Building Figurative Prints

Toeizan Temple in Ueno is an original modern artwork realized by Utagawa Hiroshige (1797 – 1858) in the 1840s. From the series "Toto meisho" (Famous views of Tokyo). Oban. Dimensio...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

Yvonne Jacquette EAST 15th Street (Faberman 8), 1974 Lithograph in five colors on Arches Cover paper Hand signed by the artist on lower right front This is a rare pencil signed proof, aside from the regular edition of 125. Printed by Paul Narkiewicz and Chip Elwell; published by Brooke Alexander, Inc. (to benefit the Horace Mann School in NYC) 17 3/8 × 21 1/8 inches Unframed Other examples of this exquisite work are in major museums and collections such as the Whitney Museum of American Art. Literature: Aerial Muse: The Art of Yvonne Jacquette by Hilarie Faberman (2002-01-29), 8. Yvonne Jacquette Biography: Yvonne Jacquette (1934 - 2023) was born on December 15, 1934 in Pittsburgh, Pennsylvania and grew up in Stamford, Connecticut. She attended the Rhode Island School of Design, Providence from 1952 to 1955, when she moved to New York City. She continued to live and work in New York City, as well as in Searsmont, Maine. A flight to San Diego in 1969 sparked Jacquette’s interest in aerial views, after which she began flying in commercial airliners to study cloud formations and weather patterns. She soon started sketching and painting the landscape as seen from above, beginning a process that has developed into a defining element of her art. Her first nocturnal painting with an aerial perspective, East River View At Night (1978), inspired a lasting exploration of the effects of bright lights, reflections, and indistinct objects set against surrounding darkness. The city of New York was a special focus of Jacquette’s. In the 1980s and 1990s, she chartered planes from Teterborough Airport in New Jersey to circle the city while she sketched the scene below. She also worked from the Empire State Building, and, from 1974 through early 2001, often used empty offices or an enclosed deck at the World Trade Center. Jacquette painted aerial landscapes across the country, as well as city views in San Francisco, Chicago, Minneapolis, Philadelphia, Vancouver, Tokyo, and New Orleans. After a trip to Hong Kong in 1990, she began incorporating composite viewpoints into her work, realizing that she could better express the city’s many layers of complexity by creating new spatial configurations through multiple perspectives. Since then, she continued to base her paintings on pastels made from direct observation, while frequently enlivening compositions through heightened color, repetition of certain elements, and manipulation of light, scale, and perspective. As she approached the rendering of space with greater freedom, her paintings became both more inventive and disjunctive, combining aspects of observation, memory, and imagination.  Jacquette participated in her first group show in New York City in 1962 and has been exhibiting steadily since. In 1965 she had a one-person exhibition at Swarthmore College, PA. In 1983, the St. Louis Art Museum organized her first major museum exhibition. A comprehensive retrospective, Aerial Muse: The Art of Yvonne Jacquette, originated at the Cantor Center for Visual Arts, Stanford University, CA in 2002 and traveled to Colby College Museum of Art, Waterville, ME; Utah Museum of Fine Arts, Salt Lake City; and the Hudson River Museum, Yonkers, NY. In 2008, the Museum of the City of New York organized Under New York Skies: Nocturnes by Yvonne Jacquette, which was shown concurrently with Street Dance, an exhibition of photography by her late husband, Rudy Burckhardt...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

It is certainly the most appropriate translation of Pascale Hémery’s work, which takes a look at the places visited on a daily basis and during her travels abroad. This look is the s...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 16/50. Numbered and firmed by the artist in the lower margin. Good condition...

Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...

Greenock is an etching realized in 1845 by F. W. Topham. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions with slight ...

Le Callitriche is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet d...

Etching on bluish-grey wove paper, 8 5/8 x 5 1/8 inches (221 x 130 mm), full margins. Signed and dated in pencil. In good condition with light mat tone on the recto and various frame...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 17/50. Numbered and firmed by the artist in the lower margin. Good condition...

A beautiful and delicate 19th century image of late autumn in New England. Boston: Estes & Lauriat Editons, 1888. Etching on cream laid paper, 6 x 11 inches (150 x 278 mm), full ma...

Etching on bluish-grey, thin laid paper, 9 1/2 x 5 1/2 inches (242 x 140 mm), full margins. Signed, dated and numbered "II." In very good condition with three pin-point sized dots of...

Le Cocquar is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particuliè...

La Tourtereller Blanche is an etching realized by Jacques Blanchon in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. ...

Etching with aquatint printed in brownish black ink on watermarked BFK Rives cream wove paper, 9 1/2 x 7 11/16 inches (240 x 193 mm), full margins. Signed in pencil and numbered 79/...

Etching on antique handmade laid paper, 9 5/8 x 4 1/4 inches (246 x 109 mm), full margins. Signed and dated (1928) in pencil, lower margin. Printed by Frederick Reynolds. In very goo...

Underwater Dream 3 by Paula Craioveanu, Digital Photocollage 19.5 x26.5in / 50x70cm part of my "NeoMythology" series. Printed on Hahnemuhle art photo paper with white borders Shi...

Etching on antique cream laid paper, 5 x 2 inches (127 x 52 mm), full margins. Signed and dated in pencil lower margin. From the editoin of 156, printed by Frederick Reynolds. In s...

Lithograph Handsigned by the artist in pencil and annotated "Epreuve artiste" Artist proof Dedicated proof LCD5989

Etching and drypoint on tissue-thin cream laid paper, 6 5/8 x 8 1/8 inches (167 x 205 mm), full margins. Signed in pencil in the lower right margin, and inscribed "Ponte Trinità, Flo...

Etching on cream wove paper 3 5/16 x 1 7/8 inches (84 x 49 mm), full margins. Signed, dated and inscribed "II" in pencil, lower margin. Likely one of eight trial proof impressions f...

The Minature Print Society of Kansas City, Mo. , 1942. Etching on cream colored Japon wove paper, 2 1/4 x 2 15/16 inches (58 x 75 mm), full margins. Signed, dated and inscribed "II"...

Etching on bluish-grey, antique laid paper, 5 x 3 5/8 inches (127 x 93 mm), signed, dated, and inscribed "III" in pencil, lower margin. A proof impression from the third state (of 3)...

Ed Ruscha Some Los Angeles Apartments (Unsigned), 1965 True First Edition Artist Book: Stated Limited Edition of only 700 7 × 5 1/2 inches Unframed A rare and elusive 1960s Artist Book. Makes a terrific gift. This is a TRUE 1965 1st Edition of only 700 stated copies. (NOT to be confused with the second edition in 1970 which was published in a much larger edition of 3000 and NOT to be confused with an eponymous 1990 Whitney Museum publication.) A must have for Ruscha Fans. SOME LOS ANGELES APARTMENTS. Los Angeles: Self-Published, 1965. True First Edition Printed Wrappers with Glassine. Original Artist's Book. This marvelous vintage 1965 48 page book features 34 black and white illustrations and is in surprisingly fine condition. "Some Los Angeles Apartments" is Ed Ruscha's third artist book - a wry yet heartfelt photographic survey of the subtle beauty of the post-war Southern California rental property construction boom. A spectacularly bright, most handsome example of the uncommon 1965 first edition (entry B3 in Siri Engberg's "Edward Ruscha: Editions 1959-1999" which is also cited on page 141 of Martin Parr and Gerry Badger's "The Photobook: A History Volume II", pages 198-201 of The Hasselblad Center's "The Open Book", page 105 of "From Fair to Fine 2", and page 226 of "From Fair to Fine 3") limited to seven hundred unnumbered copies. This is an exceptional example of this important little gem that is often confused with the 1990 Whitney Museum exhibition catalogue of virtually the same title. "In the 1960s, Ed Ruscha more or less reinvented the artist’s book. By turning away from the craftsmanship and luxury status that typified the livre d’artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. Some Los Angeles Apartments, with its straightforward presentation of modern California domestic buildings, celebrated the vernacular architecture of Southern California." The Getty Museum "....It's perhaps fitting that Ed Ruscha - one of the central figures in late 20th century photography - does not consider himself a photographer. "I think photography is dead as a fine art," he told John Coplans...

Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...

Etching on cream wove paper, 5 9/16 x 2 3/4 inches (142 x 70 mm), full margins. Signed, titled, numbered "III," and inscribed in pencil by the artist in the lower margin, recto. In v...

Etching on cream wove paper 5 7/8 x 3 3/8 inches (150 x 86 mm). Signed and dated in pencil in the lower margin. First state (of 2), before the removal of the inscription in the lowe...

View of two churches is an artwork realized by Giovan Battista Piranesi (1720 Venice - 1778 Rome ). Madonna of Loreto and Santa Maria at Trajan's column - Rome. Etching on paper, ...

JOHN MARTIN (1789 – 1854) DEATH OF THE FIRST BORN, Dedicated to His Majesty King Louise Philippe, King of the French, as a Tribute of the Artist’s Grateful...

Abbey of Arbroath is an engraving on paper realized by T. Higham in 1838. The artwork is in good condition. The artwork is depicted in a well-balanced composition.

Christo and Jeanne-Claude The Pont Neuf, Paris Wrapped (Hand Signed), ca. 1985 Offset Lithograph Hand Signed by Christo on the front upper left 24 1/2 × 37 inches Unframed This elega...

Amalia Avia (Spain, 1939) 'Carabel Santa María' engraving on paper 16.6 x 12.3 in. (42 x 31 cm.) Edition of 6 ID: AVI1261-002-006 Unframed Hand-signed by author

Roman View is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbered...

Richard Haas Chelsea Hotel, Sunset, 1980 Offset Lithograph poster on paper Pencil signed on the front 23 1/4 × 21 1/2 inches Unframed This striking offset lithograph poster by the wo...

St. Peter's Square is an etching realized by the Italian artist Giuseppe Malandrino. hand-signed by the artist on the lower right in pencil. Numbered in Roman numerals, edition o...

Navona Square - Rome is an artwork realized by Giuseppe Malandrino . Print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Numbered on the lo...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 25/50. Numbered and firmed by the artist in the lower margin. Good condition...

Hedley Fitton (British, c. 1857-1929) John Knox's House, c. 1900 Etching 17 x 12 3/4 in. Framed: 25 x 20 1/2 in. Signed in the plate by Hedley Fitton Sig...

The Place St. Andre des Arts, on the Left Bank in Paris, would have been a natural environment for Bendiner. It was the Latin Quarter, just south of the Louvre and near everything im...

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...

Anton Schutz, 'Venice, Maria della Salute', etching, c. 1930. Signed and titled in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on cream wove paper, ...

The Sands at Southport is an etching realized in the Early-20th Century by J.C.Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

Blackpool is an etching realized in the Early-20th Century by J.C. Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

This artwork "City Scene" 1933 is an original color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil at the lower center by the artist and dated in the plate. The plate mark (image) size is 15.25 x 10.55 inches, framed is 24 x 18.65 inches. It is custom framed in a dark wood frame, with light creme color matting and light brown filet. It is in very good condition, the frame have some scratches. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

"Magic Circus" lithograph by Michel Delacroix. Hand-signed MIchel Delacroix. Hand-numbered XX/C. Depicts a circus, complete with elephant and horses, traveling through a French city...

Candida Höfer’s first solo exhibition in Turkey, a selection of Höfer’s interior photographs of public or private buildings such as library, museum, exhibition space, waiting room, c...

Gondoliers in Venice is an etching realized by Gianpaolo Berto in 1974. 60 X 75 cm , no frame. Edition 29/50. Numbered and firmed by the artist in the lower margin. Good condition...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...

This early 19th century etching entitled "Veduta degl' Avanzi delle Torri di Belisario Dalla parte che guarda l' Interno della Città, vicino a Porta S. Giovanni, A. Mura Aureliane" (...

Lithograph with foil stamping and embossing on paper. Hand signed and numbered by the artist. From the edition of 200. Artwork is in excellent condition. Certificate of authenticit...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...