Etching Interior Prints

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

Daniel Hernández Morillo Period Colored Framed Etching Beautiful 19th-century colour etching Blechinger and Leykauf Vienna Printers. The image shows a painting entitled ‘Mélodie d'Am...

An exotic hashira-e shaped work, an homage to the heavy influence Japanese printmaking had on the artist. London: 1880 Etching with drypoint on cream laid Van Gelder Zonen paper wit...

Nobuku Koike (Japanese, b.1937) La Cour, 1974. Color etching on Arches paper. Plate measures 7.5 x 8.5 inches. Framed measurement: 12 x 13.5 inches. Signed, dated, numbered an...

Hand signed and dated intaglio etching in color. 1982 Corner Reflections #2 Jane E. Goldman was born in Dallas, Texas in 1951 and received her Bachelor of Arts degree from Smith College and a Master of Fine Arts from the University of Wisconsin. She is known for her high color floral and nature design painting, printmaking and teaching. Goldman's media include watercolor, oil painting, silkscreen, intaglio print, lithograph, relief, screenprint,. aquatint etching and terrazzo. "Lyrical realism," based on a combination of free association and direct observation, best describes her style. Goldman’s luminous prints reveals the artist’s muse in a graphically novel way. Her work pays homage to 19th-century naturalist and artist John James Audubon. Goldman’s sun-dappled still life compositions, sprays of cut flowers in glass vases and lush flora growing in natural environments frame each setting and cast shadows across opened books that display images from Audubon’s Birds of America. Jane Goldman...

Dan Flavin (American, 1933-1996) Untitled (Triptych), 1996-98 Medium: Set of three aquatints on handmade rag paper Dimensions: each 50 x 40 cm (19.75 x 15.75 in) Edition of 60: Each ...

Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...

Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...

BERNARD P. SCHARDT (1904 - 1979) APPEAL DENIED c 1935 Aquatint and etching. Edition c. 25. >>Published by the WPA Federal Art Project NYC.<< With their stamp. 11 7/8 ...

This artwork titled Jan Uytenbogaert" 1639 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Sign...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

"Backlighting" was issued in an edition of 50. Paolo Ciampini was born in Montopoli in Val d'Arno in 1941. After graduating from the Art Institute of Cascina (Pisa) in 1962, he com...

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...

Renée Mauperin; Ten Etchings, Complete Set for the Illustrations to the Novel by Edmond and Jules de Goncourt 1882 Paris: G. Charpentier et Cie, 1882-1884. The complete set of ten ...

"Sanity Hearing" Satirical Etching Satirical etching by Charles Bragg (American, 1931-2017). This scene depicts a chaotic courtroom, ostensibly the location of this "Sanity Hearing." A man wearing a suit of armor sits with his hand raised taking an oath of honesty on top of three books labeled "Bible," "Holy Bible," and "Cookbook." The judge sits behind him, holding a fly swatter with a glass tankard of beer in front of him. A man in the bottom right corner reads the Bill of Rights but he holds it upside down. Other guests of the courtroom include multiple kittens, a man gnawing on the bench, and a toucan on a leash. Numbered as "104/300" in bottom left corner. Titled "Sanity Hearing" in center edge. Signed "Charles Bragg" in bottom right corner. Frame size: 20.32" H x 22.63" W Image size: 10.27" H x 12.75" W Charles Bragg (American, 1931-2017) was a painter, sculptor, and illustrator of commentary on human behavior, based out of Los Angeles, California. Bragg often injected his sense of humor and appreciation of satire into his subjects, many of which are cartoonish and seem half human and half animal. He also depicted serious subjects, ones that become poignant commentaries on the human condition. Bragg was born in St. Louis Missouri in 1931. His parents were vaudeville performers, and he spent most of his young life traveling on tour with them. During his teenage years, he went to New York's High School of Music & Art in Harlem. At 18, he ran away with his high school sweetheart, fellow artist Jennie Tomao...

Rococo design for a gate, etching, by Joseph Baumann (active 1740-1760), circa 1750. Published by Martin Engelbrecht (1684–1756). Similar works ar...

From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher catalog 159. state ii. Image: 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition...

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4 (sheet 11 7/16 x 16 1/8). Edition 100. A rich impression printed on cream laid paper wi...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Artist: Peter Milton (American, 1930-) Title: Interiors IV: Hotel Paradise Café Year: 1987 Medium: Resist-ground etching and engraving on copper Paper: BFK Rives Image size: 23.5 x ...

"Le café de la Nouvelle Athènes" French Impressionist Etching Etching of the bustling Café de la Nouvelle Athènes by Jean-Louis Forain (French b. 1852 d. 1931.) A row of men in top...

Rococo design for a gate, etching, by Joseph Baumann (active 1740-1760), circa 1750. Published by Martin Engelbrecht (1684–1756). Similar works ar...

London: Thomas McLean, 1835. Etching with hand coloring in watercolor on cream wove paper. 6 1/4 x 8 3/8 inches (157 x 210 mm), full margins. Initialed in the plate by Cruikshank, and bearing Frederick Marryat's anchor monniker. A well inked impression of this humorous print...

"Bones" - Abstracted Etching in Ink on Paper (Artist's Proof) Abstracted print by Doris Ann Warner (American, 1925-2010). The subject of this piece is a close-up depiction of bones, ...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minim...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...

Paintbrushes in a Pitcher - Still Life Etching by Don Weygandt (#20/150) Elegant lithograph of a pitcher holding paintbrushes by Don Weygandt (American, 1926-2018). This piece has a...

"Pomme d' Amour" Mid-Century Modern Aquatint embossed Floral "Sept Tomate Original by Anne Walker Mid-Century Modern Aquatint of the Pomme d’amour or ‘Love Apple’ by Anne Walker (Be...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

Newspapers on the Table - Still Life Etching on Heavy Paper, #20/150 Black and white etching by Darien Payne (American, b. 1951). This piece is a meticulously detailed depiction of ...

Julian Trevelyan 1910-1988 Thames Ditton, 1969 etching and aquatint 41 x 55 cm 16 1/8 x 21 5/8 in signed, titled and inscribed in pencil, aside from the edition of 75 Julian Trevely...

The Tree at Villa is an artwork realized by the Contemporary Italian artist Leo Guida (1992 - 2017) in the 1970s.   Black and white etching on paper.   Hand Signed on the lower righ...

Created circa 1975 and stamped, verso, with certification of authenticity for Jane Voitle Mellin (American, born 1952). Paper dimensions: 13.25 x 19.75 inches A atmospheric, sugar-...

Gaiety Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition); Numbered in pencil lower left; Blind stamp of the Whitney Museum (WM) lower right Edition: 114, regular ed...

Lucian Freud The Egyptian Book 1994 Etching on T.H.S. Saunders paper 18 1/4 x 16 3/4 inches; 46 x 43 cm Edition of 40 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks...

Abstracted print by Doris Ann Warner (American, 1925-2010). Nine panes are arranged in a three by three grid, each with a small abstracted scene. There are objects that look like flo...

This piece is part of an ongoing project entitled "Fragmentary Views" (2001 - Present) by Xiaoze Xie, which is a series of paint-compositions based upon photographs of found newspape...

A wonderful small-scale etching of an artist in the studio by Michael Pauker (American, b. 1957). The artist uses fine line work to highlight this finely detailed interior figural sc...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Le Legacy from Historia de Don Quichotte de la Mancha Year: 1981 Medium: Etching on Arches, signed and numbered in pencil Edition:...

L'Acte d'Humanité is an original artwork realized by Robert De Launay in 1786. Original Etching on paper after Jean De Fraine. Lettered in French with names of designer and engra...

A warm composition, in theme and tone; the creaky timber interior of a 19th century Scottish blacksmith's shop. Etching and drypoint on cream laid Japan paper, 8 x 10 inches (202 x ...

"The Spinner" is an original etching by Jean Leon Gerome Ferris. It depicts a woman in an interior next to a spinning wheel. The artist signed the piece lo...

Gate Of The Metwáleys - Cairo is a beautiful original black and white etching engraved by Ebenezer Challis in 1860 ca. after an illustration that David Roberts realized for 'The Art ...

Giovanni Battista Piranesi, The Well, Carcere XIII , from “ Images of Prisons”, Buchard , Rome, 1749-50 Etching on laid paper. Signed on plate “ Piranesi F.” lower-right. Very good ...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream la...

After Dinner Scene F. Schweitzer Etching on laid paper, signed in pencil Image Size: 9.25 x 7.5 inches Size: 17.5 x 12.75 in. (44.45 x 32.39 cm)

Artist: Alexander Brodsky and Ilya Utkin, Russian (1955 - ) Title: Electric Donjon from Brodsky and Utkin: Projects 1981 - 1990 Year: 1990 Medium: Etching on German Rag paper, signed...

A truly striking acid bath etching showing an interior inspired by the house inhabited by the protagonist of Herman Hesse's novel, Steppenwolf. The interi...

Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108. 7 x 9 (sheet 10 1/2 x 15 1/2). A rich impression printed on cream wove paper with full margins. Illustrated: Salaman, Modern...

A signed etching by the justifiably famous New Orleans French Quarter artist Eugene Loving, in an edition of 200. It depicts in wonderful detail one of ...

Resist ground etching and engraving on cream wove paper, 22 x 39 inches (558 x 990 mm), full margins. Signed, titled, dated, and numbered 27/160 in pencil, lower margin. With the blindstamp of the printer, Robert E. Townsend, in the lower left margin. A beautiful, richly inked impression of this highly detailed, large image. In very good condition with minor mat tone, extremely minor scattered light surface soiling, and one pin-point sized dot of brown discoloration on the lower left margin, recto, well outside of image area. [Milton 99]. Milton states that there is a metaphorical evolution at the root of his body of graphic work, and with Les Belles et la Bête, Before the Hunt, he found himself at a crossroads that he viewed as a sort of artistic adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. The image is brimming with fantastical images and metaphors for the confrontation of sexual exploration; a Freudian analyst appears in the left of the image, scattered tableaus of paired figures...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

Twenty and one more metamorphosis Etching, paper, 49x64 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, U...

Artist: Alexander Brodsky and Ilya Utkin, Russian (1955 - ) Title: Plan from Brodsky and Utkin: Projects 1981 - 1990 Year: 1990 Medium: Etching on German Rag paper, signed and number...

Sloan, John. INVITATION TO STUDIO PARTY. Morse 200. Etching, 1921. Edition of 100 of which only 75 were printed. Signed in penci land inscribed "100 proofs." 3 3/4 x 2 3/8 inches, 96...

Trees. 2016. Paper, etching, 2/5, 29x40 cm

The Emperor is an etching and aquatint realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. From the serie "The Tarots" Dry stamp by Il Cigno Stamperia d’Arte. ...