Abstract Composition - Original Etching and Drypoint - Mid-20th Century
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Auction endedBrowse Current Auctions
UnknownAbstract Composition - Original Etching and Drypoint - Mid-20th CenturyMid-20th Century
Mid-20th Century
About the Item
- Creation Year:Mid-20th Century
- Dimensions:Height: 13 in (33 cm)Width: 9.85 in (25 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: T-1211181stDibs: LU65038427652
About the Seller
4.8
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
1stDibs seller since 2017
6,578 sales on 1stDibs
Typical response time: 2 hours
More From This SellerView All
- La Tombe du Père - Etching by Marc Chagall - 1923By Marc ChagallLocated in Roma, ITLa Tombe du Pére or The Father's Grave is a wonderful and rare dry-point, hand-signed in pencil on the lower right margin and hand-numbered on the lower left margin by Marc Chagall. ...Category
1920s Surrealist Figurative Prints
MaterialsDrypoint, Etching
$5,604 Sale Price25% Off - Principio de Incertidumbre de Heisenberg - Etching, Drypoint and Pochoir - 1977Located in Roma, ITEtching, Drypoint and Pochoir, 1977. Sheet 19 from the series Les Caprices de Goya de Dalì. Printed by J.J.J. Rigal after Goya with drypoint revisions by Dalí in his own hand between 1973 and 1977. Edition 85/200. Red. Michler-Löpsinger 866a (from b). Inscribed Dalì and Goya in pencil and with the artist's signature, title and number on the plate. On bold chamois-colored BFK Rives The Spanish master Francisco Goya created the work “Los Caprichos...Category
1970s Surrealist Figurative Prints
MaterialsDrypoint, Etching
- Chevalier à Genou (Kneeling Knight) - Etching - 1960sBy Salvador DalíLocated in Roma, ITChevalier à Genou (Kneeling Knight) is an artwork realized in 1968/69, from the Series "Faust" (La Nuit de Walpurgis). Etching, Drypoint, Watercolor a...Category
1960s Surrealist Figurative Prints
MaterialsPaper, Watercolor, Drypoint, Etching
- Tete de Veau (Calf's Head) - Etching - 1960sBy Salvador DalíLocated in Roma, ITTete de Veau (Calf's Head) is an artwork realized in 1968/69, from the Series "Faust" (La Nuit de Walpurgis). Etching, Drypoint, Watercolor and Roulette on Japon Paper. Hand signed...Category
1960s Surrealist Figurative Prints
MaterialsDrypoint, Etching, Paper, Watercolor
- Femmes Poules (Hen Woman) - Etching - 1960sBy Salvador DalíLocated in Roma, ITFemmes Poules (Hen Woman) is an artwork realized in 1968/69, from the Series "Faust" (La Nuit de Walpurgis). Etching, Drypoint, Watercolor and Roulette on Japon Paper. Hand signed ...Category
1960s Surrealist Figurative Prints
MaterialsDrypoint, Etching, Paper, Watercolor
- Chevalier et la Mort (Knight and Death) - Etching - 1960sBy Salvador DalíLocated in Roma, ITChevalier et la Mort (Knight and Death) is an artwork realized in 1968/69, from the Series "Faust" (La Nuit de Walpurgis). Etching, Drypoint, Watercolor and Roulette on Japon Paper...Category
1960s Surrealist Figurative Prints
MaterialsPaper, Watercolor, Drypoint, Etching
You May Also Like
- Salvador Dali - The Rider and the Deer - Handsigned EngravingBy Salvador DalíLocated in Collonge Bellerive, Geneve, CHSalvador Dali - The Rider and the Deer - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 3...Category
1970s Surrealist Figurative Prints
MaterialsDrypoint, Aquatint
- Salvador Dali - Le Cerf from Le Bestiaire de la Fontaine - Signed EngravingBy Salvador DalíLocated in Collonge Bellerive, Geneve, CHSALVADOR DALI Le Cerf se voyant dans l'eau from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 in...Category
1970s Surrealist Figurative Prints
MaterialsDrypoint, Aquatint
- The Automobilist, from: My Life - Russian French Berlin Autobiography SurrealismBy Marc ChagallLocated in London, GBThis original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered in pencil from the edition of 110, at t...Category
1920s Surrealist Figurative Prints
MaterialsDrypoint, Etching
- Poseidon, Surrealist Drypoint Etching by Salvador DaliBy Salvador DalíLocated in Long Island City, NYPoseidon 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...Category
1960s Surrealist Figurative Prints
MaterialsDrypoint, Etching
$6,000 Sale Price20% Off - Cobea (Pisum Sensuale), Drypoint Etching by Salvador DaliBy Salvador DalíLocated in Long Island City, NYThis surreal botanical print by Salvador Dali is from a suite of 10 engravings called "Flora Dalinae". Growing from a vine are leaves shaped like lips an...Category
1960s Surrealist Figurative Prints
MaterialsEtching, Drypoint
$6,000 Sale Price20% Off - 'Fantasia Americana - 1880' — Mid-Century American SurrealismBy Lawrence KupfermanLocated in Myrtle Beach, SCLawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Archivally matted to museum standards, unframed. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...Category
1940s Surrealist Figurative Prints
MaterialsDrypoint, Etching