Drypoint Landscape Prints

1926. Drypoint. Appleby 119. 6 7/8 x 8 7/8 (sheet 9 x 12 1/4). Edition 100, #97. Printed by David Strang on cream laid paper. Wrinkling in the margins; otherwise fine condition. A rich impression with tonal wiping and drypoint burr. Signed and numbered in pencil.n pencil. Housed in a 16 x 20-inch archival mat, suitable for framing. The bathing machine...

Summer. 1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. A fine impression printed on cream wove paper on the full sheet with deckle edges. Signed in pe...

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, was in the collection of John H. Wrenn. On a commission from the Fine Arts Society, Whistler created the plates of his Venice series...

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

Heckel, Erich (German, 1883-1970). WINTERSONNE. Dube 318. Drypoint, 1913. Edition size not known. Signed and dated "Heckel 1913" in pencil. Printed on heavy wove paper. 4 3/4 x 6 1/...

Ontario St. Grading and Temporary Ramps Drypoint, August 1929 Signed in pencil lower right (see photo) From: The Cleveland Set (23 plates), this being No. 13 Edition: Small A brilliant example of American industrial art. A wonderful, rich impression, with lots of burr and contrasts. Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne...

Western Hills Viaduct Under Construction Drypoint, June 1931 Signed in pencil lower right (see photo) Initialed and dated in the plate lower right above pencil signature (see photo) From: Cincinnati Series, 1930-1931, 8 plates, this No. 5 Small edition, not specified From Greenfield Hill Condition: Excellent Image/Plate size: 8 1/2 x 15 1/4 inches Sheet size: 11 1/4 x 18 1/2 inches Louis Conrad Rosenberg 1890-1983 An American architectural etcher...

Buhot, Felix (French, 1847-1898). UNE JETEE EN ANGLETERRE. B & G 132, State two of eight. Etching with drypoint, aquatint and roulette, 1879. Signed in pencil, and with the red owl...

Signed in pencil and annotated "imp" lower right; Dedicated lower left: "To Bob Nisbet from…" Note: Desgined by William M. Kendall of McKim, Mead and White, this classical skyscra...

Browne, George Elmer (American, 1871-1946). THE TRAWLERS. Drypoint, not dated. Edition size not stated. Titled and signed in pencil. In excellent condition.

From: The Cleveland Set (23 plates), No. 1 Edition: Small Signed in pencil Image: 7 3/4 x 11 1/2"

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Meryon, Charles. LE PONT AU CHANGE. S.40(v), DW.34. Etching with drypoint, 1854. Fifth State of twelve, with the inscriptions in cursive, "C. Meryon del. sculp. mdcccliiii," lower l...

Felix Buhot (1847-1898), Westminster Palace, etching, drypoint, roulette, 1884, signed in pencil and extensively annotated. Bourcard/Goodfriend 155, Bourca...

Frank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (s...

Jean-Emile Laboureur (1877-1943), Orage en Briere, etching and drypoint, 1932, signed in pencil lower left, numbered lower right and annotated “imp” (impressit, printed by the artist...

Alena Kucerova, Czech (1935 - ) - Landscape, Year: 1971, Medium: Drypoint with Embossing, Signed, numbered, and dated in pencil, Edition: 1/100, Image Size: 10.5 x 15 inches, Siz...

Medium: drypoint on chine collé Edition of 180 Image Size: 4.5 X 9 inches Signed, titled and numbered, from the edition of 180. A view of a bridge over the Seine River in Paris wit...

Meyerowitz, William. N.Y. STEEL AND IRON. Drypoint, 1928. Edition of 40. Ttiled, numbered "2/40" and signed in pencil. 12 x 9 7/8 inches (plate), 13 1/2 x 11 inches (sheet). Inexcell...

Martin Lewis (1881-1962, Break in the Thunderstorm, drypoint, 1930, signed and titled in pencil (also signed in the plate in a rectangle lower left). Reference: McCarron 86, second s...

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12...

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...

Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; ...

Charming drypoint etching of a series of three arched interior doorways by Susan Varjavand (American, 1941-2018). Numbered, titled, and signed ("13/20 Whisperings at a Cross Point Susan Varjavand") along the bottom edge. Presented in a new cream mat. No frame. Image size: 14"H x 11"W Susan Varjavand (American, 1941-2018) was an artist from San Francisco, California. She studied with Patricia Pearce (American, b. 1948) while at the College of San Mateo, as well as with Richard Bowman (American, 1918-2001) and Alan May...

SALVADOR DALI (1904-1989) THE BELOVED FEEDS AMONG THE LILIES, 1971 Board for the series "The Song of Songs hymns" Aquatint and dry point on wove paper...

Medium: Etching and spitbite Year: 2010 Edition: 7 (EV) Image Size: 22 x 17.5 inches Robinson has been honored as the recipient of the Mario Avati Gravure Laureate Award from the A...

Drypoint and monotype, signed and numbered by the artist. Robinson has been honored as the recipient of the Mario Avati Gravure Laureate Award from the Academie des Beaux Arts in Pa...

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impress...

Jean-Emile Laboureur (1877-1943), Printemps Breton, 1926, drypoint, roulette, aquatint, etching; signed in pencil lower left and numbered lower right (37/50) with the imp inscription...

Erich Heckel (1883-1970), Antwerp, drypoint, 1914, signed and dated in pencil lower right margin. Reference: Dube 123. In excellent condition, the full sheet on a cream/ivory wove pa...

Max Pollak (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine coll...

Theodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed...

Poggio a Caiano is an original black and white etching realized by Ardengo Soffici in 1964. Hand written dedication on the right margin "Per Ardengo Soffici, Maria Soffici". Number...

Donald Baechler, Blue Spruce, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint, on ...

Image dimensions: 13 x 18 cm. Etching on ivory colored paper. Etching on ivory colored paper, with two embossing stamps: "Libreria Prandi Reggio E." in lower-right corner,"H. Peti...

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...

Hand signed. Edition of 75 prints. Includes passepartout: 49x34 cm. Very good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy creat...

French Village is an original artwork realized by Eugène Corneau between the end of the 1920s and the beginning of the 1930s. The monogram of the artist is present on the lower left...

William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signed in pencil lower right [also signed and dated in the plate]. Refere...

Hand Signed and signed on plate. Edition of 35 prints. Image Dimensions : 30 x 20 cm This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created ove...

A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.

This original drypoint is hand signed and dated in pencil by the artist "Emil Nolde" at the lower right margin. It is one of at least 18 impressions printed on Van Gelder Zonen pape...

Donald Baechler 2005: a set of 2 works: A set of two highly decorative signed limited edition Donald Baechler prints sure to standout in any setting. Included in the set: Donald Bae...

Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, f...

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Stanley Anderson 1884-1966 Drypoint, signed out of the image bottom centre Image size: 9 x 11 inches (22.8 x 28 cm) Acid free mount Alfred Charles Stanley Anderson CBE RA was a Brit...

Donald Baechler, Potted Plant, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint on ...

Ruth Kerkovius (Latvian/American 1921-1970) "Village in Southern Italy" Edition 10/30, Landscape Etching/Drypoint/Aquatint signed and numbered in Pencil, 16.25 x 24.75, Late 20th Century, 1967 Colors: Black, Brown, Blue, White, Red She was born in Latvia in 1921. She received her early training in Munich, Germany, working in theatre Costume History and Design, and in painting before she came to America. Once in New York she studied at the Art Students League, the School of Visual Arts, the Pratt Graphic Art Center under Frasconi, and then continued at Pratt on a fellowship to work under Michael Ponce de Leon...

The Sacramento River deltas and levees near Thiebaud’s studio became a source of inspiration starting in the mid-1990s where he would sketch en plein air and then work combined ideas...

Created in 2002, this Wayne Thiebaud Hill River, 2002 drypoint and aquatint in color on wove paper is hand signed by Wayne Thiebaud (Mesa, 1920 - Sacramento, 2021) in pencil in the l...

Wayne Thiebaud has long been recognized as one of America’s most prominent modern artists. Probably best known for his straightforward, deadpan still-life paintings of the 1960s, and...

The images in Wayne Thiebaud's drypoints fill the space around them, carving into it. They are images of mountains. In one, only the mountaintop shows and a gigantic cloud is in the ...

Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression...

Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 12 x 15 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 1...