lower left, Paulémile - Pissarro and numbered lower r...

Tambien esto / So is this (Disasters of War, plate 43, Harris 163, Delteil 162). Original etching, burnished aquatint, and burnisher, c. 1808-1814. The clergy are running; their floc...

Publisher GKM. Unframed. Edition of 30 ex. Signed, dated and numbered. Free shipment worldwide. Corneille, one of the founders of the COBRA group, has passed away. He died in Pari...

From Le Paradis Terrestre (Paradise Lost). Hand signed and numbered from the edition of 225, and inscribed 'Lana' in pencil. Published by Editions de Francony. Authenticated on verso...

From "Le Bestiaire de la Fontaine." Engraving on arches. Form the edition of 250. Sheet size 22.84 x 29.92 inches. Image size 15.75 x 22.84 inches. Custom framed as pictured. Authen...

Wood Engraving on paper, signed and entitled below artwork Image size: 6 1/4 x 4 1/2 inches (16 x 11.5 cm) Mounted and framed This print depicts a scene of a colliery, that is of a ...

This original etching and drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered 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 printed by Pan-Presse, Berlin in 1922 and published by Paul Cassirer, Berlin in 1923. Note: The work was part of Chagall's important and renowned series "Mein Leben...

Damian Lescas' work is multi-sensory, imaginative, explosive, and vibrant in color. But, as if that were not enough, the master demands a lot from the vi...

Georges Braque Page 63 from Si je mourais la-bas, 1962, captures the heart of many with its poignant and inspiring shade of cobalt blue. Rendered on cris...

CONRAD FELIXMÜLLER 1897 - 1977 Dresden 1897 - 1977 Berlin (German) Title: The Old Collier Der alte Kohlenarbeiter, 1921 Technique: Original Hand Signed Drypoint on Wove Paper Pa...

Using his intuitive skill as a master artist, Miró combines dry-point with cement imprint to create a rich textural experience that is enhanced by beautiful and friendly visual image...

ZAO WOU-KI 1921- 2013 Beijing 1921 - 2013 Switzerland (Chinese) Title: Fishing La pêche, 1951 Technique: Original Hand Signed and Numbered Drypoint on Wove Paper Paper size: 25 x...

Daniel Berman's production is not only torrential and overflowing but also mutating as if it were a chameleon, it changes to support and scale to explore...

Maerten de Vos after J Baptista Vrints Baptism Scene Engraving

Chaloner Smith (Engraver not ascertained, Class III) 9. Published by C. Shepherd, Oct. 31, 1775 London. Inscribed in plate lower center: "Charles Lee, Efq. / Major General of the Continental Army in America. / Published as the Act directs 31 Octr. 1775 by C. Shepherd". Inscribed in plate lower left: "Thomlinson pinxt". Flag inscribed in plate: "An Appeal to Heaven...

The painting is being offered with a work and authenticity certificate

the painting is being offered with a work and authenticity certificate

Leon Kossoff Outside Kilburn Underground Station 1984 Drypoint etching, Edition of 40 58.42 x 66.04 cms (23 x 26 ins) (paper size) 31 x 40.5 cms (12 3/16 x 15 15/16 ins) (plate size)

A gathering of prehistoric plants, fantastic animals, and people along with elements that represent fertility, seem to be craved as ancient drawings in stone. These lithographs, orig...

A gathering of prehistoric plants, fantastic animals, and people along with elements that represent fertility, seem to be craved as ancient drawings in stone. These lithographs, orig...

Created to accompany poetry in the book Si je mourais la-bas by Guillaume Apolliaire, this lovely woman detailed in a soft delicate profile we can only a...

The present collection is a set of 131 prints after Gerard Hoet, the Dutch golden age painter and engraver, depicting various biblical scenes. Hoet was a leading artist in the Classicizing Dutch Academic style, and his work is defined by history paintings, with a particular interest in mythological, classical, historical, and biblical scene, in particular Old testament scenes...

Bengt Lindström - Original Handsigned Engraving The Seven Deadly Sins. 76 x 56 cm Signed in pencil by Bengt Lindström Paris, ABCD, 1976. Original etching in color Limited edition 90 ex. This is the unique copy offered to Claude Manesse, The story of B. Lindström was collected by Frederick Towarnicki, assisted by Agathe Malet-Buisson. The engravings were drawn on the presses of Claude Manesse. Bengt Lindström (1925-2008) Bengt Lindström was born on September 3rd, 1925 in Storsjökapell, a small isolated village in the Swedish province of Norrland. The young child thus grew up in that vast, mythical and harsh expanse of mounts, glistening lakes and endless forests known as Lapland. His father was a primary school teacher who was fond of Lapps and who showed great interest in their ethnic group and culture. The child was only three days old when Lapp King Kroik, his godfather, administered the Baptism of the Earth, where the child is conveyed between two roots of a tree to grant him protection from the Gods. Lapps as well as local lumberjacks would occasionally abandon their silent ways to tell him and reveal the tales, legends and mysteries of the Great White North. 1935-1945 : He left Storsjökapell and headed to Härnösand, where he wrote short science-fiction novellas, became a renowned athlete and began to paint. 1944-1946 : Isaac Grünewald Art School in Stockholm, Sweden. Study drawing with Aksel Jörgensen at the Copenhagen Fine Arts School in Denmark. He realized his first two lithographs, Meditation and Le Modèle Etendu (The Stretched Model). 1947-1952 : He arrived in Paris. He travelled to Italy, where he visited Florence and Assisi, developing a deep fascination for Giotto and Cimabue. He was granted a scholarship by Swedish magazine Aftontidningen, which helped him move into a workshop in Arcueil, France. He began working on mosaics. 1953-1967 : He returned to Paris, once again taking up lithography and engraving, which holds a vital position in his work. He moved into a workshop in Rueil-Malmaison. This was the start of his collaboration with the Rive Gauche Gallery in Paris. London Tooth & Sons Gallery Director M. Cochrane purchased a large number of his works. He left the workshop in Rueil-Malmaison to settle in Savigny-sur-Orge, France. He began taking to figurative art with Masks, Gods and Monsters. He exhibited with the Nouvelle Figuration Group at the Mathias Feld Gallery. He also began working with the Ariel Gallery in Paris. 1968-1978 : Lindström completed a series of 10 lithographs about Scandinavian mythology. He also completed a series of drypoint works. An association with the Protée Gallery in Toulouse, France, led to exhibitions at the Protée Gallery II in Paris starting in 1984. He executed a large mural painting the Grand Hotel in Härnösand, Sweden. He also made two large frescoes for the Nacksta-Sundsvall covered market in Sweden. He took to sharing his working time between the workshop in Savigny-sur-Orge and the one in Sundsvall. He began collaboration that was to last several years with the ABCD Gallery in Paris, which provided exclusive publication for his engravings and strong ink work. Les Hommes du Nord (Men of the North) was the first of the major tapestries. He published a boxed set album, Eddan, Eddan, Eddan, illustrating Scandinavian mythology. Together with Jacques Putman, he completed two editions of bronze sculptures, Les Enfants Sauvages (The Wild Children). 1979-1982 : He worked on glass, making thirty dishes and goblets for renowned Swedish glassmaker Kosta Boda. He painted a car for Volvo, Sweden’s leading car manufacturer. Then, close to his birthplace, he painted gigantic tarpaulins over forty metres high, covering the slopes of the neighbouring Våladalen Mountain, as a protest against the building of a dam. This action caused a sensation and provoked fierce reactions. He also created small painted papier mâché sculptures, Têtes (Heads), as well as some gold and silver jewellery. 1983 : He exhibited seven monumental 3x2.5m works at the Art and History Museum in Stockholm: Les Grands Dieux Ase (The Great Aesir Gods), depicting the gods from Scandinavian mythology: Thor, Odin, Frej, Balder, Ymer, Loki and Unknown God, as well as acrylic paintings about the Valkyries. Les Grands Dieux was ultimately exhibited in a purpose-built chapel adjoining the Midlanda Contemporary Arts Centre in 1996. He completed Thor’s Hammer, a monumental sculpture. 1985-1990 : He lived also in the Alicante region, where Spanish friends found him a new workshop. While there he completed Novelda, an album of lithographs featuring poems by Spanish poet Paco Pastor. He completed a new mural, 5mx5m, for the Västeras Science Institute in Sweden. He then started working with the San Carlo Gallery in Milan, Italy, which coordinated all of the Italian events. Major exhibitions and retrospectives were held in Italy, Belgium, Luxembourg, Germany and Spain. He created two boxed set albums, containing series of 10 aquatints, Monde Autre et Chamanes (Otherworld and Shamans), featuring poems by Michel Perrin. 1991-1994 : He went back to working in black and white, completing some very-large-format works. In Murano, in association with the San Carlo Gallery, he created Grands Verres (Large Glasses), a series of large vases and sculptures made of crystal. He painted Kåtan Mimi, an 8x9m Lapp tent, for the town of Arjeplog in Swedish Lapland. He completed a couple of 2m-high painted polyester sculptures, Lui et Elle (Him and Her). He then made a new series of crystal glasses and sculptures in Murano, Italy. He completed Présence (Presence), a new 3.5x2.7m tapestry for the municipality of Timrå, Sweden. He started on the Grands Initiés (Great Insiders) series, all large format and mixed black and white techniques. He finished the strong series about Norse gods. 1995-1996 : He moved into a new workshop in Paris. A retrospective was held at the Sundsvall Museum in Sweden, and on that occasion he painted a monumental 700-m² canvass, Le Géant sur la montagne (The Giant on the Mountain), which was hung all summer long on the mountain slope facing the town. He went on to complete a suite of six silkscreen prints on the same theme. Then he inaugurated the Y, a monumental sculpture. Lindström then completed Temps Zéro (Zero Time), a watch made for Swatch. One of his works, L’hiver (Winter), made the cover of the first 1996 issue of Telerama, the leading French weekly. In association with Sydkraft Sweden, he painted a fresco for the municipality of Örebro on a 17m-high tank with a surface area of 3,000 m², located at the crossroads of major Swedish motorways, by the entrance to the Åbyverket industrial estate. He also created a 6.5m-high Tången sculpture made of painted concrete in Ånge, which was inaugurated on September 3rd in the presence of their Majesties the King and Queen of Sweden. 1997-1999 : He began working on ceramics in Albisolla, Italy. He also completed a new 30m-high fresco for the town of Örebro, located close to the tank he had painted in 1996 near Åbyverket. The year saw the inauguration of the Midlanda Contemporary Arts Centre in Sweden, which harbours the collection of the Bengt and Michèle Lindström Foundation, featuring the entire engravings collection (about 800 works), as well as a selection of paintings and sculptures. He completed a 4x10m mural in the lobby of the University of Eskilstuna, Sweden, and also completed two monumental frescoes on the Akkats dam and a mural on the power station facing Jokkmokk in Swedish Lapland. 2000-2003 : He painted all of the sides of a semi-articulated lorry for Scania, Sweden’s main truck manufacturer. In Italy, he completed a new series of crystal sculptures with Adriano Bérengo. He finished the Great Prophets, a series of 2x2m oil on canvass works. Swiss publisher Ides et Calendes published a small but luxurious monograph, with text by Françoise Monnin. A notebook was also published, Le Visage dans l’Art de Bengt Lindström (Faces in the Art of Bengt Lindström). He completed a substantial series of large blue acrylic paintings, Femmes (Women). 2003 : Bengt fell ill and was unable to paint, but the exhibitions went on. 2004 : Saw the release of the film by Dag Jonzon and Hans Östbom, produced by Dell’arte AB and Östbom Filmbild, about the life of Bengt Lindström. Entitled Lindström - Le Diable de la couleur et de la forme (Lindström – The Colour and Form Devil), the film was produced thanks to support from Film Västernorrland, Länsstyrelsen Västernorrland and Sveriges Television. It was broadcast on Swedish television channels. That same year, the Midlanda Contemporary Arts Centre was closed as a result of municipal policy. 2005-2007 : The 6m-high sculpture Le Loup (The Wolf), made for PEAB, was inaugurated in Botkyrka-Stockholm. Lindström – The Colour and Form Devil was screened at the Paris Swedish Cultural Centre and released on DVD. The Michèle and Bengt Lindström Foundation was donated and transferred to the Länsmuseet i Västernorrland in Härnösand, Sweden, where a special room was prepared to host Les Grands Dieux Ase. Edition of the 1998 Ceramics, created in association with Francis Dellile’s ”La Tuilerie” workshop. The Bengt Lindström Collection was inaugurated at, Murberget, the Länsmuseet i Västernorrland in Härnösand, Sweden. He illustrated Sinfonietta för Juliana, a collection of poems by Italian poet and art critic Sebastiano Grasso. On January 29th, 2008, Bengt Lindström passed away at his home in Sweden. 2008-2012 : The Fondation Krimaro presents the first volume of the works of Bengt Lindström in his collection. Numerous exhibitions-tribute to the work are presented in major cities in Europe. 2012 : Retrospective - Black and White in the engravings - Museum of Härnösand, Murberget, Sweden. Main exhibitions 1952 Fair Réalités Nouvelles – New realities, Paris, France. 1953 Craven Gallery, Paris, France. 1954 Gummeson Gallery, Stockholm, Sweden. Fair Salon d’Octobre, Paris, France. 1958 Breteau Gallery, Paris, France. 1959 Autour du Spontanéisme – Around the sontaneity, Stockholm, Sweden. L’Europe Nouvelle – The new Europe, LaUnited Statesnne, Switzerland. 1960 Rive Gauche Gallery, Paris, France. 1961 Tooth Gallery, London, England. Le Zodiaque Gallery, Brussels, Belgium. Fair Salon de Mai, Paris, France. 1962 Nouvelle Figuration – New Figuration , Mathias Fels Gallery, Paris, France, 1964 Nord-Sud – North-South, in several cities in Sweden. Ariel Gallery, Paris, France, 15 artists of my generation. Museum of Fine Arts in Gent, Belgium, Figuration-Défiguration – Figuration – Disfigurement. 1965 Rive Gauche Gallery. Paris, France. Nord Gallery, Lille, France. Birch Gallery, Copenhagen, Denmark. 1966 Museum of Modern Art, Gothenburg, Sweden. 1967 Veranneman Gallery, Brussels, Belgium. Carnegie Institute, Pittsburgh, United States. Seibu Gallery, Tokyo, Japan, 23 peintres in Paris. 1968 Ariel Gallery, Paris, France, followed by six exhibitions until 1976. 1969 La Pochade Gallery, Paris, France. Protée Gallery, Toulouse, France, who exhibited him in Paris, Gallery Protée II, from 1984. 1973 Galliera Museum, Paris, France. 1974 Gallery 111, Lisbon, Portugal. 1982 Gallery Protée-Arco, Madrid, Spain and Fair Foire de Cologne, Germany. 1983 Historia Museum, Stockholm, Sweden, The Ase gods and the Valkyries. 1984 Gallery Arcano XXI, Lisbon, Portugal. Gallery Christian Cheneau, Paris, France. Museum Château comtal, Carcassonne, France. 1985 Gallery Italia, Alicante, Spain. 1986 Gallery Sala Gaspar, Barcelona, Spain. Gallery Juan Mordo-Arco, Madrid, Spain. Gallery Italia, Alicante, Spain. Museum of Salamanca, Salamanca, Spain. Gallery Three Continents, New-York, United States. Gallery Protée, Toulouse France, Autour du Roi Lear – Around King Lear. 1987 Gallery Kostel, Paris, France. Gallery Zwirner, Cologne, Germany. Gallery Leu, Rottach-Egern, Germany. 1988 Maison du Lot, Figeac, France. Gallery Protée, Paris, France. Gallery Michèle Sadoun, Paris, France 1989 Gallery Michèle Sadoun, Paris, France, La terre des ancêtres - The Land pf the ancestors. Gallery Protée, Paris, France, Nomads. Gallery Raab, London, England. 1990 Gallery Michèle Sadoun, Paris, France. Centre Culturel de Brest, France. 1991 Gallery Michèle Sadoun, Paris, France. 1992 Archotèque, Saint-Denis, La Réunion, France. Museum of Vesoul, Vesoul, France. Gallery San Carlo, Milan, Italy. 1993 Gallery 111, Lisbon, Portugal. Tonnellerie du Cognac Monnet...

A gathering of prehistoric plants, fantastic animals, and people along with elements that represent fertility, seem to be craved as ancient drawings in stone. These lithographs, orig...

Artist: Salvador Dali (Spanish surrealist, 1904-1989) Title: Le Singe et le Leopard Year: 1976 Medium: Engraving with hand color stencil Edition: Inscribed E....

Giorgio Ghisi, Italy 1520-1582. After Luca Penni (Italy 1500-1556). "Apollo and the Muses". Signed GEORGIVS MANT. F. and L. PENNIS R. IN in the plate. Engraving on laid paper, S. 33....

The Jolly Flat Boat Men, 1847 After George Caleb Bingham (American, 1811-1879) Engraved by Thomas Doney (French, active New York 1844-1849) Engraving with Hand-Coloring Published by The American Art-Union, New York (1838-1851) Printed by Powell and Co. 18 x 24 inches 32 x 38 inches with frame In 1847, the American Art-Union purchased Bingham’s painting "The Jolly Flat Boat Men" (1846; National Gallery of Art) directly from the artist. The subscription-based organization, founded in 1838 as the Apollo Association, boasted nearly ten-thousand members at this date. For an annual fee of five dollars, each received a large reproductive engraving and was entered in a lottery to win original artworks exhibited at the Art-Union’s Free Gallery. Aimed at educating the public about contemporary American art, the organization developed an impressive distribution network that reached members in every state. The broad circulation of the Art-Union's print helped to establish Bingham's reputation and made his river scene famous. Born in Augusta County, Virginia in the Shenandoah River Valley, George Caleb Bingham became known for classically rendered western genre, especially Missouri and Mississippi River scenes of boatmen bringing cargo to the American West and politicians seeking to influence frontier life. One of his most famous river genre paintings was The Jolly Flatboatmen completed in several versions in 1846. This first version of this painting is in the Manoogian Collection at the National Gallery of Art. Fame resulted for this work when it was exhibited in New York at the American Art Union whose organizers made an engraving of 10,000 copies and distributed it to all of their members. Paintings such as Country Politician (1849) and County Election (1852) and Stump Speaking (1854) reflected Bingham's political interests. In 1819, as an eight-year old, he moved to Boon's Lick, Missouri with his parents and grandfather who had been farmers and inn keepers in the Shenandoah Valley near Rockingham, Virginia. Reportedly as a child there, he took every opportunity to escape supervision to travel the River and watch the marine activity. His father died in 1827, when his son was sixteen years old. His mother had encouraged his art talent, but art lessons were not easily obtainable. In order to earn money, he apprenticed to a cabinet maker but determined to become an artist. By 1835, he had a modest reputation as a frontier painter and successfully charged twenty dollars per portrait in St. Louis. "His portraits had become standard decorations in prosperous Missouri homes." (Samuels 46). In 1836, he moved to Natchez, Mississippi and there had the same kind of career, only was able to charge forty dollars per portrait. He remained largely self taught until 1837, when he, age 26 and using the proceeds from his portraiture, studied several months at the Pennsylvania Academy of the Fine Arts. He later said that he learned much of his atmospheric style and classically balanced composition by copying paintings in collections in St. Louis and Philadelphia and that among his most admired painters were Thomas Cole, John Vanderlyn, and William Sidney Mount. Between 1856 and 1859, Bingham traveled back and forth to Dusseldorf, Germany, where he studied the work of genre painters. Some critics think these influences were negative on his work because during that time period, he abandoned his luminist style that had brought him so much public affirmation. Bingham credited Chester Harding (1792-1866) as being the earliest and one of the most lasting influences on his work. Harding,a leading portraitists when Bingham was a young man, had a studio in Franklin, near Bingham's home town. In 1822, when Bingham was ten years old, he watched Harding finish a portrait of Daniel Boone. Bingham recalled that watching Harding with the Boone portrait was a lasting inspiration and that it was the first time he had ever seen a painting in progress. Harding suggested to Bingham that he begin doing portraiture by finding subjects in the river men, which, of course, opened the subject matter that established fame and financial success for Bingham. Harding also encouraged Bingham to copy with paint engravings. He later painted two portraits of Boone but, contrary to the assertions of some scholars, he did not do Boone portraits in the company of Harding. Bingham's portraits of Boone are not located, but one of them, a wood signboard for a hotel in Boonville circa 1828 to 1830, showed a likeness of Boone in buckskin dress...

Salvador Dalí's "Montre Molles et Les Papillons" is a surreal masterpiece that fuses the artist's iconic melting clocks with the delicate beauty of butte...

"Mlle Landsberg" (grade planche, pl. 16), 1914 Henri Matisse (French, 1869-1954) Signed and Numbered Lower Right Edition 12/15 Image size: 7 7/8 x 4 5/16 inches Sheet size: 17 11/16 x 12 1/2 inches With frame: 19 1/2 x 14 1/2 inches Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension. Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris. Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died. Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts). By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913. At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...

Created in 1952, this Engraving, paper, cut paper, tissue paper and graphite on paper mounted on paperboard is hand-signed by Robert Rauschenberg (Port Arthur, 1925 - Captiva, 2008) in pencil in the lower left margin. Numbered from the edition of 65 in pencil in the lower left margin. About the Framing: Framed to museum-grade, conservation standards, Robert Rauschenberg Untitled (Christian Symbol) from the North African Collage...

A prolific and tireless innovator of art forms, Pablo Picasso impacted the course of 20th-century art with unparalleled magnitude. Inspired by African and Iberian art and developments in the world around him, Picasso contributed significantly to a number of artistic movements, notably Cubism, Surrealism, Neoclassicism, and Expressionism. In 1949 Picasso’s illustrations...

This artwork titled "Some of the 48 Tulips" c.1990 is an original colors mezzotint by noted German/American artist Gatja Helgart Rothe, 1935-2007. It is hand signed, titled and numbe...

This artwork titled "Sunrise Dahlia" c.1990 is an original colors mezzotint by noted German/American artist Gatja Helgart Rothe, 1935-2007. It is hand signed, titled and numbered 64/...

Helicopters, Mountains, People (from The Valley Suite) by Keith Haring (1958-1990) Without Frame: 10" x 8.75" With Frame: 18.25" x 17.25" Signed and Dated Lower Right Edition 31/80 Lower Left "The Valley" is a group of etchings...

Figure and Fish (from The Valley Suite), 1989 by Keith Haring (1958-1990) Without Frame: 10" x 8.75" With Frame: 18.25" x 17.25" Signed and Dated Lower Right Edition 31/80 Lower Left "The Valley" is a group of etchings...

Nature Morte, Compotier is a rare black and white drypoint on laid ivory-colored paper, realized by Pablo Picasso in 1909. Edition of 100. Hand-signed in pencil on the lower right m...

Etching with aquatint, roulette, and drypoint, 1973. Signed in pencil and numbered from the edition of 120. From: Homage to Picasso. Printed on Rives paper by Aldo Crommelynck, Pa...

John William Hill (1812-1879) "Boston" 1857 Hand-Colored Engraving Site Size: 29 x 41 inches Framed Size: 39 x 52 inches Born in London, England, John William Hill came to America with his family at age 7. His father, John Hill, was a well-known landscape painter, engraver, and aquatintist. John William had a career of two phases, a city topographer-engraver and then, the leading pre-Rafaelite school painter in this country. Employed by the New York Geological Survey and then by Smith Brothers...

Dame Laura Knight (1877-1970) "The Circus Dressing Room" 1925 Aquatint Engraving Signed in Pencil Lower Right Image Size: approx 14 x 9 inches Framed Size: approx. 23.5 x 18.5 inche...

A mezzotint by Samuel Arlent Edwards after the 1439 oil on wood painting by the Early Netherlandish master Jan van Eyck, titled, Portrait of Margaret van Eyck. The print is signed to the lower right margin. The image depicts the van Eyck’s wife, clothed in a red robe lined in squirrel fur...

Aquating Engraving Image Size: Approx 19 x 15.5 Framed Size: Approx. 28.5 x 24.5 William Albert Ablett (1877 - 1937) Although born to English parents, William Ablett lived in Par...

Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression...

Jean-Emile Laboureur (1877-1943), Le Diner a L’Auberge, 1917-1922), engraving, signed in pencil lower left and numbered (45/55) lower right. Reference: Sylvain Laboureur 173, second ...

Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 12 x 15 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 1...