Boat Figurative Prints

Sea Creature and Sky-Eyes is a colored lithograph realized by the artist Roger Chapelain-Midy in 1974. Hand-signed by the artist on the lower right. Numbered on the lower left. Edit...

Fishermen is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realize...

Scarborough is an etching realized in 1845 by Edward Francis Finden. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions ...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Venice is an original modern artwork realized in Italy in the half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in Letters on the lower central margin. Pa...

Snow Scene along Kiso Route is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 19th century. Very Good conditions. Collect an oriental artwork...

Cromer is an engraving on paper realized by F.Finden in 1838. The artwork is in good condition. The artwork is depicted in a well-balanced composition.

Industrial port is an original lithograph on paper realized in 1979 by Giuseppe Megna . Hand-signed and dated on the lower right, numbered on the lower left in pencil. Edition of 74...

Trees is an lithograph on paper realized by an unknown artist in the 20th Century. The artwork is in good condition.

Vestigie dell'antico Ponte Trionfale is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins with some foxings. Giuseppe Vasi (Corleone,1710 - Rome, 1782) was an engraver, architect, and landscape artist. Between 1746 and 1761, Vasi published 10 volumes with 240 engravings of the monuments of Rome...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 23/50. Numbered and firmed by the artist in the lower margin. Good condition...

Eight Scenic Spots in Kanazawa is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige...

Blyth is an Engraving realized in 1845 by E.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Maryport is an etching realized in 1845 by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Conway Quay is an etching realized in 1845 by J.C. Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Archangel is an original modern artwork realized in Germany in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capit...

On the beach is an original lithograph realized by Nicola Simbari in 1977. Hand-signed on the lower right. Edition of 100 prints. The artwork represents a beach with an abstract m...

Ancient View of Rio Janeiro is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted on the lower margin: Rio J...

Ancient View of Dublin is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in...

Ancient View of Stockholm is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin...

Gondoliers in Venice is an original etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 32/50. Numbered and firmed by the artist in the lower margin. Good ...

The Sea is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 19th century. ...

Port de la Nouvelle-Orléans s a beautiful black and white xylograph on paper, realized by François Pannemaker, after a drawing from a photograph by E. de Berard, as the caption under the image suggests and the signature under the print on sides " E. de Berard / Pannemaker=Ligny". Realized in 1865, this original print offers us a wonderful and historical view on the lively New Orleans port...

Ancient View of Tenerife is an original lithograph on paper realized by Eigenthum d. Verleger in The 19th Century. Signed on the plate on the lower right corner. Original lithograph on paper. Titled on the lower center. Good condition. An impressive landscape...

Ancient View of Hong Kong is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower ma...

The Picturesque Harbor is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 3/99, on the left margin. ...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 45/50. Numbered and firmed by the artist in the lower margin. Good condition...

Whitby is a lithograph on paper realized by the artist James Duffield Harding. Signed on the plate on the lower left. Titled on the lower center. Engraved by W. Finden The state of...

Seascape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 7/99, on the left margin. On the back i...

Seascape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 4/99, on the left margin. On the back ...

Boats in Porto San Giorgio is an original woodcut print realized by Attilio Giuliani in 1924. Signed and dated on plate. The artwork depicts a scene from the habour of Porto San Gio...

Scarborough is a lithograph on paper realized by the artist James Duffield Harding. Signed on the plate on the lower left. Titled on the lower center. Engraved by W. Finden The sta...

Lithograph realized in the mid-20th Century by an unknown artist. Hand-signed and titled on the llower right. Numbered on the lower left, edition of 180 prints. Good conditions.

Harbor View is an original lithograph realized by Paul Petit in the mid-20th. Hand-signed. Artist's proof. The artwork is depicted through confident stro...

Ancient View of Porta Felice and Marina is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted ...

Reflections on the river is an original colored lithography print on white paper realized by Claudio Tessari. Hand-signed in pencil on the lower right, Numbered, edition of 120 prin...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Letter of the Alphabet N, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

Still Life from the series "Antiquities of Herculaneum", is an etching on paper realized by Nicola Vanni and Giovanni Guerra in the 18th Century. Signed on plate. Good conditions e...

View of the Two Foscari is an original modern artwork realized in Italy in the half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in Capital Letters on the ...

Seascape With Vesuvio and Boats is an Etching realized by Filippo Morghen (1730-1807). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: ...

ITALIAN VILLAGE by the South American artist Jorge Dumas, is an original hand drawn lithograph hand proofed and printed using traditional lithography techniques on archival printmaki...

The Harbor is an original lithograph realized by Paul Petit in the mid-20th Century. Hand-signed. Numbered, 48/112 The artwork is depicted through confid...

The Bay is an original lithograph realized by Paul Petit in the mid-20th. Hand-signed. Numbered. Edition, 6/9. The artwork is depicted through confident ...

Letter N is an Etching realized by Luigi Vanvitelli of 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Er...

Boats is an original lithograph realized by Paul Petit in the mid-20th Century. Hand-signed. Numbered, 67/75 The artwork is depicted through confident st...

Bombing of Tanger is an original Hand-colored lithograph on paper realized by an Anonymous artist of the XIX century. Titled on the lower center. The state of preservation of the...

Letter of the Alphabet N, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Ancient View of Caldwell's Landing is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital...

Sunset is an original print realized in the 1970s. Mixed colored lithograph This lithograph is hand-signed. Unreadable signature. Artist's proof. Good conditions.

Ancient View of Gripscholm is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margi...

Novgorod is an original modern artwork realized in Germany in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: N...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Rotterdam is an original modern artwork realizedin the mid of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Rotterdam. Sheet dimension...

Dämpfer in den hafen von New York (Damper in New York Harbor) is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. In...

Letter of the Alphabet N, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

Seascape is a lithograph attributed to Nicholas Verrall in the Late 20th Century. Hand-signed on the lower right Numbered, Edition, 10/99. The artw...