Engraving Figurative Prints

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 ...

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

One of the founders of Impressionism and certainly one of its greatest masters, Pierre-Auguste Renoir (1841 - 1919) was not a prolific printmaker, but he explored several different m...

Salvador DALI Surrealist Boat (Vaisseau fantome), 1969 Original etching Handsigned in pencil Numbered /200 on Rives BFK vellum 58 x 45 cm (c. 23 x 18 in) REFERENCE : - Catalog rai...

ALBRECHT DURER (1471-1528) THE VIRGIN AND CHILD SEATED BY A TREE 1513 (Bartsch 35; Meder 34 c-d, Hollstein 34) Engraving a generally good impression. Trimmed slightly into the i...

Cowboy dancers by Kate Boxer is a drypoint and carborundum print on paper. Additional information: Limited edition print Edition of 30 Signed by artist and inscribed with edit...

This print of a pine tree uses kitakata chine collé to depict the warmth and colour of early autumnal light. This print of a chestnut tree depicts the harsh light and dark light and...

Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated '1730' lower left. Titled in French, English, German, and Dutch. A superb...

London: Gebbie & Husson Co., 1879 Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor margina...

'Kraft und Mut' (Courage and Strength) German wood-engraving, 1903. 320mm by 230mm (image) 280mm by 410mm (sheet)

by Jacopo Caraglio (after Rosso Fiorentino) Rome: Carlo Losi, 1526. Engraving on cream laid paper, 8 1/2 x 4 3/8 inches, 215 x 110 mm), thread margins. In very good condition with a...

Eduardo ¨Choco¨ Roca Salazar (Cuba, 1949) 'Mother II ', 2004 dry point on paper Guarro Super Alpha 250g. 19.3 x 15.4 in. (49 x 39 cm.) Edition of 20 Unframed ID: CHO-112_1 Hand-sign...

Yovani Bauta (Cuba, 1957) 'Untitled 2 (pareja)', 2003 engraving on paper Guarro Super Alpha 250g. 14 x 11.9 in. (35.5 x 30 cm.) Edition of 7 ID: BAU-316 Unframed

Justo Barboza (Argentina, 1938) '17 huellas', 1995 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 20 Unframed ID: BAR1437-009-025 Hand-signed by author

A beautifully framed hand-colored engraving from the famous "Cries of London" series, depicting the lives and professions of the common people of 18th ...

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

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 ...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (Royal Stallion), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in plate: Le Bonit...

The Web Engraving and soft ground, 1950 Signed, titled, dated and numbered by the artist Edition: 35 (26/35) Printed by Master Printer, Jon Clemens, 2000 Provenance: Estate of the ar...

The Framers is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Signed on the plate. Good conditions with foxing. The artwork is realized thro...

"Illustrations of the Book of Job" Engraving "The Fire of God is Fallen From Heaven...And the Lord said unto Satan Behold All that he hath is in thy Power" Engraving, third printing...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

Pepe Herrera (Cuba, ) 'Untitled', 1998 silkscreen on canvas 19.7 x 25.6 in. (50 x 65 cm.) Edition of 100 Unframed ID: HER1205-001-100_8 Hand-signed by author

MAX BECKMANN (German 1884 - 1950) EVENING (Self-Portrait with the Battenbergs) 1916, (Hofmaier 90: Gallwitz 67) Etching and drypoint, Plate 10 from the portfolio Gesichter (Faces)...

We have the full series of 52 prints from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below it click on "See all fro...

This exquisite etching by Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Alternance (Alternation), originates from the 1946 edition published by Le Gerbier, P...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...

Ian Hugo, 'Early Marshes', from the portfolio 'Ten Engravings'. engraving, 1943, edition 50. Signed, dated, titled, and numbered '37/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (2 5/8 to 7 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 x 5 7/8 inches (127 x 149 mm); sheet size 15 x 11 inches (381 x 279 mm). 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...

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

Poseidon is one of 16 works in a suite by the artist called "The Mythology". The suite included works depicting other Greek/Roman gods such as Hypnos, Jupiter, and Athena, as well as lesser figures and concepts like the gorgon Medusa...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

The sailors are still in uniform in this post-World War I print of young people meeting at a semi-secluded park setting, Snug Harbor, along Riverside Drive...

The bus is delayed and the night is cold and rainy as a lone woman raises her umbrella to brave the shadowy walk home after giving up on her ride She has just left the bus shelter a...

Nelson Dominguez (Cuba, 1947) 'Personajes del circo', 2001 engraving on paper Deponte 300 g. 29.2 x 22.1 in. (74 x 56 cm.) Edition of 40 ID: DOM-103 Unframed

Igor Gabor 'Arquitectura', 1989 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 25 ID: GAB1057-001-025 Unframed Hand-signed by author

Etching printed in brownish black on light tan Chine collé, 1861. Image measures 6 x 5 inches, displayed in a 15.5 x 12.5 inch frame. Etched signature and date lower left. A very goo...

COLMAR is an original wood engraving by the American artist Bernard Brussel-Smith, hand printed in yellow, light blue and black ink. COLMAR depicts a quaint French village scene with...

Andrés Barajas (Spain, 1941) 'Untitled from Portfolio "Los Deseos"', ca.1990-1999 mixed media on paper 20.9 x 15 in. (53 x 38 cm.) Edition of 200 ID: BAR1017-022-200 Hand-signed by a...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

Etching with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

Margó Venegas (Spain) 'Baile' silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 25 ID: VEN1174-001-025 Unframed Hand-signed by author

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 99 ID: ALO1534-006 Hand-signed ...

Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

Man Ray 'Le Mannequin' Aquatint/Engraving 1975 Edition: From the rare limited edition of 150 Size: 50x35 CM. Signed and numbered in pencil by the artist Published by Cleto Polcina E...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot catalog 79, Béraldi catalog 66, Wentworth catalog 75 state ii/iii. 16 1/2 x 22 1/8 (s...

Created 1998, engraving. Publisher GKM. Unframed. Edition of 80 ex. Signed, dated and numbered. Free shipment worldwide. Corneille, one of the founders of the COBRA group, has pas...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

This Winslow Homer woodcut engraving entitled "Skating on the Ladies' Skating-Pond in Central Park, New York", was published in Harper's Weekly in the January 28, 1860 edition. It depicts a large number of men, women and children skating on a recently opened pond in Central Park. At the time of publication of this engraving, Central Park was in the early stages of construction. This engraving documents the very early appearance of Frederick Law Olmstead and Calvert Vaux's masterpiece of landscape design. According to Olmsted, the park was "of great importance as the first real Park made in this century – a democratic development of the highest significance". The people of New York were very proud of the plans for their park. It was stated at the time: "Our Park, which is progressing very satisfactorily under the management of the Commissioners, will undoubtedly be, one of these days, one of the finest place of the kind in the world...Those who saw the Park before the engineers went to work on it are amazed at the beautiful sites which have been contrived with such unpromising materials; all fair persons believe that the enterprise is managed with honesty and good taste." Skating was rapidly rising in national popularity in part due to the opening of Central Park’s lake to skaters on a Sunday in December 1858 with 300 participants. The following Sunday it attracted ten thousand skaters. By Christmas Day, a reported 50,000 people came to the park, most of them to skate. There were rules governing who could use the skating pond. “The Ladies’ Pond...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

Eduardo Naranjo (Spain, 1944) 'La creación III', 1984 etching, aquatint on paper Guarro Super Alpha 250g. 20.9 x 15 in. (53 x 38 cm.) Edition of 225 I...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, d...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

Alexis Kcho Leiva (Cuba, 1970) "Embarcadero" (Pier), 2003 engraving on paper Guarro Super Alpha 250g. 28.8 x 21.3 in. (73 x 54 cm.) Edition of 50 Ref: KCH-110

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...