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Mezzotint Figurative Prints

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Medium: Mezzotint
Oedipus, Mark Kostabi
Located in Auburn Hills, MI
MARK KOSTABI (1960- ) Born in California, Mark Kostabi has lived, worked and made waves in New York since 1982. Artist, author, and composer, Kostabi has been featured in titles inc...
Category

1980s Pop Art Mezzotint Figurative Prints

Materials

Mezzotint

Owl - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Owl is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. Ed...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Body by Jake, Mark Kostabi
Located in Auburn Hills, MI
MARK KOSTABI (1960- ) Born in California, Mark Kostabi has lived, worked and made waves in New York since 1982. Artist, author, and composer, Kostabi has been featured in titles inc...
Category

1980s Pop Art Mezzotint Figurative Prints

Materials

Mezzotint

Cherry - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Cherry is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. Ed...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Portrait of a Gentlewoman - Colored and Mezzotint - 18th Century
Located in Roma, IT
Portrait of a Gentlewoman is an original print on paper realized by Anonymous English artist in the late 18th Century. The artwork represents a portrait of an elegant woman. Mixed ...
Category

Early 1800s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Column and Egg - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Column and Egg is original etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower l...
Category

1960s Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Lion in Bowl - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Lion in Bowl is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in p...
Category

1960s Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Portrait of Sculptor John Michael Rysbrack - Mezzotint by John Faber II - 1734
By John Faber II
Located in Roma, IT
Portrait of Sculptor John Michael Rysbrack, from John Vanderbank is an original mezzotint artwork realized in 1734 by John Faber II (L'Aia 1684 ca. - Londra 1756). Signed and dated ...
Category

1730s Old Masters Mezzotint Figurative Prints

Materials

Mezzotint

Body by Jake, Mark Kostabi
Located in Fairfield, CT
Artist: Mark Kostabi (1960) Title: Body by Jake Year: 1989 Edition: 56, plus proofs. Medium: Mezzotint on Rives BFK paper Size: 21.25 x 15 inches Condition: Excellent Inscription: Si...
Category

1980s Pop Art Mezzotint Figurative Prints

Materials

Mezzotint

Indicating - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Indicating is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil...
Category

20th Century Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Apple and Tower - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Apple and Tower is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in p...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Hybrid Creature - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Hybrid Creature is etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in p...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Fish - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Fish is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. E...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Fish and Blade - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Fish and Blade is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in...
Category

1960s Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Still life - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Still Life is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pen...
Category

1960s Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Balance - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Balance is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Needle in Apple - Etching on Paper by Mario Avati - 20th Century
Located in Roma, IT
Needle in Apple is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left i...
Category

1960s Mezzotint Figurative Prints

Materials

Mezzotint, Etching

Rider - Etching on Paper by Mario Avati - 1960s
Located in Roma, IT
Rider is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. ...
Category

1960s Mezzotint Figurative Prints

Materials

Etching, Mezzotint

Delayed (suburban New Jersey commuter walks thru rain because bus is late)
Located in New Orleans, LA
"Delayed" is an edition of 100. Art Werger creates a memory of his boyhood home in suburban New Jersey. It's late, cold and rainy as this woman raises her umbrella to brave the wal...
Category

21st Century and Contemporary American Modern Mezzotint Figurative Prints

Materials

Mezzotint

Ascension (Traffic in front of St. Bartholomew / Park Ave bet 50th and 51s
Located in New Orleans, LA
An overflow of traffic in front of St. Bartholomew's Episcopal Cathedral on Park Avenue between 50th and 51st
Category

1990s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Charles Lee Esq.
Located in Boston, MA
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 Con...
Category

Late 18th Century Realist Mezzotint Figurative Prints

Materials

Mezzotint

Confident (profile of sensual young woman with wisps of hair on her neck)
Located in New Orleans, LA
Mikio Watanabe created "Confident", a side view of a sensuous female nude, exclusively for Stone and Press Gallery. The 2004 black and white mezzotint was issued in an edition of on...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Wild geese. Drypoint limited edition print, Black & white, Polish art
Located in Warsaw, PL
Contemporay figurative drypoint print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts portrait of a woman with a bird next to her. On the bottom of the composition there is a ship. Behind a woman there are buildings- maybe towers. Print is made in small scale. Composition is quite surrealistic. The title of this print is 'Wild geese' EWA KUTYLAK She graduated from the Academy of Fine Arts in Wroclaw. The subject of work Kutylak oscillates around the animal and plant symbolism combined with stylized depictions or portraits of people silhouettes. These motifs, often scaled to each other, are placed against or in combination with views of gardens and landscapes. Biblical references and scenes reminiscent of the illustrations of medieval bestiaries are also frequent. She has participated in numerous contest exhibitions in the world (Italy, Belgium, Portugal, Bulgaria, Denmark, Egypt...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Drypoint, Mezzotint

In a garden, mezzotint print, Limited edition, Black & white, Polish artist
Located in Warsaw, PL
Contemporay figurative mezzotint and drypoint print by Polish artist Ewa Kutylak. Print depicts a human standing with a dog. Proportions of the composition are elongated. The charact...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Drypoint, Paper, Mezzotint

A summer. Mezzotint & drypoint print, Limited edition, Black & white, Polish art
Located in Warsaw, PL
Contemporay figurative mezzotint and drypoint print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts portrait of a woman shown from the side. Next to the ...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Drypoint, Mezzotint

Encounter. Mezzotint & drypoint limited edition print, Black & white, Polish art
Located in Warsaw, PL
Contemporay figurative mezzotint and drypoint print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts portrait of a man with a mystic animal. Between them ...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Drypoint, Mezzotint

On a shore. Mezzotint, limited edition print, Black & white, Polish art
Located in Warsaw, PL
Contemporay figurative print by Polish artist Ewa Kutylak in technique of mezzotint and copperplate. Edition is limited. Print depicts a woman with a dog next to her. Print is made i...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Mezzotint

A gardener. Etching print, Limited edition, Black & white, Polish artist
Located in Warsaw, PL
Contemporay figurative etching print by Polish artist Ewa Kutylak. Edition is limited to 40 copies. Print depicts a scene at the table on the foreground. In the background there is a...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Drypoint, Mezzotint

DEATH OF THE FIRST BORN - Proof - Magnificent Large Scale Mezzotint
Located in Santa Monica, CA
JOHN MARTIN (1789 – 1854) DEATH OF THE FIRST BORN, Dedicated to His Majesty King Louise Philippe, King of the French, as a Tribute of the Artist’s Grateful...
Category

1830s Old Masters Mezzotint Figurative Prints

Materials

Mezzotint

Sleep (Woman at slumber in bed)
Located in New Orleans, LA
Jukka Vanttinen (Finn, b. 1954) Jukka Vanttinen was introduced to the medium of mezzotint through a book by Sir Frank Short on British mezzotints. He learned through experimentatio...
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

'Judges' from 'In Praise of Folly' — 1940s Graphic Modernism
Located in Myrtle Beach, SC
Lynd Ward, 'Judges' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed, dated, and titled in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 1/4 to 2 inches) in excellent condition. Scarce. Matted to museum standards, unframed. Image size 7 13/16 x 4 7/8 inches (198 x 124 mm); sheet size 10 3/4 x 8 1/8 inches (273 x 206 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category

1940s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

Collection of Six 18th Century Mezzotint Portraits of European Nobility
Located in Rochester, NY
Group of six 18th century portraits of European Nobility. Mezzotint prints. Framed.
Category

18th Century Mezzotint Figurative Prints

Materials

Mezzotint

'Priests' from 'In Praise of Folly' — 1940s Graphic Modernism
Located in Myrtle Beach, SC
Lynd Ward, 'Priests' from the series 'Moriae Encomium (The Praise of Folly)', mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 1/4 to 2 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category

1940s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

'Dogs of War' from 'In Praise of Folly' — 1940s Graphic Modernism
Located in Myrtle Beach, SC
Lynd Ward, 'Dogs of War' from the series 'Moriae Encomium (The Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. A proof impression apart from the Limited Editions Club impressions. Matted to museum standards, unframed. Scarce. Image size 7 3/4 x 4 13/16 inches (197 x 122 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category

1940s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

Morning Paper
Located in Saugatuck, MI
Printed in 1941, this work entitled Morning Paper is a mezzotint and was the 32nd Presentation Print of the Chicago Society of Etchers. Founded by Chicago artist Bertha Jacques in 19...
Category

1940s Art Deco Mezzotint Figurative Prints

Materials

Mezzotint

Seventy Percent Chance
Located in Palm Springs, CA
Medium: Mezzotint Year: 2023 Edition: 50 Image Size: 11.75 x 17.5 inches Pedestrians sheltering from the rain under umbrellas in an urban downtown setting, Art Werger’s prints show...
Category

21st Century and Contemporary Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

After Nicholas Poussin Seven Sacraments Prints 18th century mezzotint paper
Located in Florence, IT
This group of 7 prints (mezzotint on paper, 59 x 75 cm) represents the Seven Sacraments (Baptism, Ordination, Confirmation, Penance, Eucharist, Marriage, Extreme Unction). At the top...
Category

Mid-18th Century Baroque Mezzotint Figurative Prints

Materials

Paper, Mezzotint

'Doctor' from 'In Praise of Folly' — 1940s Graphic Modernism
Located in Myrtle Beach, SC
Lynd Ward, 'Doctor' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category

1940s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

A Group of Six Tulips
Located in London, GB
WEINMANN, Johann A Group of Six Tulips Hieronymous Lenzius, Regensburg, [1735]-1737-1745. Group of six mezzotint engravings, printed in colour and finished by hand. Framed and g...
Category

Mid-18th Century Naturalistic Mezzotint Figurative Prints

Materials

Mezzotint

'Pope' from 'In Praise of Folly' — 1940s Graphic Modernism
Located in Myrtle Beach, SC
Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category

1940s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

Swing (The swing of the bat from #27 a right handed hitter. Play Baseball!
Located in New Orleans, LA
Play Ball! No. 27 unleashes a mighty swing at the ball. Both umpire and catcher are in their huddled crouch. "Swing" is an exclusive publication of Stone and Press Gallery by Art We...
Category

Late 20th Century American Modern Mezzotint Figurative Prints

Materials

Mezzotint

As We Were
Located in Fairlawn, OH
As We Were Mezzotint printed on Hannemuelle Copperplate paper, 2014 Signed and dated in pencil lower right (see photo) Titled lower left (see photo) Chop stamp of the publisher, The ...
Category

2010s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Symphony in White No. 2, The Little White Girl
Located in Fairlawn, OH
Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 192...
Category

1920s Pre-Raphaelite Mezzotint Figurative Prints

Materials

Mezzotint

Early 20th Century Mezzotint - The Music Lesson
Located in Corsham, GB
A charming mezzotint depicting a family gathered around a table. The father teaches a young child how to play a zither while the mother watches. Beautifully presented in a cabinet frame with ornate floral moulding to the inner oval gilt frame.
Category

Early 20th Century Mezzotint Figurative Prints

Materials

Mezzotint

Sew What (the swells and swirls of the stripes are now in the hands of others)
Located in New Orleans, LA
"Sew What" is a color mezzotint with burin engraving created in an edition of 35. This impression is #6. I love sumptuously designed textiles in both real life and art. Patterns metamorphosing over fabric folds appeal to my interest in modulating rhythmic forms, particularly the swells and swirls of calligraphic stripes. I’m also fascinated by articulated wooden hand models, which appear in many of my paintings. Combining these passions with sewing paraphernalia from my seamstress days provided inspiration for my color mezzotint engraving "Sew What". Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer...
Category

21st Century and Contemporary Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Interior with Red Shawl (Young woman reads in this calm Vermeer-like interior)
Located in New Orleans, LA
Interior with a red shawl conveys a quite different mood and feeling: one of calm, and suspension of time. Here the suggestion is that the woman is waiting ...
Category

Early 20th Century Dutch School Mezzotint Figurative Prints

Materials

Mezzotint

Luis Lara, ¨Teoria del salto III¨, 2000, Mezzotint, 10.4x8.3 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Teoria del salto III', 2000 mezzotint on paper Velin Arches 300 g. 10.5 x 8.3 in. (26.5 x 21 cm.) Edition of 13 ID: LAL-308 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Mexican signed limited edition orginal print mezzotint 17.4x13.8 in.
Located in Miami, FL
Fernando Aceves Humana (Mexico, 1969) 'Lo que nos trajeron', 2007 mezzotint on paper 17.4 x 13.8 in. (44 x 35 cm.) Edition of 20 ID: ACE-101 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Mezzotint, Etching, Screen

Luis Lara, ¨Reflejo¨, 2000, Mezzotint, 28x19.7 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Reflejo', 2000 mezzotint on paper Velin Arches 300 g. 28 x 19.7 in. (71 x 50 cm.) Edition of 13 ID: LAL-305 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Luis Lara, ¨Untitled¨, 2000, Mezzotint, 27.6x21.3 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Untitled', 2000 mezzotint on paper Velin Arches 300 g. 27.6 x 21.3 in. (70 x 54 cm.) Edition of 20 ID: LAL-307 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Luis Lara, ¨Cuidadito compay gallo¨, 2000, Mezzotint, 25.2x20.1 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Cuidadito compay gallo', 2000 mezzotint on paper Velin Arches 300 g. 25.2 x 20.1 in. (64 x 51 cm.) Edition of 15 ID: LAL-306 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Luis Lara, ¨V¨, 2000, Mezzotint, 29.1x22 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'V', 2000 mezzotint on paper Velin Arches 300 g. 29.2 x 22.1 in. (74 x 56 cm.) Edition of 13 ID: LAL-302 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Luis Lara, ¨Oídos sordos¨, 2000, Mezzotint, 27.6x19.7 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Oidos sordos', 2000 mezzotint on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) Edition of 13 ID: LAL-301 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint, Paper, Etching

Luis Lara, ¨Adicción¨, 2000, Mezzotint, 29.5x22 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Adicción', 2000 mezzotint on paper Velin Arches 300 g. 29.6 x 22.1 in. (75 x 56 cm.) Edition of 13 ID: LAL-304 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Paper, Etching, Mezzotint

Luis Lara, ¨Obsecacion¨, 2000, Mezzotint, 26x18.9 in
Located in Miami, FL
Luis Lara (Mexico, 1972) 'Obsecacion', 2000 mezzotint on paper Velin Arches 300 g. 26 x 18.9 in. (66 x 48 cm.) Edition of 10 ID: LAL-303 Unframed
Category

Early 2000s Contemporary Mezzotint Figurative Prints

Materials

Etching, Mezzotint, Paper

Magic (these two figures seated on a beach beneath an active sky evoke emotion)
Located in New Orleans, LA
An older couple sits on a beach facing the sea as a shooting object streaks through the sky. There is a feeling of connection and contentment conveyed through the imagery. Does the...
Category

1990s Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Follow (73/100), mezzotint of New York sidewalk by Art Werger
Located in Palm Springs, CA
Mezzotint, from the edition of 100. Signed, titled and numbered by the artist. Art Werger’s prints show a keen observation of quiet and normally unnoticed moments. Pedestrians passi...
Category

21st Century and Contemporary Contemporary Mezzotint Figurative Prints

Materials

Mezzotint

Into the Night (a lone male emerges from a subway stop by the Flatiron Building)
Located in New Orleans, LA
A lone figure emerges out of bright lights streaming from a subway entrance at the corner of 23rd and Broadway near the Flatiron Building and Madison Square Park. He has just exited the uptown...
Category

Early 2000s American Modern Mezzotint Figurative Prints

Materials

Mezzotint

Mezzotint figurative prints for sale on 1stDibs.

Find a wide variety of authentic Mezzotint figurative prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add figurative prints created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of pink and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Mario Avati, Johann Wilhelm Weinmann, Sir Frank Short, and Maurice Pasternak. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Mezzotint figurative prints, so small editions measuring 0.03999999910593033 inches across are also available Prices for figurative prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at £4 and tops out at £1,979,280, while the average work can sell for £415.

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