Engraving Portrait Prints

This is a hand-colored aquatint and engraving entitled "Part of the New City of Alexandria, with the Light House", published in London by R. Bowyer from 1802-1805. The print was crea...

An original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Le Soldat Du Chene, An Osage ...

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...

This is an original 19th century hand-colored folio size McKenney and Hall engraving of a Native American entitled "Apauly-Tustennuggee, A Creek Chief" after a painting by Charles Bird King from McKenney and Hall's "History of the Indian Tribes of North America", published in Philadelphia by Daniel Rice and James G. Clark in 1843. McKenney described him as “a chief and a warrior...a firm, brave man - and of good sense.” This original McKenney and Hall large hand-colored folio-size engraving measures 20" high and 14" wide. 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...

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

Carol Wax's mezzotint, Singer II looking at the end of the typewriter portrays the incised metal and the wood grain of the machine. It was issued as an edition of 75. This image is i...

This an 18th century copper plate engraved portrait of Sir Francis Drake by Jacobus Houbraken, after a painting by Sir Godfrey Kneller, from "The Hea...

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,...

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...

Artist: Anthony Hamilton (British-French, 1645-1719) Title: "Susan, Lady Belasyse" (Plate 45) Portfolio: Memoirs of Grammont Year: 1808 (First edition) Medium: Original Stipple Engra...

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...

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...

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...

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...

Lincoln and His Family, Philadelphia 1866 is a mezzotint engraving from the painting by Samual B. Waugh and engraved by prestigious engraver William Sartain. This family portrait...

Salvador Dali - La Fontaine Portrait - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Referenc...

A Man of Kamtschatka (Russia) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. John Webber (1752-1793) was t...

Title: Arbil Medium: Mezzotint Image Size: 12" x 10" Edition Size: 20 ABSENCE OF PASSION / PORTRAITS OF IRAQ Arbil is from The Absence of Passion suite of fifteen mezzotint portrait...

Title: Karbala Medium: Mezzotint Image Size: 12" x 10" Edition Size: 20 ABSENCE OF PASSION / PORTRAITS OF IRAQ Karbala is from The Absence of Passion suite of fifteen mezzotint port...

Title: Ramadi Medium: Mezzotint Image Size: 12" x 10" Edition Size: 20 ABSENCE OF PASSION / PORTRAITS OF IRAQ Ramadi is from The Absence of Passion suite of fifteen mezzotint portra...

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...

London: 1876. Etching with drypoint on cream laid paper with a partial large heraldic watermark, 9 3/4 x 6 1/2 inches (247 x 165 mm); sheet 14 x 10 3/8 inches (355 x 264 mm), full m...

Paris: L'Artiste, 1879. Etching with drypoint on cream laid paper, 9 3/4 x 4 1/2 inches (248 x 115 mm), full margins. In good condition with some uniform age tone, light mat tone, an...

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...

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

Copper-line engraving by Jacobus Houbraken (1698-1780). Houbraken was a Dutch engraver famous for his series of portraits of famous English historical figures with elaborate cartouc...

Beautiful print on verge crème, 2° state on 3, with letters printed in red. Stamp “Lugt 1545”. Little crack and fold on lower left margin of the sheet. Some small traces of oxidati...

Peter Milton’s Hidden Cities: Continuum transforms the grandeur of the Galleria Vittorio Emanuele into a layered meditation on architecture, memory, and the passage of time. The Gall...

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...

Firmado por la artista en la parte inferior Se presenta enmarcado El estado del aguafuerte es bueno Medidas aguafuerte: 62 cm. de altura x 46 cm. de ancho. Medidas marco: 66 cm. ...

A charming mezzontint after the portrait by Henry MacBeth Raeburn depicting General Hay MacDowall. Hay MacDowall was a Scottish officer in the British Army who was the sixth General ...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

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...

Signed in pencil lower right Edition: 3 impressions Signed, dated and annotated “1 of 3” Exhibited: Zygote Press, Cleveland, 2016 Tregoning & Co. 2017

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

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 ...

This is an original 18th Century copper plate engraved portrait of Captain James Cook as a young man. It was engraved by J. Basire after a painting by William Hodges, published in London by W. Strahan and T. Cadell in the Strand in 1777 as the frontispiece to the official journal publication of Cook's 2nd voyage of discovery, "A voyage towards the South Pole, and round the World. Performed in His Majesty's ships the Resolution and Adventure, in the years 1772, 1773, 1774, and 1775". The journal was written by James Cook, Commander of the Resolution, which was the ship used for the voyage and William Hodges, who was the artist on board the ship. This famous image has been used in many articles and tributes to Captain Cook, including a Norfolk Island stamp celebrating his many accomplishments. This engraved head-and-shoulders portrait of Captain Cook is enclosed in an oval with the appearance of a stone border. Captain Cook is dressed in his naval dress uniform, with a topcoat over a lace shirt. The engraving is printed on watermarked laid, chain-linked paper. The sheet measures 11.5" high x 9" wide. There is some spotting, most prominently in the margins. The print is otherwise in excellent condition. Captain James Cook (1728-1779) was an English explorer, navigator, surveyor and cartographer, who dramatically changed what was known about the world through his three voyages of discovery in the 1770's. Cook's achievements are too numerous to include here, but for example, Cook charted much of the Pacific Ocean and discovered many island groups, including the Hawaiian islands, which he named the Sandwich Islands, in honor of the head of the British Admiralty and a patron of Cook's. Cook was the first European to explore the eastern coast of Australia, and he was the first to map the New Zealand coastline. He sailed farther south than any other explorer before him, disproving the belief that a huge land mass occupied the South Pole. He also explored the northwest coast of North America, including present day Alaska and adjacent portions of Russia. He proved that the Northwest Passage did not exist. Cook was an exceptional seaman, navigator and leader of men, which contributed to the success of his explorations, but also saved his ship and crew on many occasions when faced with challenges, such as storms in previously unexplored waters, like occurred in the Great Barrier Reef off the eastern coast of Australia. He is also the first to require his crew to eat citrus fruit which markedly reduced the incidence of survey, which had led to large scale illness and death during earlier ocean voyages. As outstanding as Cook's skills were, they are even more impressive since they were self-taught. Having grown up the son of a farmhand in Northern England he had only four years of formal schooling. He taught himself astronomy, mathematics and other disciplines which were helpful when he continued his education, first in the merchant marine and then in the British Navy. Cook's adventurous career came to a sudden and unfortunate end in 1779, when he was killed in a confrontation with Hawaiian natives...

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...

William Kentridge (b. 1955) is an internationally acclaimed South African artist renowned for his dynamic prints, drawings, large-scale installations, and animated films. Through his...

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:...

New York: Associated American Artists, 1950. Drypoint and aquatint on white wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed in pencil in the lower margin. Pri...

Medium: original etching and drypoint. Catalogue reference: Delteil 10. Published in Paris in 1899 by H. Floury for Auguste Rodin "Statuaire" by Lon Maillard. This impression is prin...

'Charles Wilkes' Steel-engraving after Alonzo Chappel's sketch after a photograph. 1864. Facsimile signature under the engraving. Charles Wilkes (1798 - 1877) was an American naval...

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...

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...

Amsterdam: Francois Halma, circa 1700. Engraving on laid paper, 13 x 7 3/4 inches (350 x 197 mm); sheet 15 3/4 x 9 3/4 inches (400 x 248 mm), full margins. In very good condition wi...

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...

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...

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

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 ...

Plate 26 from La Suite Vollard. Bloch 226. Baer 440. Etching, engraving and aquatint, on Montval paper. Signed in pencil, from the edition of 260 (there was also an edition of 50 wit...

'Sir Walter Raleigh' Steel engraving, by H Robinson after Zucchero. Sir Walter Raleigh (c. 1553 – 1618) was an English statesman, soldier, writer and explorer. One of the most nota...

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...

Includes a Certificate of Authenticity

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...

Etching, engraving and stippling on cream laid paper with an indiscernible watermark in the sheet center, 11 15/16 x 8 3/16 inches (302 x 207 mm), trimmed at the plate mark. A very g...

Signed, dated and numbered in pencil Printer: Rebekah Wilhelm, Zygote Press, Cleveland Created at Zygote Press, Cleveland, 2015, while the artist was an Artist in Residence. Exhib...

Paris: 1861 Etching, drypoint, and engraving on cream laid paper, 6 x 4 1/4 inches (152 x 108 mm), full margins. Dog-eared left corner, extending 3-inches into the sheet, but well ou...

This is an 18th century copperplate engraved portrait of Sir Francis Bacon, Viscount St. Albans, Lord Chancellor by Jacobus Houbraken in 1738 after a p...

Medium: original etching and drypoint. Executed in 1885 and printed on thin china paper, this is an exceptionally rare state with the figure study of a child etched at the bottom lef...