New York City - Landscape Prints

Old Squaw Chris Forrest, American (1946) Date: 1980 Lithograph, signed and numbered in pencil Edition of 40 Image Size: 17.5 X 23 inches Size: 22 in. x 27 in. (55.88 cm x 68.58 cm)

Artist: John Baeder, American (1938 - ) Title: Tick Tock Diner Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 250 Size: 22 x 30 in. (...

Untitled XXV Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 13.5 in. x 19.5 in. (34.29 cm x 49.53 cm)

Reward for Hard Work Vic Herman, American (1919–1999) Date: 1979 Lithograph, signed and numbered in pencil Edition of 200, AP 45 Image Size: 13 x 25 inches ...

Untitled I Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled X Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 13.5 in. x 19.5 in. (34.29 cm x 49.53 cm)

Traveling Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 13.5 in. x 19.5 in. (34.29 cm x 49.53 cm)

Untitled XXI Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled XXIII Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Butterfly Nets Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 13.5 in. x 19.5 in. (34.29 cm x 49.53 cm)

Untitled XXVI Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled - IV Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled - Night Path Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled - Paper Tree Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Evergreen Chris Forrest, American (1946) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300, AP 40 Image Size: 18 x 22 inches Size: 22 in. x 26 in. (55.88 cm x 66.04...

Leopard Silhouette Caroline Schultz, American (1936–2004) Date: 1979 Lithograph, signed and numbered in pencil Edition of AP 50 Image Size: 18 x 24 inches Size: 23 in. x 28 in. (58.4...

Untitled - Stairs and Ladders Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Santa Margherita Wayne Ensrud, American (1934) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 300, AP 45 Image Size: 20 x 27 inches Size: 21.5 in. x 30 in. (54...

After the storm Uwe Werner, German/American (1942) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300 Size: 19 in. x 25 in. (48.26 cm x 63.5 cm)

Plastic on Paper is an edition of 30 screenprints made with Wassaic Project’s Edition Program. I worked with master printer McKinzie Trotta to translate my sculpture processes into a...

Stone Church Bogdan Grom, Italian (1918–2013) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 200, AP Image Size: 22 x 16 inches Size...

Sailing in the Mist Nils Obel, Danish/American (1937–2018) Date: 1981 Lithograph, signed and numbered in pencil Edition of 200 Image Size: 18 x 24.5 inches Size: 22 in. x 30 in. (55....

Western Hemlock Roslyn Rose, American (1929) Date: 1981 Lithograph, signed and numbered in pencil Edition of 160 Size: 35 x 23 in. (88.9 x 58.42 cm)

David Cain’s serene depiction of a seaside marina is filled with the light of the setting sun reflecting off of the placid water beside the bobbing boats. Clinton Marina David Cain,...

Grotta Verde I, Dresda 2018 C print 39.5 x 47.5 inches - edition of 5 47.5 x 59 inches - edition of 5 71 x 88.5 inches - edition of 5 Massimo Listri is a Florence-based photographer...

Grotta Verde II, Dresda 2018 C print 39.5 x 47.5 inches - edition of 5 47.5 x 59 inches - edition of 5 71 x 88.5 inches - edition of 5 Massimo Listri is a Florence-based photographe...

Mid Century Modern Architecture Classic Porsche Photograph Raspberry Moonlight. Classic Car in Palm Springs California. Mid Century Modern Architec...

Looking out over the Seine and a bridge running across it, Pablo Picasso's view of the famed Notre Dame de Paris is filled with light, airy buildings layered in front of one another....

Castello Tramontano, Matera 2018 C print 39.5 x 47.5 inches - edition of 5 47.5 x 59 inches - edition of 5 71 x 88.5 inches - edition of 5 Massimo Listri is a Florence-based photogr...

Spanish artist Salvador Dali is considered to be the father of Surrealism, renowned for his technical skill and unique style. This etching features a city landscape with fountains, c...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View near Radda Milton Glaser, American (1929...

A surrealist illustration from Salvador Dalí’s (Spanish, 1904-1989) Divine Comedy series based on the Italian writer Dante’s epic poem. Inferno is the first part of the epic, which f...

Original poster commemorating Rene Ricard's 1990 exhibition Paintings 1989-1990 at the Petersburg Press Gallery, New York. The image reproduces his...

"The Queen Flower" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, color...

Daniel Rothbart, Storm at Blackpool, 1955-2021, printed on Epson Cold Press Bright paper with archival ink, 22.25 x 24 in. (56.5 x 61 cm.), edition of ...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View near Greve Milton Glaser, American (1929...

Sheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Rapunzel, Rapunzel let down your Hair” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 10.5 × 9.85 in. / 26.7 × 25 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. Hockney illustrates this scene with incredible texture detail: layers of aquatint defining the soft forest floor, delicate hatching on the horse's haunch, the tower's tight crosshatching, and of course the lyrical gesture of Rapunzel's hair which cascades from the upper right corner. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...

Christopher Wool Christopher Wool (Hand Signed), 2015 Double sided offset lithograph poster. Hand signed by Christopher Wool 24 × 19 inches Sig...

l'Arbre Guy Charon, French (1927) Date: circa 1975 Lithograph, signed and numbered in pencil Edition of 250, EA Image Size: 18 x 22 inches Size: 22 x 30 in. (55.88 x 76.2 cm)

Harry Shokler used serigraphy to great advantage in this landscape. It's colorful and detailed. It is signed in the image at the lower left. When printmakers began making serigraphs...

An original hand-signed lithograph "Dos Cabezas" from the Mujer Suite by Mexican Modern master, Rufino Tamayo. Reference: Pereda 107 Dos Cabezas by Rufino Tamayo, Mexican (1899–1991...

Artist: Fairfield Porter, American (1907 - 1975) Title: Untitled (NYC) Year: circa 1970 Medium: Lithograph on Arches, signed and numbered in pencil Edition: 100 Size: 22 in. x 30 in....

In this print by Pablo Picasso, the artist depicts a mythological scene in which a little girl leads a blind minotaur. Set against a seascape, the artist’s use of flowing lines and minimal color creates a whimsical and mysterious scene. Estate of Picasso, (Marina Picasso) pencil signature and embossed blind stamp lower right. Ink stamp verso ‘Approved by the heirs of Pablo Picasso’. Minotaure Aveugle Conduit par une Petite Fille Pablo Picasso (After), Spanish (1881–1973) Portfolio: Marina Picasso Estate Lithograph Collection...

Striking, large, black and white city landscape in South America at night. A couple strolls towards the neon lights of a vintage 1950's theater, reflected in the wet sidewalk, with palm trees and tropical plants. Hand painted monotype ink creates a dramatic, film noir painting...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View from Volpaia Milton Glaser, American (19...

Daniel Rothbart, Airship, 1923-2023, printed on Epson Cold Press Bright paper with archival ink, 15.5 x 24 in. (39 x 61 cm.), edition of 3 with two APs, signed and numbered.

Daniel Rothbart, Book Seller, 1903-2021, printed on Epson Cold Press Bright paper with archival ink, 24 x 15.3 in. (61 x 39 cm.), edition of 3 with two...

Lithographic poster produced for an exhibition of Picasso's paintings at Galerie Louise Leiris in 1962. Designed by Henri Deschamps using Picasso's oil...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

“LA CASITA AZUL” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casita Azul” circa 1970. The image size is 21.50 x 31.25 inches and the paper size 23.13 x 33 inches. Printed in an edition of 100 this impression is inscribed “91/100” - the 54th impression of 100. Pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Daniel Rothbart, Sous-marin, 1914-2022, printed on Epson Cold Press Bright paper with archival ink, 16.8 x 24 in. (42.7 x 61 cm.), edition of 3 with tw...

Daniel Rothbart, Trasmettiamo per voi, 1953-2022, printed on Epson Cold Press Bright paper with archival ink, 16.64 x 24 in. (42 x 61 cm.), edition of ...

Daniel Rothbart, Château de la Napoule , 1968-2022, printed on Epson Cold Press Bright paper with archival ink, 16.8 x 24 in. (42.7 x 61 cm.), editio...

Artist: Erte Title: Summer Breeze Year: circa 1982 Medium: Serigraph, Signed and Numbered in Pencil Edition: 197/300 Image Size: 26.5 x 19 inches Size: 30.5 in. x 23 in. (77.47 cm x ...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Growing Tall Max Epstein, Canadian (1932–2002) Date: 1980 Screenprint, signed and numbered in pencil Edition of 295 Image Size: 28 x 18.5 inches Size: 35 in. x 23 in. (88.9 cm x 58.4...

Born Free Max Epstein, Canadian (1932–2002) Date: 1980 Screenprint, signed and numbered in pencil Edition of AP Image Size: 19 x 28 inches Size: 23 in. x 35 ...