Eugene Corneau Prints and Multiples

Etching or eau-forte on archival paper with H.C. in pencil at lower left, indicating a Hors Commerce (Artist's/Publisher's Proof) including pencil signature that appears to read Jean...

Heliogravure, etching, and drypoint, 1934. From the deluxe edition of 40 with the drypoint remarqué, before the published edition of 100 printed from the reduced plate. From the po...

Playful black and white etching of a child figure looking out on a quaint city square in Nancy, France, 1959. Signed and dated lower right, titled and numbered 16 of 140 lower left. ...

Tauba Auerbach creates art about language and logic through painting, drawing, photography, sculpture and instrument building. Auerbach’s one-person exhibition, “Tetrachromat” was presented at the Bergen Kunsthall, Norway; traveled to Malmo Konsthall, Sweden; and Wiels Contemporary Art Center, Brussels. In 2011 Auerbach was awarded the Smithsonian’s Artist Research Fellowship. Her work was included in the 2010 “Whitney Biennial,” New York; MoMA P.S. 1’s 2010, Greater New York; and the New Museum’s 2009 “Younger Than Jesus,” New York. Her work is included in the permanent collections of The Whitney Museum of American Art and the Museum of Modern Art, New York among others. She is represented by Paula Cooper Gallery...

DOEL REED (1894 - 1958) HARVESTERS, c. 1954 Aquatint in sepia. Signed and numbered in pencil, Image 11 1/2 x 17 ¾". Sheet with deckle edges 13 ¾ x19 3/8”. In good condition save ...

Etching with drypoint on cream wove paper with deckle edges, 4 3/8 x 12 3/4 inches (233 x 323 mm); sheet 9 1/2 x 15 3/4 inches (240 x 338 mm), full margins. Signed and numbered 4/75 ...

La Tresse (Anais) Etching with stipple, October 1926 Signed in pencil lower right (see photo) Signed and dated in reverrse in the plate lower left Edition: 111, published by Conaghi,...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

Red Ochre Flowers Etching, soft ground etching, aquatint, drypoint, engraving and electric tools, 1978 Signed "Jim Dine" lower left (see photo) Annotated A/P and dated lower left (se...

ARTIST: Salvador Dali TITLE: Escargot MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: I/XXV MEASUREMENTS: Paper: 14.48" x 11" Frame: 19" x 15" YEAR: 1970 ...

Etching on watermarked handmade F J Head & Co cream laid paper with a deckle edge, 14 1/8 x 9 1/8 inches (358 x 232 mm); sheet 18 1/8 x 11 inches (461 x 280 mm), full margins. Signed...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

Color spitbite aquatint with chine colle. Edition of 50

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...