Engraving Prints and Multiples

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

AMERICAN REVOLUTION THE ABLE DOCTOR IN AMERICA SWALLOWING THE BITTER DRAUGHT, 1774 (LC Cresswell 664). Engraving and etching. Originally from "The London Magazine", April 1774. Pl...

Engraving by Louise Bourgeois, 2002, hand signed, numbered and inscribed to her longtime printer Judith Solodkin of Solo Impressions, accompanied by an actual horseshoe gifted by the...

Panther by Kate Boxer is a limited edition drypoint etching with carborundum. The bold black and white print is a statement artwork in any room. Kate Boxer makes the plates in her st...

REVOLUTIONARY WAR NEWS FROM AMERICA or PARTIOTS IN THE DUMPS, 1776 (LC Cresswell 703) Engraving from The London Magazine, Plate 7 3/8 x 5, trimmed within plate mark at right. Sheet...

A wonderful, rare image by a pivotal 19th century Printmaker whose work serves as a bridge between social realism and the exuberant, often gritty glamour of Parisian cabaret culture....

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century...

Color drypoint etching on Japan nacré paper, edited in 1968 Limited edition, numbered as 146/175 in lower left corner.
 Hand-signed in pencil by artist in lower right corner. Plate ...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

Salvador Dali (1904-1989) - Les Caveliers de l'Apocalypse Drypoint etching on chromolithograph, embossed from 1971. The edition of 197/197 on Rives paper. Countersigned by the edi...

I Won't Eat You by Kate Boxer is a limited edition drypoint etching. This contemporary art print with gouache depicts a lion and is a humorous work of art by Kate Boxer. Kate Boxer m...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

French 18th century engraving, published in Paris, of the Emperor of Persia, Tahmasp Quli Khan (c.1688-1747), also known as Nader Shah. 150mm by 100mm (platemark) 170mm by 120mm (sh...

18th century natural history engraving depicting shells by Robert Benard after Henry Joseph Redoute. Henry Redoute was the bro...

Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper 14 1/2 x 10 5/8 inches (367 x 268 mm), full margins. In very...

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

Cowboy is a limited edition drypoint etching made with carborundum on paper by printmaker and artist, Kate Boxer. The classic black and white artwork is somewhat reminiscent of the o...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

Jennifer Bartlett Graceland Mansions, 1978-79 Drypoint, aquatint, silkscreen, woodcut, and lithograph on J. Green Cold Press paper and Rives BFK paper 24 x 120 inches, unframed Ed...

About In-folio Oblong Dimensions : 29x39 cm. Paris Atelier Crommelynck 1968 Edition #41 of 200 copies including 12 original out-of-text etchings (7 etchings, 4 etchings and aquatint...

An exotic hashira-e shaped work, an homage to the heavy influence Japanese printmaking had on the artist. London: 1880 Etching with drypoint on cream laid Van Gelder Zonen paper wit...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

Celebrated for the "sfumato" effect that Goltzius achieved through engraving alone, the incredibly fine lines in this work create the illusion of soft, glowing light and atmospheric ...

An 18th century hand colored botanical engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering sage plants:...

A 16th century image from the state-sponsored military manual that revolutionized European warfare tactics. Leiden: 1599. Engraving on laid paper with a partial chalice and grapes ...

18th century natural history engraving depicting shells by Robert Benard after Henry Joseph Redoute. Henry Redoute was the brother of the great botanical artist Pierre Joseph Redout...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell. Details: + ...

Sting Rays, engraving with original hand-colouring, circa 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic collect...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

This is a 16th century original hand-colored copperplate engraved map of Frankfort, Germany entitled "Francenbergum, vel ut alij Francoburgum Hassiae Opp" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1595. This is an English translation of an excerpt from the original text in the atlas: "Frankenberg or, according to others, Francoburgum, a town in Hesse. Charlemagne vested the town of Frankenberg with many freedoms and privileges, which it still enjoys to this day, and on account of its valiant and victorious soldiers awarded a signet, upon which there formerly appeared a golden castle with a tower, together with the letter F and a golden crown. Frankenberg, seen here from the northeast, lies on a hill above the River Eder. The hillside is covered with fields neatly separated by bushes and fences. Soaring above the town is the massive Liebfrauenkirche, which was modelled on St Elizabeth's church in Marburg. The New Town was founded in 1335 at the foot of the hill (right) and merged with the Old Town as late as 1556. Frankenberg was founded by Conrad of Thuringia in 1233/34 to prevent the archbishops of Mainz from expanding their sphere of influence...

The bus is delayed and the night is cold and rainy as a lone woman raises her umbrella to brave the shadowy walk home after giving up on her ride She has just left the bus shelter a...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Salvador Dali (1904-1989) - Le Cavalier Triomphant Drypoint etching on chromolithograph, embossed from 1973. The edition HC. Countersigned by the editor. Additionally dedicated b...

An 18th century color printed in addition to hand colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering amaranthus p...

Paris: Cadart, 1873. Etching with engraving on white wove paper, 9 1/4 x 12 1/2 inches (235 x 318 mm); sheet 10 3/4 x 14 3/4 inches (274 x 375 mm), full margins. In very good condi...

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

See you at the palace is a limited edition drypoint etching with medium and gold leaf by Kate Boxer. The golden hooves of the cow give the work a majestic glow and brings life to the...

Paris: A. Salmon, 1883. Etching with engraving on white laid paper, 6 1/8 x 9 3/4 inches (156 x 247 mm); sheet 9 1/4 x 12 1/2 inches (235 x 318 mm), full margins. In very good condi...

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

In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...

Salvador Dali (1904-1989) - Holed Fruit from Flordali suite Lithograph with drypoint etching from 1969. The edition 16/35 on Rives paper. Dimensions of work: 74.5 x 54.5 cm. Hand...

Map of Persiae, Armeniae, Natoliae et Arabiae Descriptio per F de Wit 1688 engraving from: Atlas Contractus Orbis Terrarum Praecipuas ac Novissimas Complectens Tabulas. Amsterdam, N. Visscher, 1656-77. (Koeman III, Vis5-8) This highly decorative map of the Middle East is by the Dutch engraver, publisher, and map seller...

Mary Cassatt Heads of Elsie and Robert Cassatt, 1880 Initialed M.C on Van Gelder laid paper Drypoint on paper Plate: 4 7/8 x 3 7/8 inches Sheet: 10 3/4 x 7 1/4 inches Provenance Amb...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Artist: Salvador Dali (1904-1989) Title: Espace-temps en fusion (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Fusing space-time, Imaginations and Objects...

Unframed. Edition of 1 copy, numbered 1/1. Dated, numbered, and signed by the artist in pencil. The copy offered for sale is No. 1/1. This work will be shipped rolled in a tube. Fo...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century...

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 ...

It's Today I Think is a limited edition drypoint etching by Kate Boxer. This vibrant colours in It's Today I Think captures a cowboy riding off into the sunset. Kate Boxer makes the ...

Color lithograph with drypoint etching on Auvergne paper from the series 'Flordali (Les Fruits)', edited in 1969. Limited edition, numbered as LXXXI/CL in lower left corner. Hand-sig...

Fresh to market - UNIQUE! Mel Bochner UNNAMEABLE Monoprint with collage, engraving and embossment on hand- dyed Twinrocker handmade paper Signed in graphite recto Frame included - he...

This is an exclusive handprinted limited edition cyanotype. This beautiful cyanotype is titled "Long Wave in Venice Beach" and it shows an outstanding wave in one of the most iconic ...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

Paper sizes may vary. Stag is a limited edition drypoint etching by artist and printmaker, Kate Boxer. The warm tones of the work and delicate use of line highlights the magnificence...

Paris: 1872. Etching with drypoint on laid Japon paper, 4 1/2 x 8 1/8 inches (115 x 207); sheet 9 3/4 x 12 7/8 inches (248 x 327 mm), full margins. In good condition with some minor...

'Remains of Henry II's Palace, as it stood in Woodstock Park in 1714' Aquatint published by Samuel Ireland. From his 'Picturesque Views on the River Thames'. Ireland was an author a...

Engraving by Joannes and Lucas van Doetecum (Deventer active by 1551 - circa 1569 Haarlem) in the manner of Peter Bruegel the Elder

Beggar with a stick is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This piece of art belongs to a late edition of ...