Engraving Prints and Multiples

Work on paper

Andre Masson, French (1896 - 1987) - Self-Portrait I (Portrait de l'artiste I), Year: 1946, Medium: Drypoint and aquatint on BFK Rives, signed and numbered in pencil, Edition: 50,...

'Durham' Engraving by F Chesham after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England, Scotland, and Ireland', published by G...

This is an original 19th century hand-colored folio size McKenney and Hall engraving of a Native American entitled "Ahyouwaighs, Chief of the Six Nat...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Thorsby House in the County of Nottingham" (Vol. 1, Plate 91) Portfolio: Vitruvius Britannicus; or The British Architect, Contain...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X ...

Christine Ravaux, Belgian (1961 - 2021) - Ivy, Year: 2002, Medium: Mezzotint, signed, numbered and dated in pencil, Edition: 41/100, Image Size: 4.25 x 4.25 inches, Frame Size: ...

'Albuca Minor' Original copper-line engraving with original hand-colouring. From 'Herbier general de l'amateur' by Jean Louis Auguste Loiseleur-Deslongchamps & Jean Claude Michel M...

Nude Burden is an original zincography artwork realized by Mino Maccari. Included a white Passepartout: 49 x 34 The state of preservation is very good. The artwork represents a ma...

This a rare 18th century hand-colored large folio-sized copperplate engraving entitled "Platalea leucorodia" (Spoonbill) by Cornelius Nozeman in volume II of his publication 'Nederlandsche Vogelen', engraved by Christiaan Sepp or his son Jan Christiaan Sepp, published in Amsterdam in 1770. This engraving depicts a Platalea leucorodia Spoonbill, a large bird that lives mainly in Europe, Asia and Africa. It commonly migrates long distances on thermal air currents from the colder Northern European climates to Sub-Saharan Africa in the winter, sometimes as far long as Finland to South Africa. The Asian black stork...

This large hand-colored map entitled "Le Royaume de Naples Divisé en Douze Provinces. sur les Memoires les plus Nouveaux. Par le Sr. Sanson Presenté" was originally created by Nicholas Sanson d'Abbeville and published by Hubert Jaillot in "Atlas Nouveau" in Paris in 1692. It depicts central and southern Italy, as well as Corfu, Albania, Mediterranean Sea and the Adriatic Sea. Naples, Sorrento, the Isle of Capri, Rome in the upper left corner of the map, as well as many other landmarks. This striking original hand-colored map of Italy is printed on antique hand-made laid, chain-linked paper with wide margins. The sheet measures 20" high and 24.88" wide. There is one spot on the left, it is otherwise in very good to excellent condition. Nicholas Sanson d'Abbeville (1600-1667) was one of the greatest French cartographather of French cartography. Sanson opened his first printing business in Paris in 1638. The king recognized his skill and knowledge and made him the official geographer to the court. He eventually served two kings in this capacity. Sanson was succeeded by his sons and son...

This impression is #5 out of 40 Anne Dykmans was born in Verviers, Belgium, in 1952. She is a graduate of l’École Nationale d’Architecture et des Arts Visuels de La Cambre in Brussels, where she studied printmaking. Specialist of the Mezzotint (mezzotinto) technique, she is especially known for her prints of interior scenes, where light and dark come together in amazing chiaroscuro effects. She has presented her work in solo and group shows in Belgium and in many countries including; among others: France, Germany, Spain, Canada, Japan, China, and the USA. She was awarded in 1983 the Prix de la Jeune Gravure Belge in Antwerp. In 1986 she received the Prize of the 8th Biennale of Engraving of Fredrikstad, Norway. She won in 1988 the Gold Medal at the 2nd Triennial of Mezzotint Engraving of Sopot, Poland. Her prints are included in many private and public collections around the world. Anne Dykmans taught engraving from 1984 to 2017 at the Constantin Meunier...

Retained Time Color mezzotint, c. 1970's Signed, titled and numbered in pencil by the artist (see photos) Edition: 30 (15/30) Condition: Excellent Image size: 11 7/8 x 15 3/4 inches Sheet size: 30 x 22 inches Sonja Lamut: A contemporary illustrator, painter and mezzotint engraver, Sonja Lamut received her B.F.A. from the University of Arts, Belgrade, Yugoslavia, and her M.F.A. from Hunter College, City University of New York. She is presently Assistant Professor of Illustration at the Fashion Institute of Technology, New York City. During her career Sonja Lamut has illustrated numerous books, particularly in the field of children's literature. These include, Voyages of Doctor Dolittle, The Great Green Notebook of Katie Roberts, The Famous Adventures of Jack, Lemuel the Fool, Little Mermaid, Thanksgiving is for Giving Thanks (New York Times Children's Books list Bestseller), Love You, Soldier, . She is also the author and illustrator of the following works; Too Noisy!, Bugs and Halloween Costumes. Sonia Lamut's art has been the subject of solo and group exhibitions at institutions such as Gallery shows in New York, Boston Miami, Greenwich Stockholm, Ljubjiana and numerous other national and international group shows. Today her art is included in the following collections; the Brooklyn Museum, New York, the Museum of Modern Art , Fredrikstad, the Museum of Modern Art, Ljubljana, the Museum of Modern art, Belgrade, he National Museum, Krakow and many other important private and public institutions. For several decades, the American artist, Sonja Lamut has produced a number of striking works of art in the most demanding of all graphic media -- the mezzotint. In 1974 she was a participating artist in the exhibition, "International Mezzotint Today" in London, England. Utilizing the unique, black tonal values of this intaglio method she has created intriguing imagery, such as, "Cage". Courtesy: Art of the Print Collections Brooklyn Museum, New York Grafiska Sallskapet, Stockholm Museum of Modern Art, Fredrikstad Museum of Modern Art, Ljubljana College Board, New York Utubo Gallery, Kyoto Museum of Modern Art, Belgrade National Museum, Krakow Awards/Publications: “Grand Prix” in Mediterranean Art...

Gravure originale tirée à 50 exemplaires, technique de l'eau-forte, numérotée et signée au crayon par l'artiste. Encadrée avec un cadre en bois et un verre musée. Numéro 35/50. Éd. d...

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

This is a rare 18th Century hand-colored copperplate engraving entitled "Ciconia Nigra" (Black Stork) by Johann Leonhard Frisch is plate 197 fro...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II Provenance: Heirs of Edmu...

This beautiful, original hand-colored orchid lithograph entitled "Laelia Anceps Williamsii" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Album...

This colored botanical mezzotint and line engraving finished with hand coloring by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Ephemerum Virginianu flore Purpureo, B. Ephemer...

This is a large framed very rare hand-colored copperplate mezzotint engraved portrait of William Pitt, the Elder, 1st Earl of Chatham by Edward Fisher, published in London in 1779 after a painting by Richard Brompton. Pitt is depicted attired in a flowing regal appearing cape, standing in an ornate room with his left hand outstretched over a serious of manuscripts and scrolls that are laying on a table or desk to his left. The table is covered by a beautiful oriental carpet. The manuscripts include the Magna Carta, a map of the colonies, including Long Island and Staten Island, and papers entitled "A Plan for the Reconciliation between Great Britain and the Colonies", "A Motion Made in 1775 for the Recall of Troops from Boston", "A Provisional Act for Settling the Troubles in America Offered to the House of Lords in 1775", and "It is doing Nothing to repeal a few Scraps of Paper or Pieces of Parchment called Acts of Parliament. But our Business is to repeal the Ill-Will and the Animosity unfortunately now subsisting between Great Britain and North America". This engraving is held by the British Museum and the British Royal Collection Trust. This large framed mezzotint engraving is presented in a brown wood frame with gold-colored beaded inner and outer trim, and a cream-colored French mat. The frame measures 31.63" high by 26.63" wide by 0.75" deep. There are three short tears along the right edge and mild creasing in the left upper, left lower and right lower corners. It is otherwise in very good condition. William Pitt (1708-1778) was a member of the British parliament from 1735 to 1761 and prime minister from 1766 to 1768. Pitt was an advocate for the American colonies leading up to the War of Independence. He called for an amiable relationship between Great Britain and the colonies and opposed the Stamp Act and military action in America. He advocated for a withdrawal of English troops from Boston in 1775 and the settling of troubles in America, as two of his manuscripts on the table outline. Pitt's colleague, Lord Shelburne (later the Marquess of Lansdowne) shared his sympathies and after Pitt's death, signed a peace treaty with the United States in 1782. The American city of Pittsburgh, Pennsylvania is named for William Pitt, the Elder. The name originated when the conflict between the British and French over territorial claims in the Northeast were settled in 1758. General John Forbes and his British army, supported by the American colonial troops, expelled the French from Fort Duquesne (which had been constructed by the French in 1754). Forbes re-named the site for William Pitt the Elder, who at the time was a British statesman. The earliest known reference to the new name, Pittsburgh, is in a letter sent from General John Forbes to Pitt, dated November 27, 1758. Pitt's son, William Pitt, the Younger, like his father, also served as British Prime Minister. Edward Fisher (1730-1785) was born in Ireland in 1730. He was originally a hatter, but learned engraving in London. He became a member of the Incorporated Society of Artists in 1766, and exhibited there fourteen times between 1761 and 1776. He engraved more than sixty portraits. In addition to this portrait of William Pitt, Earl of Chatham, after Richard Brompton he engraved several portraits after Brompton, including George, Earl of Albemarle, as well as engraved portraits after paintings by Joshua Reynolds, including the Shakespearean actor David Garrick, Hugh, Earl of Northumberland, and Elizabeth, Countess of Northumberland and Laurence Sterne, and Hope Nursing Love, as well as Robert Brown, after Mason Chamberlin, Colley Cibber, after Jean-Baptiste van Loo, Christian VII of Denmark, after Nathaniel Dance, Simon, Earl Harcourt, after Hunter, Roger Long, after Benjamin Wilson...

This large 17th century copper plate hand-colored engraved map entitled "Gouvernement D'Orleans et la Generalite divisee en ses Elections Par...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Engraving on paper without frame.

Presse Ludovico Mirri Mercante d’Quadri incontro al Palazzo Bernini a Roma is from a series of original engravings published by Lodovico Mirri in the late 18th century and engraved ...

Contemporary figurative black & white mezzotint and drypoint print by Polish artist Ewa Kutylak. Print depicts a man facing a horse. Above them there is a dog in a landscape and bene...

The Swiss-born Rudolf Häsler (1927-1999) lead a varied and busy artistic life, living and working in his native Switzerland, the United States, Spain, where he died, and for an exten...

Little Devils Bridge over the Russ, above Alt Dorft Swiss From: Liber Studiorum Etching and mezzotint, 1809 Signed in the plate by JMW Turner and Charles Turner who applied the mezz...

Signed, titled and numbered by the artist. Image size: 4.75 x 4.5 inches Medium: aquatint and drypoint Year: 2014 Edition size: 50 Abstract image invoking scenery of the Mediterrane...

Still Life is an original print in etching and drypoint on white paper realized by an anonymous artist of the Mid-20th Century. In very good conditions. The artwork created through ...

Young Girl by Bernard Sanders (1906-1967) is a classic example of his masterful portraiture. This is a drypoint. It is signed in pencil, titled in the lower left margin, and initial...

Mary Cassatt 1844 - 1926 "By the Pond" (Breeskin 161; Matthews & Shapiro 21) Drypoint and aquatint printed in colors, circa 1896, on laid paper, framed Fourth state of four. Plate:...

This is a scarce 17th century beautifully hand-colored copperplate engraved map of Asia entitled “Exactissima Asiae Delineatio in Praecipuas Regiones Caerterasque Partes divisa et de...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. His seascapes and ocean prints are from the California coastline. Sign...

Elephant Engraing, 1957, printed 1988 Signed, dated, and titled in pencil by the artist Dedicated: "For Jon From Ray" Edition: 100 in two printings This is an artist's proof from th...

Etude pour une baigneuse (Study for a Bather) Drypoint, 1901-1911 Signed with the signature stamp, Lugt 2137a Printed: Louis Fort, Paris Publisher: Ambrose Vollard, Paris "The fame o...

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

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

NOZEMAN, Cornelius and Jan Christian SEPP. A Group of Four Birds Nests: NIDUS ARDEAE, Nycticoracis; NIDUS PLATALEA, Leucorodia; NIDUS ARDEAE STELLARIS and NIDUS PELECANI, Carbonis f...

This print of a pine tree uses kitakata chine collé to depict the warmth and colour of early autumnal light. This body of work is based on the book by Suzanne Simard, Finding the Mo...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.625 x 6.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

This is a 16th century original hand-colored copperplate engraved map of Tournai, Belgium, entitled "Tornacum" by Georg Braun & Franz Hogenberg, in volume IV of their famous city atlas "Civitates Orbis Terrarum", published in Cologne or Augsberg, Germany in 1575. The map provides a bird's-eye view of the walled city of Tournai, the second oldest city in Belgium. It lies approximately one hour by car southwest of Brussels or from Ghent. The names of thirty of its streets, prominent buildings, churches and squares are listed in a key within a strap-work cartouche in the lower left. These locations are numbered in the key corresponding to their locations on the map. This colorful map of Tournai (Tornacum or Tournay as it was called in the 16th century) includes the title in Latin in a cartouche in the upper center. Three crests are present across the upper map. A man and two woman are standing on a hill in the foreground in the lower right dressed in the style of 16th century upper class residents of the town. This is an English translation of an excerpt of Braun's description of Tornai: “Tornacum or Turnacum is a city in Gallia Belgica, situated on the Schelde in the territory of the Nervii, called Tournai by its French inhabitants, but Dorneck by the Germans. Tournai has always been a large and powerful city, with an abundance of goods and commercial activities and wonderfully resourceful craftsmen, who invent new articles every day, and although some of these go out of use they constantly conceive of other new things, both useful and delightful, so that they have at all times something that provides work and a means of livelihood for the poor." ReferencesVan der Krogt 4, 4435, State 1; Taschen, Braun and Hogenberg...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...

This print considers how we view the contemporary sublime landscape and how easy it can be to experience when we take the time to look. We often don’t have to travel far: parks in cities, the coastline and stars in the night sky. The mature Scots Pine tree pictured...

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

This print considers how we view the contemporary sublime landscape and how easy it can be to experience when we take the time to look. We often don’t have to travel far: parks in ci...

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair L...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Crinum Arenarium" (Water-Island Sand Crinum), plate 2355, published in London in 1822 in William...

"PIERRE-AUGUSTE RENOIR (1841-1919) Le Chapeau Épinglé, 1ère Planche (Delteil; Stella 6) Drypoint, 1894-95, on laid paper, with watermark MBM, an extr...

Christine Ravaux created Deux Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted w...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Glutinosum" (Clammy Houseleek), plate 1963, published in London in 1818 in William C...

Keresan Dancers Etching & drypoint, 1962 Signed lower right (see photo) Inscribed lower left: "Artist's Proof Keresan Dancers" Depicts Keresan speaking peoples at Sam Felipe Pueblo Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico. Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Murex I, Diamond drypoint by Jakob Demus. In the 1986-1988 period Demus immersed himself in the depiction of flowers, and it was then that the most important works in this genre wer...

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...

Artist: Dali, Salvador Title: Bust Series: Faust Date: 1969 Medium: drypoint Framed Dimensions: 22.5" x 18.5" Signature: Pencil signed Edition: 49/145 Literature: Albert Fie...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

This is an 18th century engraving and etching entitled "Parmigiani Amica" by Robert Strange after a painting by Girolamo Francesco Maria Mazzola, better known as Parmigianino, who lived during the Renaissance period. It was published in London in 1774. As the inscription states, the painting was in the collection of the King of Naples at the time the engraving was made. The engraving depicts a half-length portrait of a young woman, known as Parmigiani's Amica (meaning "female friend" in Italian). She is depicted wearing a simple but elegant dress with a low-cut neckline, which reveals her delicate features and graceful neck. Her hair is arranged in a simple yet stylish manner. She is turning to the right to look lovingly at her infant, which she is holding with her right arm. She is touching the baby's mouth with her left hand. The background of the engraving is plain and unadorned, allowing the viewer to focus entirely on the subject of the portrait. The result is a beautiful and timeless image that captures the essence of Renaissance portraiture. The engraving is printed on watermarked paper. The sheet measures 16.25" high and 12' wide. The sheet is adhered to paper in its upper corners and it has been removed from the paper in its lower corners. There is some mild discoloration and some wrinkling in the margins, including the lower inscription area, and a small dark spot in the upper margin, which may represent a drop of ink occuring at the time of printing. These issues do not involve the image, which is in very good condition. The print is held by several museums and institutions, including: The Metropolitan Museum of Art in New York, The British Museum in London, The Royal Museums of the UK, The British National Trust...

Artist: James Sowerby (English, 1757-1822) Title: "Glaucium Violaccum (Violet Horned-Poppy)" (Vol. 3, Plate 201) Portfolio: English Botany; or, Coloured Figures of British Plants Year: 1794 (First edition) Medium: Original Hand-Colored Engraving on cream wove paper Limited edition: Unknown Printer: J. Davis...