Etching Figurative Prints

A masterful rendering of Kukulkan at the base of the west face of the northern stairway of El Castillo, Chichen Itza. Eching on antique cream laid paper with a partial herladic wate...

Taxi: steering wheel is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower r...

Etching on antique laid paper, 6 9/16 x 3 15/16 inches (167 x 100 mm), signed and dated in pencil, lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges, recto, well outside of image area. Scattered handling creases and general scattered soiling in the margins, minor and unobtrusive. [Fletcher 217]. This work was commissioned by The Architectural Forum...

Theo Tobiasse Suite: Shavuot Festival Year: 1984 Medium: Original carborundum embossed etching lithograph in colors on Arches paper (deckle edged paper) Signature: Hand signed by the artist Publisher Nahan Gallery, New Orleans Theo Tobiasse, born Tobias Eidesas, 1927 in Jaffa then in British Mandate Palestine, died 2012 in Cagnes-sur-Mer in France. Well known painter, engraver, draftsman and sculptor. French Jewish artist. The youngest son of Chaim (Charles) Eidesas and Brocha (Berthe) Slonimsky from Kaunas, Lithuania, Théo Tobiasse was born in Mandatory Palestine in 1927, where his Jewish parents lived since 1925, far from the threat of pogroms and upheavals of East European policies. The family encountered material difficulties and decided to return to Lithuania, ultimately leaving for Paris in 1931 where his father typographer finds work in a Russian printing press. Theodore Tobiasse...

Le Pigeon Grosse-Gorge is an etching realized in 1771 by Juste Chevillet. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la de...

Basilisk is a contemporary artwork realized by the artist Fifo Stricker in 1985. Mixed colored aquatint and etching.  Hand signed and dated by the arti...

Plan and section of Biet Golgotha Micael is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.8 (as reporte...

Plan and section of Ethiopian churches is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.3 (as reported ...

Topography of the churches of lalibelà is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.1 (as reported ...

Internal perspective of Biet Golghotha-Micael is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.9 (as re...

Adam's Tomb and Biet Golgotha-Micael - Elevation and sections is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. ...

Tennis is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist...

Camcanit Micael is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.49 (as reported on the higher margin)....

Mechanical Parrots is a contemporary artwork realized by the artist Fifo Stricker in 1997. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower rig...

Taxi: steering wheel is a contemporary artwork realized by the artist Fifo Stricker in 1982.    Mixed colored aquatint and etching.     Hand signed and dated by the artist on the l...

Blue Volcan is a contemporary artwork realized by the artist Fifo Stricker in 1984. Mixed colored aquatint and etching. Original title: Der Blaue Vulcan Hand signed and dated by th...

Tennis is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist...

Theo Tobiasse Suite: Shavuot Festival Year: 1984 Medium: Original carborundum embossed etching lithograph in colors on Arches paper (deckle edged paper) Signature: Hand signed by the artist Publisher Nahan Gallery, New Orleans Theo Tobiasse, born Tobias Eidesas, 1927 in Jaffa then in British Mandate Palestine, died 2012 in Cagnes-sur-Mer in France. Well known painter, engraver, draftsman and sculptor. French Jewish artist. The youngest son of Chaim (Charles) Eidesas and Brocha (Berthe) Slonimsky from Kaunas, Lithuania, Théo Tobiasse was born in Mandatory Palestine in 1927, where his Jewish parents lived since 1925, far from the threat of pogroms and upheavals of East European policies. The family encountered material difficulties and decided to return to Lithuania, ultimately leaving for Paris in 1931 where his father typographer finds work in a Russian printing press. Theodore Tobiasse...

Etching by Georg Braun and Frans Hogenberg, realized in 1575 and belonging to the Suite "Civitates Orbis Terrarum". The first volume of the Civitates Orbis Terrarum was published in ...

La Panthere  Male  is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabin...

Color etching printed in gradient red, orange, yellow, green, blue, and violet ink, 8 3/8 x 15 inches (212 x 380 380 x mm), full margins. Signed, titled and numbered 46/100 in pencil, lower margin. Arnold Gross...

Paris: Gazette des Beaux Arts, 1896. Etching with aquatint on cream laid paper, 7 7/8 x 4 7/8 (200 x 125 mm), full margins. Edition of roughly 750. In good condition with uniform ton...

Etching. Hand signed as L. de Mattia. Good condition.

Deuchar, David, (after van Ostade). Little Girl Playing with a Baby in its Mother's Arms; Mother with Two Children. Edinburgh: c 1800. Etching on cream laid paper, 3 3/4 x 2 3/4 inch...

Edition of 100. Color aquatint and etching, 21 x 14 7/8 inches (531 x 376 mm), wide margins (full). Signed in pencil, lower left image area. Light toning, otherwise in very good cond...

ARTIST: Salvador Dali TITLE: Winter and Summer MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: A/P MEASUREMENTS: 25" x 35.5" YEAR: 1973 FRAMED: No CONDITION: Excellent ...

Paris: J & A Lamercier, 1885. Etching with aquaint on Arches laid paper with a partial watermark, 7 x 4 5/8 inches (176 x 118 mm), full margins. Seventh state (of 7), after the remo...

Altra veduta della Chiesa di S. Ignatio de Papa della Compa di Giesu nel Rione della Pigna is an etching realized in the Late 17th Century by Giovan Battista Falda. Good condition e...

Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...

Sunday Morning. Title: Sunday Morning Artist: Dox Thrash (American, Griffin, Georgia 1893–1965 Philadelphia, Pennsylvania) Printer: Sam J. Brown (1901-1994). Date: ca. 1939. Medium: Drypoint Dimensions: sheet: 12 5/8 x 10 5/8 in. (32 x 27 cm) plate: 8 7/8 x 7 7/8 in. (22.5 x 20 cm) This is the most heavily inked, atmospheric example known to exist. Unique, unsigned example from the collection of artist Samuel J. Brown. Dox Thrash (1893–1965) was an African-American artist who was famed as a skilled draftsman, master printmaker, and painter and as the co-inventor of the Carborundum printmaking process.[1] The subject of his artwork was African American life. He served as a printmaker with the W.P.A. at the Fine Print Workshop of Philadelphia. The artist spent much of his career living and working in Philadelphia, Pennsylvania.[1] Early life Dox Thrash was born on March 22, 1893, in Griffin, Georgia.[2] He was the second of four children in his family. Thrash left home at the age of fifteen in search of work up north. He was part of the Great Migration (African American) looking for industrial work in the North. The first job that Thrash got was working with a circus and a Vaudeville act. In 1911, at the age of 18, he moved to Chicago, Illinois.[3] He got a job as an elevator operator during the day, and used this source of income to attend school.[3] In 1914 he attended the School of the Art Institute of Chicago.[1] In 1917, the United States declared war on Germany and entered World War I. In September 1917, at the age of twenty-four, Thrash enlisted in the army.[3] He was placed in the 365th Infantry Regiment, 183rd Brigade, 92nd Division, also known as the Buffalo Soldiers.[1] During combat, Thrash suffered shell shock and a gas attack, but was not permanently injured. Career as an artist Front cover of Dox Thrash: An African American Master Printmaker Rediscovered, by John Ittmann. After having served in the war, Thrash qualified as a war veteran and enrolled in the Art Institute of Chicago with the support of federal funding.[3] After finishing his education, he traveled intermittently from Georgia to Chicago, Boston, New York, and finally Philadelphia, working odd jobs - experiences that provided him with subject matter to later paint. Settling in Philadelphia by 1925, he took a job working as a janitor. In his free time, he continued his art career and used his talent to create emblems, such as the one for the North Philadelphia Businessmen's Association, and posters in exhibitions and festivals, including the 2nd Annual National Negro Music Festival and the Tra Club of Philadelphia.[1] This gained him local recognition and opened doors for new artistic endeavors. By 1929, Thrash was attending nightly classes within these clubs, namely with Earl Horter of the Graphic Sketch Club, now known as the Samuel S. Fleisher Art Memorial.[3] In 1937 Thrash joined the government-sponsored Works Progress Administration (WPA)'s Federal Art Project.[4] Through the WPA, Thrash began working at the Fine Print Workshop of Philadelphia.[5] At the Fine Print Workshop of Philadelphia, Thrash, along with Michael J. Gallagher and Hugh Mesibov, began experimenting and co-inventing the process of carborundum mezzotint, a printmaking technique.[1] Carborundum printmaking uses a carbon-based abrasive to burnish copper plates creating an image that can produce a print in tones ranging from pale gray to deep black. The method is similar to the more difficult and complicated mezzotint process developed in the 17th century. He used this as his primary medium for much of his career and created his greatest works with it. One of his first pieces employing this nascent technique was his anonymous self-portrait entitled Mr. X. With this new technique, the three gained increasing recognition as they published more and more graphics within newspapers and featured more and more pieces within exhibitions. Their works often featured subtle commentaries about social and economic exploitation regarding the contemporary politics of the Great Depression and the Second World War. By 1940, Thrash, Gallagher, and Mesibov all began to gain attention in local circles for their carborundum prints, although the role that each artist played in the development of the process was left unclear.[6] In 1960, Thrash participated in a show at the Pyramid Club, a social organization of Black professional men that held an annual art exhibit starting in 1941. Others on hand were Howard N. Watson, Benjamin Britt, Robert Jefferson and Samuel J. Brown Jr. Thrash spent the later years of his life mentoring young African American artists. He died on April 19, 1965, in Philadelphia, Pennsylvania.[2] He was posthumously honored almost 40 years later in 2001 with a major retrospective, titled Dox Thrash: An African-American Master Printmaker Rediscovered, at the Philadelphia Museum of Art.[7] Thrash's work was included in the 2015 exhibition We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum.[8] Relation to Alain Locke and the New Negro Movement This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (June 2022) (Learn how and when to remove this template message) Alain LeRoy Locke (1885-1954) was an intellectual, professor and author who espoused that African Americans, specifically artists, to capture the personality, lives, and essence of their people in The New Negro. He explained “The Negro physiognomy must be freshly and objectively conceived on its own patterns if it is ever to be seriously and importantly interpreted. Art must discover and reveal the beauty which prejudice and caricature have overlaid.”[9] What Locke is expressing here is not only the call for black artists to overcome racial prejudices via positive artistic representations of blacks, but that the actual African American individual like Thrash portrayed the lives of fellow blacks, and had the power to propagate this idea of the New Negro, as Locke explains, “There is the possibility that the sensitive artistic mind of the American Negro, stimulated by a cultural pride and interest, will receive…a profound and galvanizing influence.”[10] In his shadowy carborundum mezzotint Cabin Days, Thrash depicts a southern black family on the porch of their shack-like home in a rural landscape. The man, woman, and child, clutched tenderly to the female figure's breast, create an intimate scene highlighted by the bright cleanliness of the laundry hanging behind them. Placed in front of the drying laundry, they are framed by one aspect of the hard work accomplished during the day. Close to one another, staring collectively outward at the Southern landscape, they, and their laudable priorities of cleanliness and family, are made the bright focal point in the poor, unstable atmosphere. Such inner warmth is seemingly incompatible with the family's crooked and disheveled surroundings, and their fuzzy appearance with a lack of facial detail makes the scene into a general archetype for rural southern blacks living conditions and qualities. Thrash was referencing an experience common to thousands of black families in rural occupations at the turn of the 20th century, often forced into slavery-like tenant farming as their only means of livelihood in the racist South. The “uneven clapboards, leaning porch, broken shutter, and uprooted fence” are rife with instability, much like the post-slavery economic and social systems of the South, making it clear that for African Americans, “the house is not the home; rather, the figures on the porch represent family unity and continuity”.[10] In this way, Thrash is able to not only champion the positive qualities of blacks in the family setting but underscore this with a symbolic look at their disadvantaged situation, making it all the more impressive that they persevere. Thrash symbolically depicted harsh realities for the African American at this transitional point in history while conferring a sensitive rendering of their humanity, akin to any other race, despite its utter denial by American society. Through softer tempera washes like A New Day, he literally and figuratively paints a picture of a black family transitioning from the South to the North during the Great Migration, making a hopeful, daring leap to attempt to be equal members of the society that has historically oppressed them. On the left side of the canvas lie muddled farm houses and plow handles, embodiments of their rural life of tedious hard labor behind them, fading to gray. Their hopeful gazes “…convey the optimism of the scores of African Americans who left the countryside to pursue better job opportunities, health care, and education in urban centers”.[6] The stance of the figures, with their chins raised in a dignified gesture towards cityscape ahead suggest a confidence and ambitiousness in their collective futures in this new northern industrial terrain. Even the child, clutched securely in the arm of the mother figure against her breast is not only serenely grinning, but calm enough to appear to gently doze, confident in that the journey ahead will result positively, poses no threat. The exposed arm of the woman is notable as well, being unusually thick and muscular, along with the general proportions of the kneeling father, who position on the ground appears not pleading but rather in a slightly exhausted, but upright gratefulness for the promise ahead. Thrash makes it clear that this family has traveled a long way, but is not depleted; rather they are strong and preparing for further hard work and hopeful success ahead. They are the quintessence of the New Negro, in that they are not only journeying forward to seize previously unobtainable opportunities that will enhance their lives, but the manner with which they hold themselves provokes a certain level of warranted respect for their humanity, from the viewer. In fact it was the strength of his fellow African Americans that Thrash often emphasized, amongst other positive characteristics in the face of adversity in personal portraits. Through his carborundum print Life, he depicts a neatly dressed black girl reading...

A beautiful etching from Péri’s observations of people on the streets of London. Artist: Peter László Péri Date: 1940s Framed size: 26.5cm x 32cm M...

Medium: Etching Year: 2008 Edition of 150 Image Size: 12 x 18 inches This portrait was done as part of a larger project titled Warriors for which Trevor traveled to Russia three tim...

A beautiful 1940s etching representing scenes of motherhood, from Péri’s observations of people on the streets of London. Artist: Peter László Péri...

Biet Ghiorghis is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.43 (as reported on the higher margin). ...

Tennis is a contemporary artwork realized by the artist Fifo Stricker in 1982. Mixed colored aquatint and etching.  Hand signed and dated by the artist...

A beautiful and touching original Peter László Péri etching, 1940s. A beaming mother of gigantic proportions holds her child above her head. At her f...

Mechanical Parrots is a contemporary artwork realized by the artist Fifo Stricker in 1997. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower rig...

Marie Laurencin - Woman Angel - Original Etching Paris, Le Gerbier, 1946 Edition of 340 Signed in the plate

Signed, titled and numbered from the edition of 50. Roz is particularly interested in exploring the relationship between photography and drawing, line and light. His current work is...

Ymrahanè' Cristos is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.55 (as reported on the higher margin...

Bilbolà Ghiorghis is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.48 (as reported on the higher margin...

Ghietem Mariam is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate on the lower left margin. Plate n.52 (as reporte...

Bilbola' Kircos is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.46 (as reported on the higher margin)....

Biet Ghiorghis is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.44 (as reported on the higher margin). ...

Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...

Ghenet Mariam Church is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate. Plate n.53 (as reported on the higher mar...

Church of Wuqrò Masqalà Kristòs is a modern artwork realized by Lino Bianchi Barriviera in 1947. Black and white etching. Signed and dated on plate on the lower right margin. Plat...

Biet Emmanuel is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.40 (as reported on the higher margin). ...

Biet Emmanuel is an modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.39 (as reported on the higher margin). ...

1 auf 16 is a contemporary artwork realized by the artist Fifo Stricker in 1984. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower right margin....

Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches (353 x 221 mm), full margins. Signed, dated, titled, numbered "III," and inscribed in pencil. O...

An extremely scarce impression from the artist's own collection. Etching on watermarked antique laid J Whatman Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signe...

The Palace is a beautiful black and white etching on paper, realized at the middle of the 20th century by the Italian artist  Renzo Biasion (Treviso, 1914 - Florence, 1996). Hand-si...

Medium: Etching Year: 2021 Edition Size: 25 Image Size: 4.5 x 9.75 inches One of several recent prints by Avery that continue to win awards and purchase by museums and public collec...

Paris: Cadart, 1876 Etching on watermarked D & C Blauw cream laid paper, 6 x 9 1/4 inches (151 x 234 mm), full margins. Significant toning, handling creases and some mottling due to ...

Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Filippo De Grado in the 18th Century. Signed on the plate. Good conditions. The etching belongs t...

London: T. Bensley for R. Bowyer, 1810 Hand-colored aquatint on cream wove paper, 9 x 12 3/8 inches (227 x 318 mm), full margins. Scattered light toning and a spray of light spots o...

Le Bonnet is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi...