Landscape Prints

Artist: Thomas McKnight (American, 1941-) Title: "Westhampton" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white Somerset paper Limited edition: 143/175, (there were also 40 artist's proofs) Printer: Willco Fine Art, New York, NY Publisher: Chalk & Vermilion, New York, NY Sheet size: 21" x 23" Image size: 16" x 18.13" Condition: Never framed, has been professionally stored away in its original green silk boxed portfolio for decades. In mint condition Notes: Numbered by McKnight in pencil lower left. Comes from McKnight's 1987 "The Hamptons" portfolio of twelve screenprints. Artist's copyright stamp lower right on verso. Biography: Thomas McKnight (born 1941) is a U.S. artist. He was born in 1941 in Lawrence, Kansas. He attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. He spent his junior year in Paris. After a year of graduate work in art history at Columbia University, in 1964 McKnight found a job at Time Magazine where he would work for eight years, interrupted by a two-year stint in the U. S. Army in South Korea. In 1972 McKnight left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. In 1979 in Mykonos, McKnight met Renate, a vacationing Austrian student, and married the following year. Throughout the 1980s McKnight’s art, mainly limited edition serigraph prints, became increasingly popular. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton...

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

This David Hockney poster celebrates the artist’s deep connection to his Yorkshire roots. Printed in Bradford, it features a sweeping view toward Huggate, a village nestled in the ro...

This exquisite lithograph by Alexander Calder (1898–1976), titled Anneaux sur noir (Rings on Black), originates from the historic 1973 folio Derriere le Miroir, No. 201. Published by...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, cir...

Hockney returned to his native Yorkshire in the 1990s and was inspired by the countryside he found there. Interpreting it through the lens of early 20th century artists such as Matis...

Artist: Pablo Picasso Title: La Pique (I), Jeu de la Cape (III), Les Banderilles (IV) Portfolio: A Los Toros Avec Picasso Medium: Set of three transfer lithographs Date: 1961 Edition...

M.C. ESCHER (1898-1972) Birds and Fishes, 2008 Facsimile after the original woodcut from 1943 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 45 x...

M.C. ESCHER (1898-1972) The Waterfall, 2008 Facsimile after the original woodcut from 1935 Signed in the plate Numbered / 450 copies (the number you can see can be different) On vel...

This is an exclusive handprinted limited edition cyanotype. "Blue Moon" shows an outstanding full moon with all its details. Details: + Title: Blue Moon + Year: 2022 + Edition Size...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

This exquisite lithograph after Pablo Picasso (1881–1973), titled 25.4.64., from the folio Le Gout du Bonheur, trois carnets d`atelier (The Taste of Happiness, Three Studio Sketchboo...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Early October, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth. Published and printed by Art in America Company, Inc., New York, the edition exemplifies Wyeth’s sensitive observation of the natural world and his mastery of mood through subtle tonality. Early October captures the lingering golden light of autumn—the calm before winter—expressed through his signature dry-brush precision and contemplative restraint. Executed on velin paper, this lithograph measures 17 x 13 inches (43.2 x 33 cm). As issued, it is unsigned and unnumbered, representing the folio’s authentic format. The Four Seasons series was conceived by the editors of Art in America in collaboration with Andrew and Betsy Wyeth, who curated drawings from the artist’s studio that embodied the passage of time and the emotional tenor of each season. This image distills Wyeth’s gift for translating fleeting light and atmosphere into enduring poetic vision. Artwork Details: Artist: After Andrew Wyeth (1917–2009) Title: Early October, from The Four Seasons, Paintings and Drawings by Andrew Wyeth, 1962 Medium: Lithograph on velin paper Dimensions: 17 x 13 inches (43.2 x 33 cm) Inscription: Unsigned and unnumbered, as issued Date: 1962 Publisher: Art in America Company, Inc., New York Printer: Art in America Company, Inc., New York Condition: Well preserved, consistent with age and medium Provenance: From the 1962 folio The Four Seasons, Paintings and Drawings by Andrew Wyeth, published and printed by Art in America Company, Inc., New York Notes: Excerpted from the 1962 folio: "In 1962 the editors of Art in America proposed to Wyeth a portfolio of images of his recent dry-brush drawings. The artist and his wife suggested the theme, 'The Four Seasons,' because of the essential role played in his work by the cycle of the seasons. The drawings were selected by Andrew and Betsy Wyeth from works in the house and studio at Chadds Ford, supplemented by some owned by friends. With a few exceptions they had never been exhibited or reproduced. The plates were made directly from the originals. In these drawings Wyeth's loving concentration on the object is fully revealed. But as always in his work, this concern with the tangible is balanced by sensibility to mood, to the emotion arising from the actual. They are pervaded with a sense of the season—the exact time of year, the hour of the day, the quality of the light. To the truth and subtlety with which he captures these intangible factors, these drawings owe their poignant poetry." About the Artist: Andrew Wyeth (1917–2009) was an American visual artist and one of the best-known painters of the mid-20th century. Although he considered himself an abstractionist, Wyeth’s work is characterized by a meticulous realism imbued with psychological depth and atmosphere. He often painted the landscapes and people surrounding his homes in Chadds Ford, Pennsylvania, and Cushing, Maine, creating an intimate record of American rural life. The son of the celebrated illustrator N. C. Wyeth, Andrew trained under his father before developing his own deeply personal visual language inspired by Winslow Homer, Henry David Thoreau, and King Vidor. His wife, Betsy Wyeth, was both his muse and career manager, while his son Jamie Wyeth continued the family’s artistic legacy. Among Wyeth’s best-known works is Christina’s World (1948), housed in the Museum of Modern Art, New York—a quintessential image of 20th-century American art. His other notable series include The Helga Pictures and his window studies, each reflecting a profound meditation on solitude, memory, and perception. Wyeth was the first painter to receive both the Presidential Medal of Freedom and the Congressional Gold Medal, and was elected to the French Académie des Beaux-Arts in 1980. In 2022, Andrew Wyeth's painting Day Dream sold for USD 23.29 million at Christie’s New York, setting a world record for the artist. Andrew Wyeth lithograph...

ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled New Leaves, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth. Published and printed by Art in America Company, Inc., New York, the edition exemplifies Wyeth’s quiet observation of nature and the passage of time. New Leaves captures the delicate stir of spring renewal—the subtle emergence of life in the landscape—rendered with Wyeth’s hallmark balance of precision, restraint, and emotional depth. Executed on velin paper, this lithograph measures 17 x 13 inches (43.2 x 33 cm). As issued, it is unsigned and unnumbered, representing the folio’s authentic format. The Four Seasons series was conceived by the editors of Art in America in collaboration with Andrew and Betsy Wyeth, who selected drawings from the artist’s studio and personal archive to embody the poetic rhythm of the changing seasons. Each composition reveals Wyeth’s mastery of atmosphere, mood, and the quiet intensity of natural experience. Artwork Details: Artist: After Andrew Wyeth (1917–2009) Title: New Leaves, from The Four Seasons, Paintings and Drawings by Andrew Wyeth, 1962 Medium: Lithograph on velin paper Dimensions: 17 x 13 inches (43.2 x 33 cm) Inscription: Unsigned and unnumbered, as issued Date: 1962 Publisher: Art in America Company, Inc., New York Printer: Art in America Company, Inc., New York Condition: Well preserved, consistent with age and medium Provenance: From the 1962 folio The Four Seasons, Paintings and Drawings by Andrew Wyeth, published and printed by Art in America Company, Inc., New York Notes: Excerpted from the 1962 folio: "In 1962 the editors of Art in America proposed to Wyeth a portfolio of images of his recent dry-brush drawings. The artist and his wife suggested the theme, 'The Four Seasons,' because of the essential role played in his work by the cycle of the seasons. The drawings were selected by Andrew and Betsy Wyeth from works in the house and studio at Chadds Ford, supplemented by some owned by friends. With a few exceptions they had never been exhibited or reproduced. The plates were made directly from the originals. In these drawings Wyeth's loving concentration on the object is fully revealed. But as always in his work, this concern with the tangible is balanced by sensibility to mood, to the emotion arising from the actual. They are pervaded with a sense of the season—the exact time of year, the hour of the day, the quality of the light. To the truth and subtlety with which he captures these intangible factors, these drawings owe their poignant poetry." About the Artist: Andrew Wyeth (1917–2009) was an American visual artist and one of the best-known painters of the mid-20th century. Although he considered himself an abstractionist, Wyeth’s work is characterized by a meticulous realism imbued with psychological depth and atmosphere. He often painted the landscapes and people surrounding his homes in Chadds Ford, Pennsylvania, and Cushing, Maine, creating an intimate record of American rural life. The son of the celebrated illustrator N. C. Wyeth, Andrew trained under his father before developing his own deeply personal visual language inspired by Winslow Homer, Henry David Thoreau, and King Vidor. His wife, Betsy Wyeth, was both his muse and career manager, while his son Jamie Wyeth continued the family’s artistic legacy. Among Wyeth’s best-known works is Christina’s World (1948), housed in the Museum of Modern Art, New York—a quintessential image of 20th-century American art. His other notable series include The Helga Pictures and his window studies, each reflecting a profound meditation on solitude, memory, and perception. Wyeth was the first painter to receive both the Presidential Medal of Freedom and the Congressional Gold Medal, and was elected to the French Académie des Beaux-Arts in 1980. In 2022, Andrew Wyeth's painting Day Dream sold for USD 23.29 million at Christie’s New York, setting a world record for the artist. Andrew Wyeth lithograph...

Sunset Song – The Night stands as one of the most iconic works featured in Modern Ancient – Summer Exhibition at GSY Studio Gallery, UK, 2025.—this Limited Edition ( only 5 available...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Burning Off, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth. Published and printed by Art in America Company, Inc., New York, the edition captures Wyeth’s poetic meditation on atmosphere and transformation. Burning Off depicts a summer morning’s sea fog gradually lifting from the landscape, revealing the tranquil geometry of field and horizon. Through restrained tonal contrasts and delicate textural nuance, Wyeth conveys both the mystery and stillness of the natural world in transition. Executed on velin paper, this lithograph measures 17 x 13 inches (43.2 x 33 cm). As issued, it is unsigned and unnumbered, representing the folio’s authentic format. The Four Seasons series was conceived by the editors of Art in America in collaboration with Andrew and Betsy Wyeth, who selected drawings from the artist’s studio and personal collection to embody the cyclical poetry of the seasons. Each image reflects Wyeth’s profound sensitivity to light, time, and emotion—his ability to evoke the spiritual essence of landscape through quiet realism. Artwork Details: Artist: After Andrew Wyeth (1917–2009) Title: Burning Off, from The Four Seasons, Paintings and Drawings by Andrew Wyeth, 1962 Medium: Lithograph on velin paper Dimensions: 17 x 13 inches (43.2 x 33 cm) Inscription: Unsigned and unnumbered, as issued Date: 1962 Publisher: Art in America Company, Inc., New York Printer: Art in America Company, Inc., New York Condition: Well preserved, consistent with age and medium Provenance: From the 1962 folio The Four Seasons, Paintings and Drawings by Andrew Wyeth, published and printed by Art in America Company, Inc., New York Notes: Excerpted from the 1962 folio: "In 1962 the editors of Art in America proposed to Wyeth a portfolio of images of his recent dry-brush drawings. The artist and his wife suggested the theme, 'The Four Seasons,' because of the essential role played in his work by the cycle of the seasons. The drawings were selected by Andrew and Betsy Wyeth from works in the house and studio at Chadds Ford, supplemented by some owned by friends. With a few exceptions they had never been exhibited or reproduced. The plates were made directly from the originals. In these drawings Wyeth's loving concentration on the object is fully revealed. But as always in his work, this concern with the tangible is balanced by sensibility to mood, to the emotion arising from the actual. They are pervaded with a sense of the season—the exact time of year, the hour of the day, the quality of the light. To the truth and subtlety with which he captures these intangible factors, these drawings owe their poignant poetry." About the Artist: Andrew Wyeth (1917–2009) was an American visual artist and one of the best-known painters of the mid-20th century. Although he considered himself an abstractionist, Wyeth’s work is characterized by a meticulous realism imbued with psychological depth and atmosphere. He often painted the landscapes and people surrounding his homes in Chadds Ford, Pennsylvania, and Cushing, Maine, creating an intimate record of American rural life. The son of the celebrated illustrator N. C. Wyeth, Andrew trained under his father before developing his own deeply personal visual language inspired by Winslow Homer, Henry David Thoreau, and King Vidor. His wife, Betsy Wyeth, was both his muse and career manager, while his son Jamie Wyeth continued the family’s artistic legacy. Among Wyeth’s best-known works is Christina’s World (1948), housed in the Museum of Modern Art, New York—a quintessential image of 20th-century American art. His other notable series include The Helga Pictures and his window studies, each reflecting a profound meditation on solitude, memory, and perception. Wyeth was the first painter to receive both the Presidential Medal of Freedom and the Congressional Gold Medal, and was elected to the French Académie des Beaux-Arts in 1980. In 2022, Andrew Wyeth's painting Day Dream sold for USD 23.29 million at Christie’s New York, setting a world record for the artist. Andrew Wyeth lithograph...

Werner Bronkhorst, Birdie Chance, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over F...

Etching realized by Giambattista Albrizzi (1698-1777) for Thomas Salmon's Lo Stato presente di tutti i Paesi e Popoli do Mondo. Regno di Spagna. Includes a contemporary wooden frame...

One print from Jos Sances cycle concerning Moby Dick. A vast sperm whale drifts below the surface, scarred by harpoons, while above floats a lone survivor on a coffin raft—a haunting...

"Stone of Unction, Church of the Holy Sepulchre" is a framed 19th century hand-colored lithograph by David Roberts from the large folio edition of his monumental 6 volume publication...

The rare first proofs are hand painted on Giclee which was made on fine aluminium, each panel was hand painted and finished with original paints by artist Shizico Yi. Signed and numb...

'Noonday Shadows', etching and drypoint, edition 75, 1941, Kloss 376. Signed, and titled in pencil. A superb, richly inked impression, in warm black ink, on buff wove paper, in excel...

Werner Bronkhorst Swing, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FSC-certifi...

This is an exclusive handprinted limited edition cyanotype. "Day Time Seascape in Blue" is a handmade cyanotype print portraying the vibrant reflections of the Sun as seen from the c...

This exquisite lithograph and silkscreen with hand-rendered techniques after Pablo Picasso (1881–1973), from the rare 1970 folio Pablo Picasso, Le Gout du Bonheur (The Taste of Happi...

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradis I (Paradise I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This radiant and dreamlike composition envisions the Garden of Eden as a symbol of divine harmony and innocence, where life, color, and spirit coexist in perfect unity. Through lyrical forms and glowing tonal contrasts, Chagall expresses a vision of creation that transcends narrative, merging spiritual wonder with emotional warmth. Paradis I embodies the artist’s enduring fascination with the sacred origins of life and the poetic balance between the earthly and the eternal. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Paradis I (Paradise I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Paradis...

Offset print with coater varnish Edition of 294 of 300 71 cm (D) (28 in) Signed, numbered and titled on front Mint. Minor imperfections may appear due to the production process. Sold...

Plage de France, Côte d’Argent, le Bassin d’Arcachon by A. Marguet (1960) — Original French Travel Poster. Archival linen-backed in very fine condition, ready to frame. Grade A- co...

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

This exquisite lithograph by Marc Chagall (1887–1985), titled Soleil sur la ville (Sun Over the City), from the album Chagall Monumental Works, Special Issue of the XXe Siecle Review...

This stunning large Artist's Proof is an one-off, hand-painted with highlights by the artist , signed at front and on the back label too; this proof is 80% hand painted with original...

Julian Trevelyan 1910-1988 Harbour (from School Prints), 1946 lithograph 49.7 x 86 cm 19 5/8 x 33 7/8 in signed in pencil Julian Trevelyan was an important British artist in the twe...

This is a large Artist's Proof with original oil and gesso paint highlighting; it is the No 1 of the only 3 Proofs; the colours of the painting and Shizico's expressive brushstrokes ...

This stunning Artist's Proof is an one-off, hand-painted by the artist Shizico , signed at front and on the back label too; the proof is 90% hand painted with original oil paint by S...

This stunning Artist's Proof is an one-off, oil hand-painted and gilded by the artist , signed at front and on the back label too; each proof is 80% hand painted and gold gilded by S...

Artist: Salvador Dali (1904-1989) Title: Femme à tete de Roses Year: 2004 Medium: Lithograph on wove paper Size: 30.25 x 22 inches Condition: Excellent Inscription: Unsigned and unnu...

Serge LASSUS (1933-) Horses : Riders in Summer, 1983 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm (c. 22 x ...

Poster created for the exhibition The Lens of Impressionism, held at the Dallas Museum of Art in 1997. The image features a detail from Gustave Courbet’s A Bay with Cliffs, highlight...

This exquisite lithograph by Pablo Picasso (1881–1973), titled La Petite Corrida (The Little Bullfight), from the album Special issue of the XX Siecle Review, Hommage a Picasso, originates from the 1971 edition published by Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris. La Petite Corrida reflects Picasso’s lifelong fascination with the bullfight—a subject that symbolized vitality, struggle, and creation throughout his career. Executed with the spontaneity and graphic brilliance characteristic of his late lithographs, the composition captures both movement and ritual, merging ancient spectacle with modern energy. Executed as a lithograph on velin paper, this work measures 12.5 × 9.75 inches (31.75 × 24.77 cm). Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris, the atelier that produced many of Picasso’s greatest lithographic works. Artwork Details: Artist: Pablo Picasso (1881–1973) Title: La Petite Corrida (The Little Bullfight), from the album Hommage a Picasso, 1971 Medium: Lithograph on velin paper Dimensions: 12.5 × 9.75 inches (31.75 × 24.77 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1971 Publisher: Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Catalogue de L’oeuvre Grave et Lithographie, Pablo Picasso: Catalogue of the Printed Graphic Work. Editions Kornfeld, 1967, illustration 839. Goeppert, Sebastian, et al. Pablo Picasso, the Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 92. Picasso, Pablo, and Fernand Mourlot. Picasso Lithographs, Translated by Jean Didry, Boston Book and Art Publisher, 1970, illustration 302. Condition: Well preserved, consistent with age and medium Provenance: From the album Hommage a Picasso, published 1971 by Tudor Publishing Co. and Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro’s XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro—a visionary editor, critic, and champion of modernism—believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris, including Mourlot, Arte, and Bellini, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design—an enduring testament to Gualtieri di San Lazzaro’s belief that the visual arts are the soul of the modern age. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso’s career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d’Alger (Version “O”) achieved a record-breaking sale of $179,365,000 at Christie’s, New York, on May 11, 2015, affirming Picasso’s enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso La Petite Corrida, Picasso Mourlot Freres, Picasso XXe siecle, Picasso Hommage a Picasso, Picasso 1971 lithograph, Picasso velin paper, Picasso bullfight lithograph...

This is an exclusive handprinted limited edition cyanotype. Stunning image of a breezy "Malibu Pine Sea View". Details: + Title: Malibu Pine Sea View + Year: 2025 + Edition Size: 50...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the fleeting surfaces and monochromatic nature of oceanic water and dramatic cloudscapes ...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Forme Jaune (Yellow Shape), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Maeght ...

Beautiful arts and crafts, Provincetown School Woodcut print of a Massachusetts Harbor. Appears to have been someone in the circle of Arthur Wesley Dow. Woodcut print on paper on art...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Original 1964 Los Angeles, California vintage travel poster. Professionally archivally linen-backed in mint condition. This is one of four ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Antique British Steamship Etching This moody etching by Joseph Kirkpatrick (British, b. 1874 d. 1936) features a steamboat in the midst of choppy w...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Komposition (Composition), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

Etching and drypoint on watermarked Hudelist laid paper, 9 5/8 x 5 inches (245 x 129mm) full margins. Second state (of five) after lettering. A superb condition with a pencil inscrip...

This exquisite lithograph and pochoir by Lucio Fontana (1899–1968), titled Concetto Spaziale (Spatial Concept), from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Jui...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Title: 4 Liberty Heads Year: 2005 Medium: Offset lithograph in colors on gloss archival paper Size: 15 x 19 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as iss...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

Jean Solombre, French (1948 - ) - Incomparable Chant D'été De L'azur, Year: 1981, Medium: Etching with Aquatint on Arches, signed, titled, numbered and dated in pencil, Edition: 1...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

from a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism Topiary I by Frank Schott 59.5 x 59.5 inches (1...

This exquisite lithograph after Lucio Fontana (1899–1968), titled Concetto Spaziale (Spatial Concept), from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe si...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...