Engraving Portrait Prints

This is an original 19th century hand colored McKenney and Hall engraving of a Native American entitled "Chittee-Yoholo, A Seminole Chief, No. 76", published by Rice, Rutter & Co. in 1865. This original McKenney and Hall engraving is presented in a cream colored mat, suitable for framing, with a protective clear sleeve. The mat measures 13.88" x 11.75" and the sheet measures 10.63" x 7.38. The print is in excellent condition. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis, who sketched those willing to participate. A large number of the most influential Indian chiefs and warriors were later invited to come to Washington in 1821 to meet President Monroe. McKenney commissioned the prominent portrait painter Charles Bird King...

This portrait of King George the III's son was published in the same year that Beethoven's Ninth Symphony premiered in London. 'The Protestants Champion!!' (Prince Augustus Frederick, Duke of Sussex...

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

Portrait of Adolph Menzel is a magnificent drypoint realized by Giovanni Boldini in 1897. Reference: Buzzoni / M. Toffanello, Museo Giovanni Boldini, G...

Etching and drypoint on cream laid Van Gelder Zonen watermarked paper, 8 7/8 x 6 1/2 inches (220 x 164 mm), full margins. Signed, titled, and inscribed "ed. 100" in pencil, lower mar...

'Terenzio' (Terence) Copper-line engraving by Silvestro Pomared after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico Campiglia (1692–1768) w...

This is a framed 18th century folio-sized colored stipple engraving with hand-finishing entitled "Le Mico. Buff, Simia Argentata. Linn", which was drawn and engraved by Jean Baptiste Audebert...

An 18th century etching and engraving entitled "Earl Sandwich Refusing to Leave His Ship While on Fire in the Battle of Sole Bay" by William Byrne (1743-1805), after a painting by Robert Smirke (1753-1845). It was published in London in 1798. The print is presented in a cream-colored mat. The mat measures 17.13" in height and 13" in width. The print is in excellent condition. Edward Montagu, the 1st Earl of Sandwich...

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,...

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" She...

'Benj. West RA' Soft ground etching by William Daniell RA (1769-1837) after George Dance the Younger (1741-1825), 1809. Benjamin West PRA (1738 – 1820) was an Anglo-American painter of historical scenes around and after the time of the American War of Independence...

'George I' Copper-line engraving by Pierre Francois Basan (1723-1797) after Founan. Basan (1723-1797) was a French engraver and publisher. George I (1660-1727) was King of Great Britain and Ireland from 1 August 1714 until his death, and ruler of Hanover in the Holy Roman Empire...

Chez Madame Dupont. 1931-32. Drypoint. Appleby 158. 8 3/16 x 11 3/4 ( 11 1/8 x 18 1/3). Edition 100, #75. A fine impression on pale cream-colored laid paper, printed on the full shee...

This is an 18th century engraved portrait of "Edward Stanley" created by Francesco Bartolozzi (1728–1815), after a drawing by Hans Holbein the Younger (1497- 1543) in the 16th century. Holbein was the official artist in the court of King Henry VIII. Bartolozzi used both etching and stipple engraving techniques to create the work which was published by John Chamberlaine in London in 1793 in "The Book of Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty". Edward Stanley, 3rd Earl of Derby...

'Terenzio' (Terence) Copper-line engraving by Silvestro Pomared after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico Campiglia (1692–1768) w...

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...

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...

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...

Copper-line engraving by Jacobus Houbraken (1698-1780) after the painting by Peter Lely. Houbraken was a Dutch engraver famous for his series of portraits of famous English historic...

A hand-colored portrait of Henry Prince of Wales, Son of James, engraved and etched by the Dutch master of portraits Jacobus Houbraken (1698-1780...

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...

"Julio Girona (Cuba, 1914-2002) 'Habitación interior', silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 115 ID: GIR1066-001-115" "Julio Giro...

'Marie' Copper-line engraving by Pierre Francois Basan (1723-1797) after Van der vaart. Mary II (1662-1694) reigned as Queen of England, Scotland, a...

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 ...

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...

This is an early 18th century portrait of Sir John Powell entitled "The Honorable Sr. John Powell, Knight. one of the Justices of her Majesties' Court of Common Pleas. Ano. D 1711". It was engraved and published by John King in London in 1711, after an earlier work by William Sherwin. The engraving depicts a bust length portrait of Powell wearing an elaborate fir-trimmed robe and collar. The portrait is encompassed in an ornate oval frame, sitting on a pedestal with an impressive coat-of-arms below. This engraved portrait is printed on laid, chain-linked watermarked cream-colored paper The sheet measures 15.25" high and 11.38" wide. It is adhered to an archival thick card at the upper corners, There is a 1/8" tear at the lower edge of the sheet, but the print is otherwise in very good condition. This engraving is held by museums and institutions, including the British Museum and the Harvard University Art Museum. Sir John Powell (1632-1696) was an English lawyer and judge who served as a justice of the King's Bench from 1683 until his death. He was born in Glamorganshire, Wales, and studied at Jesus College, Oxford, before being called to the bar at the Middle Temple in 1656. Powell was known for his staunch support of the monarchy and the Church of England, and he played a prominent role in the trial of the Whig leader Lord William Russell in 1683, which resulted in Russell's execution for his alleged involvement in a plot to assassinate King Charles II. Powell was also involved in the trials of several other prominent Whig politicians, including Algernon Sidney and Titus Oates. In addition to his work as a judge, Powell was also a member of Parliament for various constituencies throughout his career, and he served as Solicitor General and Attorney General for Wales under King James II. However, he opposed James's efforts to promote Catholicism and supported the Glorious Revolution of 1688, which led to James's overthrow and the installation of William and Mary as joint monarchs. Powell was known for his intellectual rigor and his legal expertise, and he authored several influential legal treatises during his lifetime. He was widely respected by his peers and by the legal community as a whole, and his legacy as a jurist and judge continues to be celebrated today. William Sherwin (1645-1709) was an English engraver who worked during the late 17th and early 18th centuries. He was born in Chesterfield, Derbyshire, and is known for his high-quality engravings of various subjects, including portraits, landscapes, and architectural views. Sherwin was trained as an engraver and worked as an apprentice to the renowned engraver Robert White. After completing his training, he went on to establish his own studio in London, where he produced a significant body of work over the course of his career. One of Sherwin's most famous works is his engraving of the portrait of John Locke...

Raul Cordero (Cuba, 1971) '32 hrs 53 min kcal: 783 fat: 35%', 2005 photo engraving and screenprint on paper Guarro Biblos 250g. 26.8 x 33.3 in. (68 x 84.5...

Winslow Homer Snap The Whip, 1873 Engraving Sight: 14 1/4 x 20 in. Framed: 20 x 26 3/4 x 1 1/4 in. Inscription: in block: "Homer 1873, Lagarde Sc." printed below image: "Snap-the-Whi...

Medium: original etching and drypoint. This impression on wove paper was printed in 1904 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 5/8 x 4 3/4 inc...

Carol Wax's mezzotint, "Singer I", shows a distorted view of an old Singer sewing machine. The artist created a convincing illusion of real mass, space and depth. Issued in an edit...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

Madame M. is a black an white etching and drypoint realized by a French artist active at the end of XIX century, Maurice Deville in 1894. This original print, representing a superb...

Troy Kinney (American 1871 - 1938) "Untitled: Female Dancer", Figurative Drypoint/ Etching/ Pencil signed on bottom right hand corner, 13 x 10 (18.75 x 14, In Frame), Early 20th Century Troy Kinney (December 1, 1871 – January 29, 1938) was an American artist, etcher, and author. He was most notable for his works portraying dance performers, fanciful subjects, and classically styled nudes...

The Greek-American artist George Constant is known for his modernist approach to traditional subject matter. This portrait of a young woman holding a book titled "When We Were Very Young...

Black and white print of an upper class women in a carriage. There are other figures in the back riding in a carriage as well. Edition 17 of 58. Painting is signed by the artist and ...

Portrait of young Lady with Cat View is an original Etching and Drypoint realized by Helène Neveur in the 1970s. Good conditions. Numbered. Edition 40/...

Old Beggar Woman with a Gourd is an engraving on ivory-colored paper realized by Charles Amand Durand (1831-1905) after an etching by Rembrandt. This wonderful piece of art belongs t...

Crispin van de Passe The Younger (c. 1594-1670) Caesar August de Bellegarde Conte de Montbar Marquis de Termes grand Ecuyer de France, c. 1660 Engraving Sight: 11 3/4 x 15 3/4 in. Fr...

Customary Hats: Artists: Phlegm Year: 2020 Class: Art Print Released: 12/09/20 Run: 275 Technique: Etching Paper: Fabriano Rosaspina 280gsm Size: 7.874 X 12.992 Markings: ...

Rouault, Georges (French, 1871-1958). IL A ETE MALTRAITE ET OPPRIME ET IL N'A PAS OUVERT LA BOUCHE " (He was oppressed, and he was afflicted, yet he opened not his mouth). Aquatint, ...

Plate 82 from La Suite Vollard. Bloch 219. Baer 424. Etching on Montval paper. Signed in pencil, from the edition of 260 (there was also an edition of 50 with larger margins). Number...

A fine early 19th century coloured stipple engraving, titled Cyprian Volary by William Ward after George Morland. The engraving is exquisitely presented in a verre eglomise mount and...

Antique European School Engraving Portrait of a Woman with Water Jug A beautiful young woman taking a break from collecting water Original antiq...

“The Black Archer” is a striking 17th-century Dutch engraving, executed by Johannes (Jan) de Visscher (c. 1633–c. 1712). It reproduces a captivating design “drawn from life” by his e...

Tracey Emin Saying Goodbye, 2018 Polymer gravure on Somerset 300gsm Pencil signed, titled, dated, and numbered 71/100 by Tracey Emin on the front Frame Included: Elegantly floated an...

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

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 ...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Männlicher Kopf von vorn (Male Head from the Front)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 226, page 46; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 6.38" x 3.5" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52 state iv; Glasgow 62. state i. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thame...

In this print, Wenceslaus Hollar presents a portrait of an unidentified woman, copying a portrait by Hans Holbein the Younger. The identity of the sitter is a mystery: formerly, the portrait was believed to be of Catherine of Aragon, and the National Portrait Gallery in London identifies her as Queen Mary I...

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...

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...

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...

Engraving, aquatint and mixed intaglio Signed, dated and annotated "AP" References And Exhibitions: Tschacbasov was a Russian/Amiercan artist who was widely exhibited and collecte...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Etching with drypoint and aquatint on laid Japon paper, 9 x 11 1/4 inches (228 x 280 mm); sheet 11 7/8 x 13 5/8 (302 x 346 mm), full margins. Signed, titled and inscribed "To my dear...

Jean-Emile Laboureur (1877-1943), Jeune Fille au Chapeau Blanc, 1921, etching and engraving. Reference: S. Laboureur 223, third state (of 3), edition of 30, about 47 impressions pull...

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 Sig...

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Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...