Engraving Figurative Prints

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

Two hand colored engravings from the Academie de l’Espee ( full title can be translated as Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and horseback ) by Girard Thibault...

La Promenade Etching, soft-ground, aquatint & drypoint, Signed in pencil lower left Published by Edmund Sagot, Paris Edition of 50 in black only, aside from the edition of 50 in co...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 8.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

This lithograph is part of my private collection. It is original and pencil signed an numbered by the artist. It is one of a kind in black and white.

Medium: Mezzotint Year: 2024 Edition: 25 Image Size: 11.75 x 17.5 inches Scene of jugglers in dining room juggling plates in this comical print from Werger's Circus series of prints...

Erotic Scene is an Etching and Drypoint realized by Mino Maccari in the Mid-20th Century. Hand-signed in the lower part. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, ...

The Wrath of Elihu. 'I Am Young, And Ye Are Very Old, Wherefore I Was Afraid'. 1823-25. Engraving. .Binyon catalog 117 state ii, Bindman catalog 632. Image 7 7/8 x 5 15/16; plate 8 ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vol...

Francesco Battalia, the Stone Eater, 17th century. Born in Rome with three stones in his hands, he lived on a diet of stones and red wine. Performed in London at Bartholomew Fair and...

This is a hand-colored copper plate engraving entitled "Orobanche, Cicuta Maxima, Sparganium (Bur Reed, Water Hemlock, Broomrape) ", depicting a flowering Bur Reed, Water Hemlock, Broomrape plants 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 beautiful colorful engraving is printed on thin laid chain-linked paper with wide margins. There us spotting and some discoloration, most prominently in the upper and lower margins. There is irregularity and some loss along the right paper edge. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 21.5" high and 17.25" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

Etching and drypoint on antique cream laid paper, 12 3/8 x 6 9/16 inches (315 x 167 mm), full margins. Signed, dated, and inscribed "Edition 100" in pencil, lower margin. In very goo...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size 6.24 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

This is an engraving of a tomb monument rubbing that has been highlighted with gold color on a dark grey to black background. The rubbing is of a brass plaque on a stone slab. It has...

Paris: Cadart & Luquet, c1870. Etching with engraving on Chine-collé mounted to wove paper, 14 1/4 x 9 5/8 inches (360 x 244 mm) full margins. In good condition with some marginal w...

A boy kneels on a grass slope, trying to tempt an unseen animal. Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid ...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

This is a hand-colored copper plate engraving entitled "Matricaria Flore Simplici, Matricaria Flore Pleno, depicting flowering Feverfew and Double-flowered Feverfew plants, 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. The feverfew plant is also known as featherfew, featherfoil, or bachelor’s buttons...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 4.75 x 6.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size 6.24 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.75 x 5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vo...

Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 8.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

The Web Engraving and soft ground, 1950 Signed, titled, dated and numbered by the artist Edition: 35 (26/35) Printed by Master Printer, Jon Clemens, 2000 Provenance: Estate of the ar...

Eight 18th century-era fashion plates from the portfolio Modes, by Madeleine Connat. Paris: Paris Etching Society, 1951. Each an engraving with hand coloring in watercolor on cream ...

Edition of 80. Signed, titled and numbered in pencil. Pasternak's work was featured o on the title page of Carol Wax's masterful book "The History of the Mezzotint". Pasternak has b...

20th century figurative drypoint print by Polish artist Leszek Rozga. Print depicts a cat and dog. This piece is signed by the artist. LESZEK RÓZGA (1924-2015) He studied painting a...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 7 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vol...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.75 x 6.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 9 x 6 inches Inscription: Unsigned and unnumbered, as issued Notes: From the volum...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.5 x 6.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

"Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist "Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove...

Drypoint etching on buff wove paper, 9 3/4 x 12 3/4 inches (250 x 322 mm), full margins. Signed in pencil, lower right margin. Some general age tone, and minor mat tone around the pe...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions including 4 trial proofs). Illustrated L'Amérique de la Dépression: Artistes En...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

New York, Associated American Artists, 1950. Drypoint and aquatint on cream wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed and numbered 48/50 in pencil, lower margin. Printed by Stephen Sholinsky...

Jupiter and Antiope: Smaller Plate on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1631. This wonderful...

This piece is a limited edition, pencil signed by the artist on the print and in the plate. It is part of my private collection of artists from the School of Paris era. It is in very...

REDOUTÉ, Pierre-Joseph. Crinium Giganteum Paris, Chez L’Auteur, 1802-16 The highest peak of Redoute's artistic and botanical achievement... Among the most important monuments of...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.5 x 6.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

Set of 5 black and white engravings French School, 19th century each paper (unframed) : 9 x 12 inches provenance: private collection condition: good and sound condition, old foxing s...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.5 x 6.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 4.875 x 6.625 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 9.125 x 12.25 inches; image size: 4.25 x 8.875 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

Sexual Encounter is a beautiful drypoint made by the French painter, illustrator, and writer Amandine Doré in the second half of the 20th century. The st...

Book 1, line 192: Satan on the Burning Lake Mezzotint, 1825 Engraved signature below the image (see photo) From John Milton's "Paradise Lost" Published by Septimus Prowett Printed by...

London: Society of Antiqauries London, 1744. Engraving on buff wove paper with a large heraldic watermark with Strasbourg lily with a crown and shied and the letters LVG, 9 1/2 x 14 ...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

Going to Market, Jamaica Image: 24.0 x 14.0 cm Mount: 36.8 x 25.8 cm Wood engraving 1932 One of Fourteen Wood Engravings, from drawings made on Orient Line Cruises by Robert Gibbings...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

Figurative surreal dypoint print with ink and crayons by Polish artist Leszek Rozga. Artwork depicts several portraits in different styles. There is also a landscape on the bottom pa...

1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypo...

The Thames and the Tower of London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 10 1/4 x 17 1/4). Mat line; otherwise fine condition. A rich impr...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

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

Le Calvaire is an original etching, soft ground and colour héliogravure on Japanese paper, realized by Félicien Rops in 1882, signed on plate, plate from Les Sataniques In very ...