Etching Figurative Prints

Mother's Portrait is an original black and white etching realized by Pio Semeghini in 1964. Hand written dedication on the right margin: "Per Pio Semegh...

Hand signed. Edition of 102 copies (16/102), etching on copper. Image dimensions: 21x25 cm. This is one artwork collected in the portfolio "Galleria Grafica Contemporanea", publis...

Artist: Hans Bellmer, German (1902 - 1975) Title: Paysage 1800 Year: 1968 Medium: Etching on Arches, signed in pencil l.r. Image Size: 15.5 x 12 inches Size: 26 x 19.75 in. (66.04 x ...

Julian Trevelyan (1910-1988) Richmond (1969) Etching and aquatint, signed, numbered 48/75 48x35cm Nephew of the historian G M Trevelyan he was educated at Bedales and Trinity Colleg...

The Scene of Oedipus king is an original etching realized by Giacomo Manzù in 1968. Recolin Press inc New York, Officina Bodoni Verona. Numbered on the lower left. Ed. 38/105. Th...

Salvador DALI Man kissing a shoe, 1969 Original etching With the blind stamp signature of the artist Rare proof in blue gry On Japan paper 38 x 28 cm (c. 15 x 11in) References: - ...

This untitled artwork is an original etching realized by Carlo Alberto Petrucci, around 1960. The print rapresents a portrait of an old woman. Good conditions except for some foxin...

Poggio a Caiano is an original black and white etching realized by Ardengo Soffici in 1964. Hand written dedication on the right margin "Per Ardengo Soffici, Maria Soffici". Number...

The Portrait of Oedipus king is an original etching realized by Giacomo Manzù in 1968. Racocin Press inc New York, Officina Bosoni Verona. Numbered on the lower left. Ed. 38/105. ...

Salvador Dali The giants (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Field p...

Salvador Dali - Kneeling Knight - Original Etching Stamp Signed Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

Beautiful etching, representing the wonderful Este's gardens. Edition of 70 prints. Titled, numbered and hand-signed with pencil on lower margin by the Italian artist, Tono Zancanaro...

In-folio Oblong Dimensions : 29x39 cm. Paris Atelier Crommelynck 1968 Edition of 200 copies including 12 original out-of-text etchings (7 etchings, 4 etchings and acquatint and 1 e...

Salvador DALI Height Deadly Sins : Dalinean Original etching and aquatint Rare Bon-a-tirer proof annotated Ok Mr Gerbault (Mr Gerbault was a collaborator of Edition l'Orangerie) On ...

Image dimensions: 28 x 22 cm. Hand signed on the lower right margin. Artist's proof. Etching and Aquatint, wide margins with a very fresh line. In very good conditions. Referenc...

Edition 37 of 50 prints, numbered and hand signed. Image dimensions: 43x58 cm. Wonderful proof on vélin in full margins, numbered lower left and signed lower right in pencil. Realize...

"Maria (Artist's Wife)" is an original etching by Moishe Smith, signed in the bottom right corner and numbered in the bottom left. The piece depicts a seated woman from the waist up,...

Salvador Dali - Zeus - from "Mythologie" Original Etching Dimensions: 76 x 46 cm 1965 Editor: Phika Pierre Argillet Edition: /150 Handsigned and numbered References : Michler et Lops...

Dorothea e la biscia (Dorothea and the Serpent) is an original color etching, realized in 1963 by the Italian contemporary master, Gaetano Pompa. Image dimensions: 64 x 49.5 cm. H...

Salvador Dali La Confession de Dante (1960) Heliogravure reworked with drypoint Signature printed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") Reference...

Image dimensions: 15.7 x 21.7 cm. Sitting Woman is a beautiful original linoleum realized around the Sixties by the Italian master, Domenico Cantatore. A wonderful original print representing a sitting woman on a bed...

Marc Chagall - Moses Striking Water from the Rock - Original Handsigned Etching 1958 Printed by Tériade Dimensions: 54 x 39 cm Handsigned and numbered handcolored Edition: 100 Reference: Cramer 30. Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Alberto GIACOMETTI Studio with the Turntable, 1964 Original etching On Arches vellum 56.5 x 38 cm (c. 22.2 x 15 inches) REFERENCES: - Eberhard W. Kornfeld et la Fondation Giac...

Artist: Marc Chagall, After, Russian (1887 - 1985) Title: Granada Year: 1962 Medium: Etching with Aquatint (Restrike) Image Size: 13 x 9 inches Size: 19 in. x 15 in. (48.26 cm x 38.1...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

Hand Signed. Artist's Proof. Good conditions.

This original etching- "Naissance" (birth)- was realized by the esteemed German artist and master printmaker Wolfgang Gäfgen (b. 1936), circa 1960. Re...

Hand Signed. One of 100 pieces. Very good conditions. Image dimensions: 15 x 20 cm.

Hand-signed. Edition 13/35 prints, numbered and hand signed in pencil. Image Dimensions : 31 x 24 cm Passepartout included : 70 x 50 cm Ref. Cramer 12. Very good conditions.

Image dimensions: 25.4 x 34.7 cm. Una giornata in collina is a beautiful black and white etching on paper, realized in 1966 by the Italian artist, Renzo Biasion. Titled on plate on higher margin at the center, dated and signed on plate on higher right margin with autograph notes in Italian etched on plate. Numbered in Arabic numerals and in pencil on lower left margin. From an edition of 100 prints. Hand-signed in pencil on lower right margin. Representing some big poppy and the fauna of the hill and etching with full mastery of the technique, this original print, in excellent conditions, is a very nice piece to collect at home or to present! Renzo Biasion (Treviso, 1914 - Florence, 1996) Born in Treviso in 1914, he moved to Venice where he graduated from the local art school and taught drawing in secondary schools. In 1940, when Italy entered World War II, he fought on the Greek-Albanian front as a second-lieutenant in the infantry and began writing a war diary...

Salvador Dali The punishment of hypocrites (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") Ref...

Soyer, Raphael. SIXTEEN ETCHINGS. Published by Associated American Artists, NY, 1965. From the Deluxe suite of 25 on Japan paper, this copy number 24/25. (There were a further 60 p...

Salvador Dali A logician devil (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10 in) References: -...

Salvador Dali - Baubo (Woman Riding a Sow), from Faust Embossed signature (from the standard book edition of 731) Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 B / Michler ...

Image dimensions: 32 x 50 cm. Etching, wide margins, hand-numbered and hand-signed with pencil on lower-right margin. Edition of 35 prints. In excellent condition. Wonderful print ...

Salvador Dali A Black Devil (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Fie...

Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching 1958 Printed by Tériade Dimensions: 54 x 39 cm Handsigned and numbered handcolored Edition: 100 Reference: Cramer 30. Etching with hand-coloring, circa 1930, initialled in pencil, numbered 75/100 (there were also twenty hors-commerce copies) , published 1958 by Tériade, Paris, on Arches wove paper Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Image dimensions: 6.5 x 24.2 cm. Artist's Studio is a beautiful black and white etching on paper, realized at the middle of the XX century by the Italian artist Renzo Biasion (Treviso, 1914 - Florence, 1996). Hand-signed in pencil on the lower right margin. Numbered in pencil on lower left margin. From an edition of 100 prints. This original print is really interesting and represents an important place for the artist: his atelier at the same time in order and on the mess, with all the tools of the trade: it is a little step in the every day life of the artist. With a superb hatching and a full mastery of the technique, vibrant blacks and a balanced composition, this is a little dimension but precious contemporary artwork absolutely to collect jealously! In excellent conditions. Renzo Biasion (Treviso, 1914 - Florence, 1996) Born in Treviso in 1914, he moved to Venice where he graduated from the local art school and taught drawing in secondary schools. In 1940, when Italy entered World War II, he fought on the Greek-Albanian front as a second-lieutenant in the infantry and began writing a war diary...

An original etching created by Pablo Picasso in 1966 . It is stamp signed and numbered from the edition of 50. This piece measures 8.8 x 12.8 inches and the framed dimensions are 1...

Salvador Dali L'Echelle mystique (1960) Heliogravure reworked with drypoint Signature printed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: -...

Salvador Dali La divine forêt (1960) Heliogravure reworked with drypoint Signature printed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 1...

Interesting Etching on Oxford paper, representing an amusing still life. Hand-numbered, hand-titled and hand-signed with pencil on lower margin. "Gulino 1967" on plate, lower margin ...

Hand signed and numbered on front. Limited Edition of 65. Image Size: 13 x 11 inches. Artwork is in excellent condition. Additional images are available upon request. Certificate of ...

Hand signed and numbered by the artist. Etching on wove paper. Lust 185. Published by Galerie Beyeler, Basel. Edition 52/150. Artwork is in overall excellent condition. White spot...

Salvador Dali The dwellers of Prato (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References...

Salvador DALI Much Ado About Shakespeare : Merchant of Venice, 1968 Original etching in color Handsigned Justified EA On Japan paper 44.5 x 32 cm (...

Jean COCTEAU Le couple (around 1960) Original etching Signed in plate On vellum Auvergne with Jean Cocteau watermark 76 x 56 cm (c. 30 x 22") Very goo...

Salvador Dali Avarice et prodigialité (1960) Heliogravure reworked with drypoint Signature printed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") Referen...

Salvador Dali - Bicephale - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,5 x...

Salvador Dali The Betrayers of Their Hosts (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") Ref...

Salvador Dali The deceivers (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Fiel...

Thomas Cornell (American b. 1937), "Michaelangelo", Edition 96/100, Figurative Drypoint/ Etching signed and numbered in pencil, 24 x 18.50, 1964, Late 20th Century Colors: Black and...

Salvador DALI Woman with crutch, 1969 Original etching With the blind stamp signature of the artist lower right Rare proof in bluish gray On Japan paper 38 x 38 cm (c. 15 x 11in) ...

Julian Trevelyan (1910-1988) Father Thames (1969) Etching and aquatint, signed, numbered 53/75 35x48cm Nephew of the historian G M Trevelyan he was educated at Bedales and Trinity C...

Salvador Dali The liars (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Field p...

Salvador Dali La plus grande beauté de Béatrice (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10...

Salvador Dali Le Ciel de Mercure (1960) Heliogravure reworked with drypoint Signed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - F...

Salvador Dali Dante recouvre la vue (1960) Heliogravure reworked with drypoint Signed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: ...