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Harris Schrank Fine Prints

The Mill, Amsterdam, 1889
By James Abbott McNeill Whistler
Located in New York, NY
/Harris Schrank Fine Prints, New York/Düsseldorf 2007, no. 39 A very fine impression. This
Category

1880s Impressionist Landscape Prints

Materials

Drypoint, Etching

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VITRE - THE CANAL, BRITTANY
By James Abbott McNeill Whistler
Located in Portland, ME
Whistler, James A. M. VITRE: THE CANAL, BRITTANY. Levy 65, Spink 63. Lithograph, 1893. One of 32 lifetime impressions, printed by Way, with Whistler's butterfly signature in pencil...
Category

1890s Prints and Multiples

Materials

Lithograph

Bibi Valentin
By James Abbott McNeill Whistler
Located in Storrs, CT
Bibi Valentin. 1859. Etching and drypoint. Kennedy catalog 50 state ii; Glasgow catalog 34 state ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A ri...
Category

19th Century American Modern Portrait Prints

Materials

Etching, Drypoint

18th Century English Oil Landscape Painting: Elegant Figures alongside River Wye
By Attributed to William Marlow
Located in London, GB
Attributed to William Marlow (English, 1740-1813) Elegant Figures alongside the River Wye 1790 131 x 152 cm, inc. frame This quiet bucolic scene shows figures enjoying their natural...
Category

Late 18th Century Old Masters Figurative Paintings

Materials

Canvas, Oil

'En Plein Soleil' from the French Set, 'Douze eau-fortes d'apres Nature'
By James Abbott McNeill Whistler
Located in Myrtle Beach, SC
James Abbott McNeill Whistler, 'En Plein Soleil' from the French Set (Douze eau-fortes d'apres Nature), etching, 1858, edition 61, 4th state of 4, Kennedy 15. Signed in the plate, lo...
Category

1850s Impressionist Figurative Prints

Materials

Etching

The Rialto
By James Abbott McNeill Whistler
Located in New York, NY
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...
Category

Late 19th Century American Impressionist Landscape Prints

Materials

Drypoint, Etching

The Fair
By James Abbott McNeill Whistler
Located in Storrs, CT
The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid pa...
Category

Late 19th Century American Modern Figurative Prints

Materials

Drypoint, Etching

Disparate Pobre (Two Heads are Better Than One) – Trial Proof
By Francisco Goya
Located in New York, NY
Francisco de Goya y Lucientes (1746-1828), Disparate Pobre (Two Heads are Better Than One) – Trial Proof, with burnished aquatint, drypoint and engraving, c. 1812; plate 11 from Los...
Category

1810s Old Masters Figurative Prints

Materials

Engraving, Drypoint, Etching, Aquatint

The Jockey
By Henri de Toulouse-Lautrec
Located in Chicago, IL
Color lithograph on Chine volant, 1899. Edition of aproximately 112. Printed by H. Stern, Paris. Published by Pierrefort, Paris. Reference: Wittrock; 308-2nd edition, vol. 2, pg. 6...
Category

1890s Art Nouveau Figurative Prints

Materials

Lithograph

The Venetian Mast
By James Abbott McNeill Whistler
Located in Storrs, CT
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...
Category

1870s American Impressionist Landscape Prints

Materials

Drypoint, Etching

The Traghetto
By James Abbott McNeill Whistler
Located in New York, NY
James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 191, fourth state (of 6), Glasg...
Category

1870s Impressionist Landscape Prints

Materials

Etching, Drypoint

Bibi Lalouette - Etching by James Whistler - 1859
By James Abbott McNeill Whistler
Located in Roma, IT
Etching and drypoint in black ink on fine ivory laid Japan paper. Second state of two. Signed and dated in plate lower right "Whistler. 1859". Very good condition. Ref. Kennedy 51 i...
Category

1850s Modern Figurative Prints

Materials

Etching

Niagara Falls with View of Clifton House
By Jasper Francis Cropsey
Located in New York, NY
Signed and dated right of center: J.F. Cropsey / 1852
Category

Mid-19th Century Hudson River School Landscape Paintings

Materials

Canvas, Oil

Bridge, Amsterdam
By James Abbott McNeill Whistler
Located in New York, NY
James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed w...
Category

1880s Impressionist Landscape Prints

Materials

Etching

L’île Lacroix, à Rouen
By Camille Pissarro
Located in New York, NY
Camille Pissarro (1830-1903), L’île Lacroix, à Rouen, etching, aquatint, maniere grise, drypoint, burnishing, c. 1887. Signed and numbered (No. 1) in pencil lower left, annotated 1...
Category

1880s Impressionist Landscape Prints

Materials

Aquatint, Etching, Drypoint

Limehouse
By James Abbott McNeill Whistler
Located in New York, NY
James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the l...
Category

1850s Realist Landscape Prints

Materials

Etching

Old Putney Bridge
By James Abbott McNeill Whistler
Located in New York, NY
James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with ...
Category

Late 19th Century Impressionist Landscape Prints

Materials

Etching, Drypoint

Recent Sales

Pont-Neuf, Paris
By John Marin
Located in Myrtle Beach, SC
later.” —Harris Schrank, IFPDA Impressions of this print are in the permanent collections of the
Category

Early 1900s Post-Impressionist Landscape Prints

Materials

Etching

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Finding the Right prints-works-on-paper for You

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.

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