Drypoint

Cottage and Boundary Post on the Spaarndammerdijk (‘L’Obélisque’ [detail]), Rembrandt Harmensz. van Rijn, c. 1650. Etching, drypoint and sulphur tinting. 84 x 162 mm. C.G. Boerner.


As in an engraving, the drypoint needle draws the image directly onto the plate. The residue copper is left on the side of the etched lines, which then collects the ink, creating a furry effect called burr.


Featured Drypoints

Home dévoilant une Femme, Pablo Picasso, 1931. Drypoint. Bloch 138; Baer 203 second state of two, II. B.c (of II.B.d); S.V.203; HP 203.signed in pencil. An impression from the edition of 50, also called the deluxe edition or the large margin edition. Inscribed '203 in pencil lower left corner. Watermark: Montgolfier.
The Lime-Burner, James McNeill Whistler (1834-1903),1859. Etching and drypoint, printed in warm black ink on thin laid Japan paper, an impression in the second (final) state, aside from the edition published in A Series of Sixteen Etchings of Scenes on the Thames and OtherSubjects (the Thames Set).
Abraham Entertaining the Angels, Rembrandt Harmenszoon van Rijn, 1656. Etching and drypoint. B.R.S. 29. Hollst. 29; New Hollst 295 only state. 160 x 130 mm.
A Starling - Blue on black, Arne Bendik Sjur. Drypoint.
The Doge's Palace, Sir David Young Cameron (1865-1945), 1902. Etching touched with drypoint. Signed in pencil DY Cameron lower right. 25.1 x 39.8 cm.
The Trafalgar Tavern, Greenwich, James Tissot, 1878. Drypoint. 355 x 250 mm.
The Temples of New York, C.R.W. Nevinson, 1919. Drypoint. Signed lower right. 19.7 x 15.5 cm.
Funeral from Death and Resurrection Otto Dix (1891-1969), 1922. Drypoint on wove printing paper. Paper size: 43.3 x 42.2 cm

Home dévoilant une Femme, Pablo Picasso, 1931. Drypoint. Bloch 138; Baer 203 second state of two, II. B.c (of II.B.d); S.V.203; HP 203.signed in pencil. An impression from the edition of 50, also called the deluxe edition or the large margin edition. Inscribed '203 in pencil lower left corner. Watermark: Montgolfier. The Lime-Burner, James McNeill Whistler (1834-1903),1859. Etching and drypoint, printed in warm black ink on thin laid Japan paper, an impression in the second (final) state, aside from the edition published in A Series of Sixteen Etchings of Scenes on the Thames and OtherSubjects (the Thames Set). Abraham Entertaining the Angels, Rembrandt Harmenszoon van Rijn, 1656. Etching and drypoint. B.R.S. 29. Hollst. 29; New Hollst 295 only state. 160 x 130 mm. A Starling - Blue on black, Arne Bendik Sjur. Drypoint. The Doge's Palace, Sir David Young Cameron (1865-1945), 1902. Etching touched with drypoint. Signed in pencil DY Cameron lower right. 25.1 x 39.8 cm. The Trafalgar Tavern, Greenwich, James Tissot, 1878. Drypoint. 355 x 250 mm. The Temples of New York, C.R.W. Nevinson, 1919. Drypoint. Signed lower right. 19.7 x 15.5 cm. Funeral from Death and Resurrection Otto Dix (1891-1969), 1922. Drypoint on wove printing paper. Paper size: 43.3 x 42.2 cm
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