Drypoint Collection (#59)

Mary Cassatt, Afternoon Tea Party, American, 1844-1926, 1890-1891, color drypoint and aquatint on laid paper

Mary Cassatt, The Fitting, American, 1844-1926, 1890-1891, color drypoint and aquatint

Mary Cassatt, The Caress, American, 1844-1926, c. 1891, drypoint

Mary Cassatt, View of Venice, American, 1844-1926, 1887, drypoint

Frank Duveneck, Riva degli Schiavoni (2), American, 1848-1919, c. 1880, drypoint on chine applique paper

Childe Hassam, Portsmouth Doorway, American, 1859-1935, 1916, etching and drypoint

Arthur B. Davies, Iris, American, 1862-1928, 1916, drypoint

George Elbert Burr, The Etcher, American, 1859-1939, c. 1919, drypoint in greenish-black on laid paper

James David Smillie, Sweet Peas, American, 1833-1909, 1891, drypoint

Mary Cassatt, Tea, American, 1844-1926, c. 1890, drypoint

Mary Cassatt, Maternal Caress, American, 1844-1926, c. 1891, color drypoint and soft-ground etching on cream wove paper

Mary Cassatt, Mothers Kiss, American, 1844-1926, 1890-1891, drypoint and aquatint on laid paper

Ferdinand Bol, The Sacrifice of Gideon, Dutch, 1616-1680, etching and drypoint

Francisco de Goya after Diego Velazquez, Isabel de Borbon, Spanish, 1746-1828, 1778, etching and drypoint

Francisco de Goya after Diego Velazquez, Baltasar Carlos, Spanish, 1746-1828, 1778, etching and drypoint on heavy laid paper [first edition impression printed in the Calcografia in 1778-79]

Francisco de Goya, Dos grupos de picadores arrollados de seguida por un solo toro (Two Teams of Picadors Thrown One after the Other by a Single Bull), Spanish, 1746-1828, in or before 1816, etching

Francisco de Goya, Banderillas de fuego (Banderillas with Firecrackers), Spanish, 1746-1828, in or before 1816, etching, burnished aquatint, lavis, drypoint and burin [first edition impression]

Francisco de Goya, El mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid (The Same Ceballos Mounted on Another Bull Breaks Short Spears in the Ring at Madrid), Spanish

Francisco de Goya, Echan perros al toro (They Loose Dogs on the Bull), Spanish, 1746-1828, in or before 1816, etching, burnished aquatint and drypoint [first edition impression]

Francisco de Goya, Valor varonil de la celebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), Spanish, 1746-1828, in or before 1816, etching

Francisco de Goya, Desjarrete de la canalla con lanzas, medias-lunas, banderillas y otras armas (The Rabble Hamstring the Bull with Lances, Sickles, Banderillas and Other Arms), Spanish, 1746-1828

Francisco de Goya, Al Conde Palatino (To the Count Palatine), Spanish, 1746-1828, in or before 1799, etching, aquatint, drypoint and burin [working proof]

Francisco de Goya, Fiero monstruo! (Fierce Monster!), Spanish, 1746-1828, 1810-1820, etching, drypoint and burin [trial proof printed posthumously Calcografia in or after 1870]

Rembrandt van Rijn and William Baillie (Dutch, 1606-1669), Christ Preaching and Healing (Fragment from the Hundred Guilder Print), c. 1649, etching with drypoint and engraving on laid paper

Rembrandt van Rijn (Dutch, 1606-1669), Jacob Haaringh (Young Haaringh) (Pieter Haaringh), 1655, etching, drypoint, and engraving

Rembrandt van Rijn (Dutch, 1606-1669), Jan Lutma, 1656, etching and drypoint

Rembrandt van Rijn (Dutch, 1606-1669), Faust, c. 1652, etching, drypoint and burin on a heavy white paper

Carlo Pellegrini (Italian, 1839-1889), Whistler, drypoint

Parmigianino (Italian, 1503-1540), The Entombment, c. 1530, etching and drypoint [second version]

Wilhelm Lehmbruck, Woman and Child (Weib und Kind), German, 1881-1919, 1914, drypoint

Wilhelm Lehmbruck, Four Women; Three Standing, One Sitting (VierFrauen; drei stehend, eine sitzend), German, 1881-1919, 1913, drypoint

Wilhelm Lehmbruck, Three Kneeling Women (Drei Frauen knied), German, 1881-1919, 1913, drypoint

Wilhelm Lehmbruck, Passion II (Leidenschaft II), German, 1881-1919, 1914, drypoint

Lovis Corinth, Joseph and Potiphars Wife-II (Joseph und Potiphars Weib II), German, 1858-1925, 1915, drypoint in black on laid paper

Lovis Corinth, The Reconciliation (Versohnung), German, 1858-1925, 1914, drypoint in black on laid paper

Lovis Corinth, Woman with Needlework (Frau mit Handarbeit), German, 1858-1925, 1912, drypoint in black on wove paper

Lovis Corinth, Boy Wearing Bathing-Trunks and Straw Hat (Knabe mit Badehose und Strohhut), German, 1858-1925, 1915, drypoint in black on laid paper

Lovis Corinth, Two Nudes (Zwei Menschen), German, 1858-1925, 1908, drypoint in brown on heavy japan paper

Lovis Corinth, Self-Portrait (Selbstbildnis), German, 1858-1925, 1920, drypoint in black on laid paper

Lovis Corinth, Karl Schwarz (Bildnis K. S
Lovis Corinth, Karl Schwarz (Bildnis K.S.), German, 1858-1925, 1920, drypoint in black on wove paper

Lovis Corinth, The Banquet of Trimalchio: pl.V, German, 1858-1925, 1919, drypoint in black on white wove paper

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Drypoint is a versatile and captivating printmaking technique that has been used by artists throughout history to create stunning works of art. From Edvard Munch's iconic "The Kiss" to ancient maps depicting the travels of the Apostle Paul and the wanderings of the Israelites, it has left its mark on various artistic genres. In Munch's masterpiece, "The Kiss, " we can see how drypoint adds depth and texture to his portrayal of love and passion. The delicate lines etched into the plate bring out every emotion in this intimate moment. Moving away from romantic scenes, it also finds its place in historical engravings like the detailed map of Berlin or ancient Jerusalem. These intricate prints showcase not only geographical accuracy but also highlight the meticulousness required for creating such fine details using this technique. During times of war, artists like James McBey utilized drypoint to capture intense moments like "A Sixty-Five Pounder Opening Fire. " The sharp lines etched onto metal plates perfectly depict the chaos and destruction experienced during World War I. Religious themes are not exempt from being portrayed through drypoint either. In depictions such as "The Last Supper" or Rembrandt van Rijn's "Christ Preaching (La Petite Tombe), " this technique adds an ethereal quality that enhances their spiritual significance. Not limited to traditional subjects, it also captures everyday life with incredible precision. Mary Cassatt's tender piece, "Maternal Caress, " showcases her mastery in capturing human emotions through delicate lines etched onto copper plates. Exploring further into French artistry, Felix Bracquemond's 1862 work demonstrates how even abstract compositions can benefit from drypoint techniques. His unknown piece invites viewers to interpret its meaning while appreciating the artist's skillful use of line and shading. Jean Louis Forain takes us into a different realm with his depiction of a seated nude woman from the back.