Drypoint Prints and Multiples

Image dimensions: 32 x 50 cm. Etching, wide margins, hand-numbered and hand-signed with pencil on lower-right margin. Edition of 35 prints. In excellent condition. Wonderful print ...

Interesting b/w etching and drypoint, representing the Parisian foreshortening of a bridge on the Seine. Edition of 50 prints. Signature, date, technique and print run, title handwri...

Signed and numbered from the edition of 13. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. He has exhibited regularly since 1995 and has won numerous priz...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

French Village is an original artwork realized by Eugène Corneau at the beginning of the 1930s. Drypoint and etching on paper. Perfect conditions. Th...

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...

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...

Black and white etching and drypoint on wire rod paper, representing the myth of the sacrifice of Iphigenia. On the altar is inscribed "Iphigenia" in capital letters. On the lower left margin is inscribed "N. Beatrizet Lo Taringus F.", slightly discolored (Beatrizet usually signed his plates with the letters "N. B. L. F."). At the center of the lower margin is inscribed "Romae, Michaelis Tramezini formis cum privilegio summi Pont. M.D.L.III". After a drawing attributed to either Michelangelo Buonarroti, Salviati, or Baccio Bandinelli...

G.B. Piranesi, Dimostrazioni dell’Emissario del Lago Albano, Illustrations of the Emissarium of Lake Albano Etching, Drypoint, Burin on laid paper. Signed on...

This is an original drypoint realized by Joan Miró in 1975. Hand signed in pencil on the lower right and numbered on the lower left. Edition of 75 prints. It represents an abstract s...

Whistler, James A. M. SAN BIAGIO. Etching and Drypoint, 1880. Glascow 237, K.197; M.194; W.163. State 8 of 17. With the printed butterfly at left, and with the butterfly signature in...

hand watercolored drypoint etching on extremely fine Japanese paper, edited in 1969 limited edition of 145 copies water-colored , numbered in lower left corner ea ( artist proof ) si...

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...

Artist: Dali, Salvador Title: Marie Curie Series: Medicine and Science Date: 1970 Medium: drypoint Framed Dimensions: 20.25" x 17.5" Signature: Pencil signed Edition: /125 Li...

Bacon, Peggy. THE CLINIC. Flint 109. Drypoint, 1932. Edition size not known, but likely very small as the print is rare. 4 15/16 x 6 7/8 inches, plus wide margins (the sheet is 11 x ...

Drypoint printed in dark brown on heavy cream wove paper with wide margins. This is the third state (of four) from a small edition of only several. Signed and inscribed "II Zustand" ...

Carrie Lingscheit's print often deal with relationships and memories. "Human experience is plagued by an inherent incompleteness—both perception and memory being naturally imperfect,...

Profil de Femme Fernand Leger, French (1881–1955) Date: circa 1931 (pulled 1961) Drypoint Etching on Richard de Bas Edition of 102 Image Size: 10 x 8 inches Size: 15.75 x 12 in. (40....

Tete De Femme Fernand Leger, French (1881–1955)\ Date: 1952 Drypoint Etching, stamp signed and numbered in pencil Edition of 100 Image Size: 7.75 x 4.75 inches Size: 12.5 x 9.25 in. ...

Marc Chagall, Russian (1887 - 1985) - La Visite par la Fenetre, From Maternite, Year: 1926, Medium: Etching with drypoint and aquatint on Van Gelder Zonen laid paper, Edition: 960, ...

Plate 2 2 plate drypoint with hand coloring, 1984 Signed and numbered in pencil (see photos) From: Barcelona Suite (6 plates) Edition: A/P 8/10 in pencil lower left Signed in pen...

Drei Grazien (Three Graces) Etching and drypoint, 1920 Signed and titled in pencil (see photo) Total Edition 100: 30 on Japan and 70 on Butten paper as here Published by von Wohlgemu...

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...

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...

Early 20th Century European Architecture Drypoint Etching c.1930 This fine etching is pencil signed in the lower right corner (illegible - see i...

A set of three monumental etchings by Italian contemporary artist, Mimmo Paladino. Each nicely framed in black. Artist: Mimmo Paladino Title: Si...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

Ocampo, Isidoro. EN LA NEVERA. Drypoint, 1929. Edition of 50, numbered 3/50 and signed in pencil. 9 1/2 x 6 3/4 inches. Printed on paper watermaked "F.J. Head & Co." In excellent con...

Salvador Dali Cobea (Pisum Sensuale) from Flora Dalinae, 1968 Etching and drypoint on Japon paper Hand signed lower right Edition 163/175 Image 58 x 38.5 cm Sheet 76.7 x 56 cm Printe...

Artist: Reuben Nakian, American (1897 - 1986) Title: Myths and Legends: Plate III, Voyage to Crete (Black) Year: 1979 Medium: Drypoint Etching with C...

Artist: Hans Bellmer, German (1902 - 1975) Title: VIII from Les Marionnettes Year: 1969 Medium: Hand-colored Drypoint Etching on Rice Paper, signed in pencil Image Size: 12 x 11 inch...

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...

Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

This is a drypoint and aquatint artwork by Jacques Villon. The artist signed in pencil on the lower right. As well as signed in plate at the top right of the image. This is a wonderful artwork of different intaglio processes being brought together in a beautiful almost seamless harmony. The thin pencil like markings and hair detailing are made using the Drypoint printmaking method. Whilst the color details around the girls are made using the Aquatint etching method. Jacques Villon shows his skills as a printmaker with the way these pieces line up perfectly and with how clean the rest of the plate is around the girls. An unnumbered impression, apart from the numbered edition of 50. Catalogue Raisonne E101, pg. 66-67 (Ginestet & Pouillon. It depicts two young girls. 15" x 11 1/2" art 25 1/8" x 20" frame French painter, printmaker and illustrator. The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830-94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon...

untitled (Duck taking to flight, flushed by a dog) Drypoint & Aquatint, c. 1940 signed lower right Created while the artist was a commercial artist working in Minneapolis, after his ...

Etching, aquatint, drypoint & roulette in colors on arches paper. Hand signed lower right by Henry Moore. Hand numbered 38/50 lower left (there were also 15 artist's proofs). Shee...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

David Shapiro’s minimalist works are meditative and quiet. This black and tan print has a reductive Zen quality. Shapiro was born in Brooklyn in 1944 and passed away in 2014. He did ...

Bell, Cecil C. SELF PORTRAIT. Drypoint with pencil highlights, 1931. 16 X 12 inches. Titled and signed in pencil, and with Bell's drystamp in the margin, lower left. In excellent con...

Woman's Head in Profile - Woman's Head in Profile (left) (Havard) Drypooint, 1920 Unsigned (as usual) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, pro...

Salvador Dali (1904-1989) - Shitakiri (The tongue-cut sparrow) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x ...

Salvador Dali (1904-1989) - Shunboshi (Little one-inch) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. ...

Salvador Dali (1904-1989) - Jugoyoe Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. Hand signed. Publi...

Salvador Dali (1904-1989) - Kosonaga chojo (The princess and the herd boy) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of...

Salvador Dali (1904-1989) - Hanasakaji san (The old man who made trees blossom) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensio...

Salvador Dali (1904-1989) - Kumo (The weaver spider) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. Ha...

Salvador Dali (1904-1989) - Rokujiso (The grateful statues) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 ...

Salvador Dali (1904-1989) - Urashima Taro Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. Hand signed. ...

Salvador Dali (1904-1989) - Hagoromo (The robe of feathers) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 ...

Salvador Dali (1904-1989) - Momotaro (Peach boy) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x 52 cm. Hand s...

Salvador Dali (1904-1989) - Japanese Fairy Tales Portfolio with 10 drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 6...

Salvador Dali (1904-1989) is Surrealism's most accomplished and iconic practitioner. His work is eccentric, elaborate, and mysterious, with an avant-garde style that explores the depths of consciousness and dream-like states. Prolific and endlessly inventive, Dali worked in almost every possible artistic medium; film, sculpture, photography, fashion and of course painting. Some of his earliest etchings date to the 1930's, as he worked in the graphic arts at the beginning of his career. "Adam & Eve" comes from a series called "Our Historical Heritage." The portfolio depicts eleven events and historical figures from the Hebrew scriptures (the Torah or Old Testament), including Noah's Ark, Joseph, Moses, and more. This portfolio emphasizes Dali's influence by religious themes, and is created with his signature mastery and style. This etching depicts the pivotal moment in the biblical story, when temptation strikes Adam and Eve, as they sit in the Garden of Eden and are lured to the lustrous forbidden fruit hanging from the tree of knowledge. Eve's hand wraps around the apple while Adam's reaches for it, as the serpent watches...

An original mixed media, Photo Etching, Aquatint, Drypoint on paper by the collaboration of two artists, Robert Flemming and Mizin Shin. This piece entitled Judgment Hour measure ...

Keresan Dancers Etching & drypoint, 1962 Signed lower right (see photo) Inscribed lower left: "Artist's Proof Keresan Dancers" Depicts Keresan speaking peoples at Sam Felipe Pueblo Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico. Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Monogram and date of etching in the plate bottom left. 220mm by 305mm (platemark) 310mm by 390mm (sheet)

Salvador Dali Don Quichotte et Les Moulins a Vent, 1969 Dry point etching in colours on BFK Rives wove Hand signed and numbered 146 / 200 in pencil Sheet size 39.5 x 29.5 cm Image s...

The Insane Clown By George Condo 2019 Hand-signed, numbered and dated Etching with drypoint on wove paper 57.2 x 50.8 cm Edition of 30

Artist: Dali, Salvador Title: Raspberry Bush Series: Flors Dali (The Fruits) Date: 1969 Medium: Lithograph with original drypoint remarques Framed Dimensions: 37" x 29.5" Signa...

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...

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...