Engraving Prints and Multiples

'Queen of Rewa' Portrait of seated Fijian woman, draped from the waist in tapa cloth, holding a fan, wearing jewelry and an elaborate headdress. From Narrative of the United States...

Xisco Mensua (Spain, 1960) Untitled from Portfolio "Junio - Julio", 1995 engraving on paper 12.6 x 9.5 in. (32 x 24 cm.) Edition of 6 Frame 16x20 in. ID: MEN1253-0014 Hand-signed by ...

'Plan et Elevation d'un Buffet en Niche' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. From Roubo's 'L'Art du ...

Set of 4 Antique French Black & White Engravings Ancient Greek views and monument landmarks including the Pantheon, Athens. each paper : 9 x 12 inches...

'Facciata del Palazzo Reale de Pitti' (Florence) Etching with engraving by Ferdinando Ruggieri (1691 - 1741). From 'Scelta di architetture antiche e moderne della città di Firenze'...

Engraving on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'Âge de Soleil, 1950. Published by Robert J. Godet, Paris; rendered by ...

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

Magnificent print by Robert John Thornton; aquatint and mezzotint, printed in colour and finished by hand, heightened with gum arabic, from The Temple of Flora. [London 1799] First state. Thornton was a prolific medical author and became a Doctor of Medicine at St Andrews University and licentiate of the Royal College of Physicians. However, he is best remembered for this great botanical publication The Temple of Flora, which formed a part of the larger work - New Illustration of the sexual system of Linnaeus. In 1797, he also began advertising for subscribers to his planned natural history publishing venture, which eventually comprised of 30 folio botanical plates. For these remarkable illustrations, he engaged the services of the leading artists and engravers of his day: Sir William Beechey, James Opie, Henry Raeburn, John Russell, Philip Reinagle...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...

'London Bridge' Aquatint by JC Stadler after J Farmington. Published c1795 for Boydell's 'History of the River Thames'. Joseph Constantine Stadler (fl London, 1780-1822) was an eng...

Title: Paysage avec Squelette (Landscape Skeleton) Year: 1975 Medium: Engraving with pochoir on Japon paper Edition: E.A.;300, plus proofs Size: 26.75 x 20 inches Condition: Good Ins...

An excellent example of Rowlandson's visual commentary on the challenges of changing fashion for those with a less than ideal physique. Rowlandson, Thomas (after George Murgatroyd W...

Metamorphosis Insectorum Surinamensium, Plate No. 26; Cocoa plant, caterpillar, pupa, and butterflies. The Netherlands: 1705. En...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1789-1810 (First-second ser...

English Bar. 1908. Etching and drypoint. Exsteens catalog 275 state ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed ...

Rainy NIght in Rome.. 1913. Drypoint. Dodgson 299.x. 12 x 9 (sheet 16 x 11 1/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Pr...

Tracey Emin HRH (Her Royal Highness) Royal Britannia, 2012 Signed, dated and numbered 141/200 in graphite on the front Polymer gravure on Zerkall paper Frame included Polymer gravur...

Salvador Dalí­ Rose + Drawers from Surrealist Flowers, Florals 1972 Hand-signed in pencil Edition 259/350 Image size: 55 x 42 cm Sheet size: 75 x 55 cm Published by Editions Graphi...

This is a hand-colored aquatint and engraving entitled "Pool of Bethesda, Jerusalem", published in London by R. Bowyer in 1804. The print was created by Thomas Milton (1743-1827) from drawings by Luigi Mayer. This beautiful, detailed, original engraving is printed on deluxe J. Whatman paper with very wide left and right margins. There is a watermark "1801" indicating the year the paper was made. The sheet measures 11.25" high and 16" wide. There is a small faint spot in the upper margin on the left and a tiny faint spot in the right upper corner and another in the left lower corner. The engraving is otherwise in excellent condition with vibrant colors throughout the image. "The Pool of Bethesda...

A faithful architectural rendering of the earliest Ashkenazi synagogue constructed in London; built about 1690, and subsequently destroyed in the Blitz, 1941. London: Rudolph Ackerm...

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 hand-colored copperplate engraving entitled "Tulipa viridiscoloris, Fritillaria iuncifolns, Allium Vrsinum" depicting flowering tulip, fritillary and wild garlic plants fro...

Louis Conrad Rosenberg, 'Bowling Green, New York', etching, 1940. Signed in pencil. A superb, richly-inked impression, with all the fine lines printing c...

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...

Femme assise Etching with drypoint, c. 1920 Signed in pencil lower left publisher stamp lower right Edition: 100 (88/100) Condition: Excellent Image size: 11 3/4 x 8 1/4 inches Cou...

This is an original antique hand-colored botanical mezzotint and line engraving of flowering Chrysanthemum matricaria plants. It is entitled "A. Chrysanthemum Matricarice Folus Flore...

This artwork titled 'Winter Tracery (Milford Connecticut)" is an original drypoint etching by noted American artist Philip Kappel, 1901-1981. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 9 x 12 inches, framed size is 17.25 x 21.25 inches. Custom framed in a wooden light grey frame, with light grey matting and black color fillet. It is in excellent condition. About the artist: Philip Kappel — painter, illustrator, printer, writer, and lecturer — was born on February 10, 1901 in Hartford, CT and died in 1981. Kappel is best remembered for his landscapes, portraits, figures, marine, lithography, and etching. He held a teaching position with H. B. Snell, Boothbay, ME Studios, 1923 and 1924. His addresses in 1929 were 500 Fifth Avenue in New York City and, for the summer, care of Philip Little, 10 Chestnut Street, Salem, MA; and in 1935, Sarasota, FL. Kappel was a pupil of the Pratt Institute Art School in Brooklyn, NY and Philip Little (1857-1942) and held memberships with the North Shore Artists Association in Gloucester, MA; the Marblehead...

Paris: Gebbie & Co., 1895. Photogravure and engraving on cream wove paper, 6 11/16 x 9 5/8 inches (169 x 244 mm), full margins. In good condition with minor toning and three scatter...

This piece titled "La Mer VE 6/8" is a variable edition piece by Kate VanVliet and is made from two-plate intaglio with drypoint, aquatint, and soft ground on Rives BFK. This piece i...

This is a rare 17th century engraving of a plant entitled "Caunga" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 6 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the caunga plant, also known as Inca cucumber or horned squash, which is a climbing vine that produces edible, cucumber-like fruits. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper, watermarked with an elaborate crown design. The sheet measures 15.25" high by 18.88" wide. There is a central fold, as issued. There is a small dark spot on the left which appears to represent a paper inclusion which occurred when the hand-made paper was produced. The print is otherwise in excellent condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van Rheede tot Drakenstein...

"Gobbledygook" monoprint with collage, engraving and embossment on hand-dyed Twinrocker handmade paper from Two Palms Publishing. Signed and dated Bochner 2017 lower right recto. Ima...

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...

Alessandro Mastro-Valerio, 'Morning Paper', 1941, mezzotint, edition 350. Signed in pencil. A superb, richly-inked, luminous impression, on cream, wove paper, with wide margins (1 9/16 to 1 13/16 inches), in excellent condition. Matted to museum standards; unframed. 32nd Presentation Print of the Chicago Society of Etchers, 1941, with the Chicago Society of Etchers blindstamp in the bottom, left margin. ABOUT THE ARTIST Painter and printmaker Mastro-Valerio was educated at the Salvador Rosa Institute in Naples, Italy (1906-1912), and came to the United States in 1913. He settled in Chicago and after a brief period as a commercial artist, established a reputation as a portrait painter. Among his patrons were the industrialists Harvey S. Firestone and Anheuser Busch. Mastro-Valerio was also the owner and editor of the progressive magazine 'La Tribuna Transatlantica'. He wrote and published articles supporting the cause of Italian immigrants. He helped form the Giordano Bruno...

This is a hand-colored aquatint and engraving entitled "Principal Square in Grand Cairo, with Murad Bey's Palace", published in London by R. Bowyer in 1801. The print was created by ...

This artwork titled "Figure Rouge avec Portrait de Quevedo" from the suite, Visions De Quevedo, 1975. is an original engraving with pochoir hand coloring on Richard de Bas paper, by ...

Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margin...

American Wild Turkey and Curassows Wood-engraving with original colouring. 1879. 160mm by 245mm (sheet). Key below the image. From Oliver Goldsmith's 'A History of the Earth and...

This is an original antique colored botanical mezzotint and line engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 2. Mauze, Baradis-feigen", p...

'Cicerone' (Cicero) Copper-line engraving by C Gregory after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico Campiglia (1692–1768) was an Ita...

Alexandre Arrechea´s work remains caught in an endless uphill climb towards a new representational framework. The pieces he produces serve as a warning of our own limits and how pret...

Blanchefleur from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 150 Ara...

Mezzotint print. Edition of 18, signed, titled and numbered by the artist. Caulfield has exhibited his prints, drawings, installations and artist’s books extensively throughout Cana...

This is a rare 17th century engraving of a plant entitled "Amolago" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 16 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the Amolago plant, a large leafed plant, possibly corresponding to the present day aglaonema plant. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper. The sheet measures 14.75" high by 17.25" wide. There is a central fold, as issued. There are a few tiny spots and there is minimal irregularity of the left edge of the paper where the print was previously bound in the 17th century publication. The print is otherwise in very good condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van...

Ian Hugo, 'Together', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with wide margins (2 7/8 to 5 1/2 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 4 7/8 inches (149 x 124 mm); sheet size 15 x 11 1/8 inches (381 x 283 mm). Collection: Indianapolis Museum of Art. Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

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: LIV, LV, LVI, & LVII. 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...

A complete set of four hand-coloured mezzotint engravings of sunflowers from: "Phytanthoza Iconographia", c1739, presented in hand-made, parcel-gilt, ebonised and decalcomania frame...

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 12...

Sergio Hernández (Mexico, 1957) 'Untitled', 2015 engraving on paper Velin Arches 300 g. 29 x 33.9 in. (73.5 x 86 cm.) Edition of 30 Unframed

Joseph Hecht, 'Lion Défendant sa Proie (Lion Defending Its Prey)', engraving, 1931, edition 50, Tonneau-Ryckelynck & Plumart 215. Signed and numbered '18/50' in pencil. A fine impres...

Artist: William Curtis (English, 1746-1799) Titles: "Epilobium Tetragonum (Square Stalked Willow Herb)" (Vol. 2, Plate 131), "Stellaria Holostea (The Greater Stitchwort)" Vol. 2, Pla...

Artist: Dali, Salvador Title: Picasso: a Ticket to Glory Series: After 50 Years of Surrealism Date: 1974 Medium: drypoint engraving with hand coloring Unframed Dimensions: 26" ...

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...

Drypoint etching on buff wove paper, 9 3/4 x 12 3/4 inches (250 x 322 mm), full margins. Signed in pencil, lower right margin. Some general age tone, and minor mat tone around the pe...

Etching with drypoint on Japan paper, 9 3/4 x 12 3/4 inches (245 x 322 mm), full margins, from an edition of approximately 50. Signed by the artist in pencil, lower center margin, t...

"Serie 23 no. 14-4" 1971 Serigraph in color Edition 157 of 200 30 x 30 in Julio Le Parc is an Argentinian artist best known for his pioneering works of Kinetic Art. Depicting lab...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...