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...

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...

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 ...

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...

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....

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 ...

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...

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...

'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 ...

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

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...

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...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

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...

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...

This exquisite engraving after Edgar Degas (1834–1917), titled Femme se lavant dans sa baignoire (Woman Washing in Her Bathtub), originates from the celebrated album Degas Danse dess...

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

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...

'Kraft und Mut' (Courage and Strength) German wood-engraving, 1903. 320mm by 230mm (image) 280mm by 410mm (sheet)

One of the founders of Impressionism and certainly one of its greatest masters, Pierre-Auguste Renoir (1841 - 1919) was not a prolific printmaker, but he explored several different m...

This exquisite engraving by Salvador Dali (1904–1989), titled Sans titre (Untitled), from the folio Le Tricorne (The Three-Cornered Hat), originates from the 1958 edition published b...

Salvador Dali (1904-1989) - Le Cavalier Triomphant Drypoint etching on chromolithograph, embossed from 1973. The edition 181/197. Countersigned by the editor. Additionally dedica...

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...

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...

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 ...

A lively image by a female artist who was part of a vibrant generation of British printmakers who were pushing the boundaries of color and technique during the early 20th century. N...

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...

Etching with drypoint on cream laid paper 4 x 6 1/2 inches (102 x 166 mm); sheet 5 1/8 x 7 5/8 inches (130 x 194 mm), full margins with a deckle edge. In good condition with light ye...

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

A collection of gruesome 19th century images illustrating the barbarism of the Qing penal code. London: William Miller, 1801. Six (6) stipple point engravings with hand coloring in...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Three 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. 10.13" x 16.75" Image size (each): approx. 7" x 11.88" 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 three 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". All three, "A View of Pershore, from Pensham hill", "A View of Shipston upon Stour", and "Kidderminster" have an unidentified watermark in the center of their sheets resembling "XV". 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...

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...

Martin Lewis, 'Little Penthouse,' drypoint, edition 84 (including 9 proofs), 1931. McCarron 91. Signed in pencil 'Martin Lewis imp.' Annotated, 'proof on Dard Hunter paper: “Peter Mu...

Paris: Cadart & Luce, 1869. Etching with drypoint and engraving on Guillaume Fort paper with the "G F" watermark; 6 1/4 x 9 1/2 inches (158 x 242 mm); 12 x 16 1/4 inches (305 x 419 ...

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...

Wood engraving, 1976 Edition : 38/50 Publisher : Éditions Théo Schmied (Paris) Printer : Théo Schmied (Paris) Catalog : [Saphire E 18, p. 290-291] 90.00 cm. x 65.50 cm. 35.43 in. x ...

April Gornik Tropical Drift, 1998 Exquisite color direct gravure with spitbite aquatint on Somerset Satin white paper Pencil signed, dated, titled and numbered 11/40 by April Gornik ...

Gazette des Beaux-Arts, 1866 Etching on Chine collé with engraving mounted to cream laid paper with an uknown, partial watermark bearing the letters "ST," 5 3/4 x 9 3/8 inches (147 x...

geometric composition.original engraving abstract painting. VIRTUAL FRAMED Pijuan, Joan (Barcelona, 1931-2005). Joan Hernández Pijuan formed between Barcelona and Paris. It has the ...

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: + ...

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...

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...

Medium: original etching and drypoint. This work by Rodolphe Piguet (sometimes spelled Piquet) was printed in 1904 and published in Paris by the Revue de l'art ancien et moderne. Pla...

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 are evident in the palette of greens and grays, with additional touches of violet, eggplant and ochre. The suite of...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Salvador DALI Surrealist Boat (Vaisseau fantome), 1969 Original etching Handsigned in pencil Numbered /200 on Rives BFK vellum 58 x 45 cm (c. 23 x 18 in) REFERENCE : - Catalog rai...

This artwork titled "Rabbit Series #3" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches, framed size is 26.75 x 20.75 inches. It is custom framed in a silver metal frame, with white backing. It is in excellent condition. About the artist: Radovan Kraguly...

A superb, richly-inked, early impression, in warm black ink, on cream wove paper; the full sheet with wide margins (1 1/2 to 1 3/4 inches). Signed in pencil and dedicated by the art...

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

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...

"The Meeting of Her Majesty's Stag Hounds on Ascot Heath" is a large colorful mezzotint engraving of an extensive British hunting scene. It was created by Sir Francis Grant...

This is an exclusive handprinted limited edition cyanotype. "Lake Tahoe Panorama" shows a sequence of abstracted ripples of the calm Tahoe waters. Details: + Title: Lake Tahoe Panor...

An image from a 17th-century military drill manual depicting techniques for handling muskets and pikes. De Ghen II, Jacques / Jacob Wapenhandelinghe van Roers, Musquetten ende Spies...

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...

Whistler, James A. M. READING BY LAMPLIGHT. Etching and drypoint, 1859. Glascow 37, W.25, K.32. Third state of three, with the revisions to the sitter's facial expression and the dar...

A charming 18th-century engraving depicting the religious scene of Rebecca at The Well. Inscribed in plate. Presented in a gilt frame. On paper.

"Que pico de Oro" (What a Golden Beak) - Etching and Aquatint on Paper 5th or 8th edition print of "Que pico de Oro" from the Los Caprichos with burnished aquatints, drypoints etchi...

Peter Milton’s Mary’s Turn reimagines a scene where Mary Cassatt and Edgar Degas engage in a game of billiards, reflecting their real-life friendship and rivalry. Cassatt leans forwa...