Engraving Prints and Multiples

Etching, aquatint, drypoint & roulette in colors on arches paper. Hand signed lower right by Henry Moore. Hand numbered 38/50 lower left (there were also 15 artist's proofs). Shee...

In this print, Wenceslaus Hollar presents a portrait of D. Henrico van der Borcht, copying a painting or drawing by Hans Holbein. Copying works of famous masters was a common task of...

HELLEU, PAUL CÉSAR (1859 - 1927) "La Dame a la Toque" (Lady in Fur Hat) Montesquiou XXXVI, c. 1906 Drypoint printed in colors on pale cream wove paper Signed in black crayon lower ...

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition.

Salvador Dalí­ The Emerald Table from Alchimie des Philosophes, 1976 Lithograph and drypoint on parchment Hand signed and Edition 179 / 225 Sheet size 77 x 56 cm Printer: Art Lithog...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

Crite, Alan Rohan. THE REVELATION OF SAINT JOHN THE DIVINE. Limited Editions Club, NY, 1995. Number 88 of the edition of 300 copies. Large folio (22 x 16 inches) clamshell box in black cloth with morocco label, book in Black Cloth, with morocco label, 58 pages with the text of Revelations in the King James Version, and fifteen "relief engravings" (wood-engravings?) by Alan Crite...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

The Lobster is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 7.9 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

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

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand- made parcel-gilt, ebonised and decalcomania frame. So...

Salvador Dalí­ L'Ange de l'Alchimie (The Angel of Alchemy) from Alchimie des Philosophes, 1976 Drypoint and lithograph on parchment Hand signed and Edition 179 / 225 Sheet size 77 x...

Engraving on cream wove paper, 8 x 5 3/8 inches (203 x 137 mm), narrow to thread margins. First state (of 2). A fine impression with archival paper adhered at left top and bottom cor...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

The Pigeon is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.75x 8 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

After Maurits Cornelis Escher (Dutch, 1898–1972) Sky and Water II Printed vinyl A 1960s copy of the 1938 original 21 x 17 in. (53.5 x 43 cm.) t...

David Loggan (1634-1692) Habitus Acamedici in Universitate Oxoniensi - Oxford Academical Dress Engraving 39 x 52 cm Loggan was born to English and Scottish parents, and was baptised...

Untitled is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Monogram in pencil on the lower left. Excellent conditions. Precious an...

GIULIO BONASONE (1510-1576) AFTER GIULIO ROMANO (CIRCA1499-1546) Flora with her Nymphs engraving, circa1531-50, on laid paper, watermark Two crossed Arro...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

Pablo Picasso (1881-1973) - Étreinte I Drypoint etching from 1963. The edition of 47/50. Dimensions of work: 59 x 76 cm. Hand signed. Publisher: Galerie Louise Leiris, Paris. R...

Moses Harris ( British 1731-1785 ) The Aurelian, A Natural History of English Moths and Butterflies Plate XLII 1778 edition hand colored edition 17.88 x 11.00 good condition Pla...

Copper-line engraving with original hand-colouring by M Griffith after Charles Hamilton Smith, 1827. Depicts the Sewessissing, chief of the Iowa Indians. Charles Hamilton Smith (1...

Subject : Ancient Greek vase-painting depicting a woman sitting on a rock from a Campanian bail-amphora. Technique : Copper-line engraving with original hand-colouring Backgroun...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: No.1:I; No. 2:1; II & III. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

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

Engraving after Peter Paul Rubens (Siegen 1577 - 1640 Antwerp), executed by Schelte Adams Bolswert (Bolsward c. 1586 -1659 Antwerp). Bolswert was one of the major printmakers in the ...

Artist: Salvador Dali (1904-1989) Title: Maquillage cyclopéen (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Cyclopean makeup, Imaginations and Objects of...

A very good impression of this color drypoint on Japon nacré. Artist's proof, aside from the edition of 270. Signed and inscribed "EA" in pencil. Published by Vision Nouvelle, Paris....

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape Scenery" portfolio, published in London ...

A superb, richly-inked impression of this scarce drypoint printed in dark brownish black on cream laid paper. Second state (of 4), with the drypoint work on the windows upper right. ...

"Les Emigrants" is an original roller engraving by Auguste Brouet. The artist signed the piece lower right and wrote the edition number (30/50) lower left. This engraving depicts a f...

This original etching and drypoint is hand signed in pencil by the artist "Nicholson" at the lower left margin and dated “65” next to the signature. It is also hand numbered from the...

Tittle, Walter. MANHATTAN MINARETS. Drypoint, 1931. Titled, lower left and signed, lower right. Edition of 75. 14 1/2 x 8 7/8 inches (plate), 17 3/4 x 11 1/8 inches (sheet). In excel...

Architectural designs. A set of nine architectural engravings. These engravings are framed in white gold covered french frames. From the publication published in Milan in 1782. "Diff...

'Antirrhinum Orontium' Mezzotint printed in colours. Circa 1740. From Johann W Weinmann's Phytanthoza Iconographia, published in Regensburg 1737-45. The first botanical series to u...

Engraving on gold plate on a silver base. Signed by the author and numbered. Edition of 3.000. Very good condition.   Corrado Cagli (Ancona, 1910 - Rome, 1976) was an Italian art...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

The complete set of nine drypoints, eight with selective wiping, one with monoprinting and embossing, on Dieu Donné paper, with full margins. #30 from the Edition of 45 Signed and N...

Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, presented in hand- made, parcel-gilt, ebonised and decalcomania...

Engraving, 1970 Handsigned by the artist in pencil and annotated "Epreuve d'essai" 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (...

Bengt Lindström - Original Handsigned Engraving The Seven Deadly Sins. 76 x 56 cm Signed in pencil by Bengt Lindström Paris, ABCD, 1976. Original etching in color Limited edition 90 ex. This is the unique copy offered to Claude Manesse, The story of B. Lindström was collected by Frederick Towarnicki, assisted by Agathe Malet-Buisson. The engravings were drawn on the presses of Claude Manesse. Bengt Lindström (1925-2008) Bengt Lindström was born on September 3rd, 1925 in Storsjökapell, a small isolated village in the Swedish province of Norrland. The young child thus grew up in that vast, mythical and harsh expanse of mounts, glistening lakes and endless forests known as Lapland. His father was a primary school teacher who was fond of Lapps and who showed great interest in their ethnic group and culture. The child was only three days old when Lapp King Kroik, his godfather, administered the Baptism of the Earth, where the child is conveyed between two roots of a tree to grant him protection from the Gods. Lapps as well as local lumberjacks would occasionally abandon their silent ways to tell him and reveal the tales, legends and mysteries of the Great White North. 1935-1945 : He left Storsjökapell and headed to Härnösand, where he wrote short science-fiction novellas, became a renowned athlete and began to paint. 1944-1946 : Isaac Grünewald Art School in Stockholm, Sweden. Study drawing with Aksel Jörgensen at the Copenhagen Fine Arts School in Denmark. He realized his first two lithographs, Meditation and Le Modèle Etendu (The Stretched Model). 1947-1952 : He arrived in Paris. He travelled to Italy, where he visited Florence and Assisi, developing a deep fascination for Giotto and Cimabue. He was granted a scholarship by Swedish magazine Aftontidningen, which helped him move into a workshop in Arcueil, France. He began working on mosaics. 1953-1967 : He returned to Paris, once again taking up lithography and engraving, which holds a vital position in his work. He moved into a workshop in Rueil-Malmaison. This was the start of his collaboration with the Rive Gauche Gallery in Paris. London Tooth & Sons Gallery Director M. Cochrane purchased a large number of his works. He left the workshop in Rueil-Malmaison to settle in Savigny-sur-Orge, France. He began taking to figurative art with Masks, Gods and Monsters. He exhibited with the Nouvelle Figuration Group at the Mathias Feld Gallery. He also began working with the Ariel Gallery in Paris. 1968-1978 : Lindström completed a series of 10 lithographs about Scandinavian mythology. He also completed a series of drypoint works. An association with the Protée Gallery in Toulouse, France, led to exhibitions at the Protée Gallery II in Paris starting in 1984. He executed a large mural painting the Grand Hotel in Härnösand, Sweden. He also made two large frescoes for the Nacksta-Sundsvall covered market in Sweden. He took to sharing his working time between the workshop in Savigny-sur-Orge and the one in Sundsvall. He began collaboration that was to last several years with the ABCD Gallery in Paris, which provided exclusive publication for his engravings and strong ink work. Les Hommes du Nord (Men of the North) was the first of the major tapestries. He published a boxed set album, Eddan, Eddan, Eddan, illustrating Scandinavian mythology. Together with Jacques Putman, he completed two editions of bronze sculptures, Les Enfants Sauvages (The Wild Children). 1979-1982 : He worked on glass, making thirty dishes and goblets for renowned Swedish glassmaker Kosta Boda. He painted a car for Volvo, Sweden’s leading car manufacturer. Then, close to his birthplace, he painted gigantic tarpaulins over forty metres high, covering the slopes of the neighbouring Våladalen Mountain, as a protest against the building of a dam. This action caused a sensation and provoked fierce reactions. He also created small painted papier mâché sculptures, Têtes (Heads), as well as some gold and silver jewellery. 1983 : He exhibited seven monumental 3x2.5m works at the Art and History Museum in Stockholm: Les Grands Dieux Ase (The Great Aesir Gods), depicting the gods from Scandinavian mythology: Thor, Odin, Frej, Balder, Ymer, Loki and Unknown God, as well as acrylic paintings about the Valkyries. Les Grands Dieux was ultimately exhibited in a purpose-built chapel adjoining the Midlanda Contemporary Arts Centre in 1996. He completed Thor’s Hammer, a monumental sculpture. 1985-1990 : He lived also in the Alicante region, where Spanish friends found him a new workshop. While there he completed Novelda, an album of lithographs featuring poems by Spanish poet Paco Pastor. He completed a new mural, 5mx5m, for the Västeras Science Institute in Sweden. He then started working with the San Carlo Gallery in Milan, Italy, which coordinated all of the Italian events. Major exhibitions and retrospectives were held in Italy, Belgium, Luxembourg, Germany and Spain. He created two boxed set albums, containing series of 10 aquatints, Monde Autre et Chamanes (Otherworld and Shamans), featuring poems by Michel Perrin. 1991-1994 : He went back to working in black and white, completing some very-large-format works. In Murano, in association with the San Carlo Gallery, he created Grands Verres (Large Glasses), a series of large vases and sculptures made of crystal. He painted Kåtan Mimi, an 8x9m Lapp tent, for the town of Arjeplog in Swedish Lapland. He completed a couple of 2m-high painted polyester sculptures, Lui et Elle (Him and Her). He then made a new series of crystal glasses and sculptures in Murano, Italy. He completed Présence (Presence), a new 3.5x2.7m tapestry for the municipality of Timrå, Sweden. He started on the Grands Initiés (Great Insiders) series, all large format and mixed black and white techniques. He finished the strong series about Norse gods. 1995-1996 : He moved into a new workshop in Paris. A retrospective was held at the Sundsvall Museum in Sweden, and on that occasion he painted a monumental 700-m² canvass, Le Géant sur la montagne (The Giant on the Mountain), which was hung all summer long on the mountain slope facing the town. He went on to complete a suite of six silkscreen prints on the same theme. Then he inaugurated the Y, a monumental sculpture. Lindström then completed Temps Zéro (Zero Time), a watch made for Swatch. One of his works, L’hiver (Winter), made the cover of the first 1996 issue of Telerama, the leading French weekly. In association with Sydkraft Sweden, he painted a fresco for the municipality of Örebro on a 17m-high tank with a surface area of 3,000 m², located at the crossroads of major Swedish motorways, by the entrance to the Åbyverket industrial estate. He also created a 6.5m-high Tången sculpture made of painted concrete in Ånge, which was inaugurated on September 3rd in the presence of their Majesties the King and Queen of Sweden. 1997-1999 : He began working on ceramics in Albisolla, Italy. He also completed a new 30m-high fresco for the town of Örebro, located close to the tank he had painted in 1996 near Åbyverket. The year saw the inauguration of the Midlanda Contemporary Arts Centre in Sweden, which harbours the collection of the Bengt and Michèle Lindström Foundation, featuring the entire engravings collection (about 800 works), as well as a selection of paintings and sculptures. He completed a 4x10m mural in the lobby of the University of Eskilstuna, Sweden, and also completed two monumental frescoes on the Akkats dam and a mural on the power station facing Jokkmokk in Swedish Lapland. 2000-2003 : He painted all of the sides of a semi-articulated lorry for Scania, Sweden’s main truck manufacturer. In Italy, he completed a new series of crystal sculptures with Adriano Bérengo. He finished the Great Prophets, a series of 2x2m oil on canvass works. Swiss publisher Ides et Calendes published a small but luxurious monograph, with text by Françoise Monnin. A notebook was also published, Le Visage dans l’Art de Bengt Lindström (Faces in the Art of Bengt Lindström). He completed a substantial series of large blue acrylic paintings, Femmes (Women). 2003 : Bengt fell ill and was unable to paint, but the exhibitions went on. 2004 : Saw the release of the film by Dag Jonzon and Hans Östbom, produced by Dell’arte AB and Östbom Filmbild, about the life of Bengt Lindström. Entitled Lindström - Le Diable de la couleur et de la forme (Lindström – The Colour and Form Devil), the film was produced thanks to support from Film Västernorrland, Länsstyrelsen Västernorrland and Sveriges Television. It was broadcast on Swedish television channels. That same year, the Midlanda Contemporary Arts Centre was closed as a result of municipal policy. 2005-2007 : The 6m-high sculpture Le Loup (The Wolf), made for PEAB, was inaugurated in Botkyrka-Stockholm. Lindström – The Colour and Form Devil was screened at the Paris Swedish Cultural Centre and released on DVD. The Michèle and Bengt Lindström Foundation was donated and transferred to the Länsmuseet i Västernorrland in Härnösand, Sweden, where a special room was prepared to host Les Grands Dieux Ase. Edition of the 1998 Ceramics, created in association with Francis Dellile’s ”La Tuilerie” workshop. The Bengt Lindström Collection was inaugurated at, Murberget, the Länsmuseet i Västernorrland in Härnösand, Sweden. He illustrated Sinfonietta för Juliana, a collection of poems by Italian poet and art critic Sebastiano Grasso. On January 29th, 2008, Bengt Lindström passed away at his home in Sweden. 2008-2012 : The Fondation Krimaro presents the first volume of the works of Bengt Lindström in his collection. Numerous exhibitions-tribute to the work are presented in major cities in Europe. 2012 : Retrospective - Black and White in the engravings - Museum of Härnösand, Murberget, Sweden. Main exhibitions 1952 Fair Réalités Nouvelles – New realities, Paris, France. 1953 Craven Gallery, Paris, France. 1954 Gummeson Gallery, Stockholm, Sweden. Fair Salon d’Octobre, Paris, France. 1958 Breteau Gallery, Paris, France. 1959 Autour du Spontanéisme – Around the sontaneity, Stockholm, Sweden. L’Europe Nouvelle – The new Europe, LaUnited Statesnne, Switzerland. 1960 Rive Gauche Gallery, Paris, France. 1961 Tooth Gallery, London, England. Le Zodiaque Gallery, Brussels, Belgium. Fair Salon de Mai, Paris, France. 1962 Nouvelle Figuration – New Figuration , Mathias Fels Gallery, Paris, France, 1964 Nord-Sud – North-South, in several cities in Sweden. Ariel Gallery, Paris, France, 15 artists of my generation. Museum of Fine Arts in Gent, Belgium, Figuration-Défiguration – Figuration – Disfigurement. 1965 Rive Gauche Gallery. Paris, France. Nord Gallery, Lille, France. Birch Gallery, Copenhagen, Denmark. 1966 Museum of Modern Art, Gothenburg, Sweden. 1967 Veranneman Gallery, Brussels, Belgium. Carnegie Institute, Pittsburgh, United States. Seibu Gallery, Tokyo, Japan, 23 peintres in Paris. 1968 Ariel Gallery, Paris, France, followed by six exhibitions until 1976. 1969 La Pochade Gallery, Paris, France. Protée Gallery, Toulouse, France, who exhibited him in Paris, Gallery Protée II, from 1984. 1973 Galliera Museum, Paris, France. 1974 Gallery 111, Lisbon, Portugal. 1982 Gallery Protée-Arco, Madrid, Spain and Fair Foire de Cologne, Germany. 1983 Historia Museum, Stockholm, Sweden, The Ase gods and the Valkyries. 1984 Gallery Arcano XXI, Lisbon, Portugal. Gallery Christian Cheneau, Paris, France. Museum Château comtal, Carcassonne, France. 1985 Gallery Italia, Alicante, Spain. 1986 Gallery Sala Gaspar, Barcelona, Spain. Gallery Juan Mordo-Arco, Madrid, Spain. Gallery Italia, Alicante, Spain. Museum of Salamanca, Salamanca, Spain. Gallery Three Continents, New-York, United States. Gallery Protée, Toulouse France, Autour du Roi Lear – Around King Lear. 1987 Gallery Kostel, Paris, France. Gallery Zwirner, Cologne, Germany. Gallery Leu, Rottach-Egern, Germany. 1988 Maison du Lot, Figeac, France. Gallery Protée, Paris, France. Gallery Michèle Sadoun, Paris, France 1989 Gallery Michèle Sadoun, Paris, France, La terre des ancêtres - The Land pf the ancestors. Gallery Protée, Paris, France, Nomads. Gallery Raab, London, England. 1990 Gallery Michèle Sadoun, Paris, France. Centre Culturel de Brest, France. 1991 Gallery Michèle Sadoun, Paris, France. 1992 Archotèque, Saint-Denis, La Réunion, France. Museum of Vesoul, Vesoul, France. Gallery San Carlo, Milan, Italy. 1993 Gallery 111, Lisbon, Portugal. Tonnellerie du Cognac Monnet...

"Cuzco" is a contemporary green and cool toned artwork computationally engraved on aluminium. It is part of a pair, and can each be sold separately. Artist Matteo Mauro...

This drypoint, aquatint with scraper is hand signed in pencil by the artist “Picasso” at the lower right margin. It is dated in the plate “5.8.68.VI.” It is also hand numbered in pen...

Donald Baechler, Blue Spruce, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint, on ...

Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed ...

"War Canoe of New Zealand, with a View of the Gable End Foreland" is an engraving created by Thomas Prattent, from a drawing by Sydney Parkinson, who was the artist on Captain James ...

Salvador Dali Hommage to Leonardo da Vinci, 1975 Hand signed lower right Numbered 288/450 Sheet size 76 x 56 cm Printed by Ateliers Rigal, Paris Published by Transworld Art, New York...

Hand signed, numbered and dated by the artist. From Eight Little Nudes (D'Oench & Feinberg 123-30). Etching with drypoint and aquatint in colors on BFK Riv...

An amusing view of an academic wagging his finger in disapproval as a young lady in a rope seat is pulled up to a college dorm window by a group of revelling students. Thomas R...

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 ...

Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, presented in hand- made, parcel-gilt, ebonised and decalcomania...

Jean-Emile Laboureur (1877-1943), Portrait, 1917, engraving, signed in pencil lower left and numbered lower right (28/40). Reference: S. Laboureur 170, third state (of 3), from the e...

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...

This artwork titled "Drenched (Lincoln Park, Chicago)" c.1960 is an original drypoint etching by noted Chicago artist James Swann, 1905-1985. It is hand s...

Ceiling designs. A set of three architectural engravings. These engravings are framed in white gold covered french frames. From the publication publishe...

This is a framed hand-colored 17th century map of Northern Scotland by Gerard Mercator entitled "Scotiae pars Septentrionalis", published in Amsterdam in 1636. It is a highly detailed map of the northern part of Scotland, with the northwest Highlands and the cities Inverness and Aberdeen, as well as the Orkney Islands and the Hebrides. There is a decorative title cartouche in the upper left corner. The map is presented in an antiqued brown wood...

Etching on Rives BFK paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Alternance, 1946. Published by Le Gerbier, Paris; printed by atelier Quesnevill...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...

The Mother Hen is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 8 inc...