Horizontal Landscape Prints

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

This contemporary coastal landscape is a Limited Edition print by Daniel Pollera. It depicts a sandy beach with waves rolling in from the right-hand side of the composition. Two Adir...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Ben Avram, Israeli (1937 - ) - Jerusalem, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: HC, Size: 14.5 in. x 22 in. (36.83 cm x 55.88 cm)

Benton Murdoch Spruance (1904-1967). Harps Once Played, 1935. Edition of 30. Lithograph on wove paper, plate measures 10.75 x 14 inches. Sheet measures 13 x 18 inches. Signed in p...

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

'Entrance to the Tomb of the Kings', tinted lithograph after David Roberts RA. Signed in stone lower right. Printed title below the image. Roberts tr...

"A Night Dance by Women in Hapaee" is an original 18th century engraving from a drawing by John Webber (1751-1793), who was the artist who accompanied Captain Cook on his third voyag...

Harry Schaare, American (1922 - 2008) - First Mountain Flying, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Image Size: 20 x 28 inches, Si...

Raul Anguiano (1915-2006) was an artist associated with the second wave of Mexican Muralists. This lithograph, Lime Kilns, was published in the Mexican Peoples Portfolio in 1947. M...

In Pequod, artist Jos Sances offers a visually powerful interpretation of a climactic moment from Herman Melville’s Moby-Dick. Rendered with meticulous detail, the scene depicts the ...

GEORGES ROUAULT (1871-1958) MON DOUX OU-ETES-VOUS? / MY SWEET COUNTRY, WERE ARE YOU? 1927 ( Chapon/Rouault 97; Wofsy 151) Miserere XLIV Aquatint, 1927, on laid Arches. watermark...

Artist Name: Julian Trevelyan Title:Richmond Year: 1969 Medium Type: Etching, with Aquatint Size-Width Size-Height: 22'' x 29'' inches Signed Edition Size: Signed in pencil, title...

Bouvet 66. Trial proof showing variation in the foreground, most noticeably the presence of a dog. From the series "Some Scenes of Parisian Life" published by Vollard. With collector...

Henri ROUSSEAU (called Le Douanier ROUSSEAU) Paris : Seine River and Notre Dame Church Stone lithograph after a painting (Mourlot workshop) Printed signature in the plate Justified ...

This is an original John James Audubon hand-colored lithograph entitled "American Black or Silver Fox, No. 24, Plate CXVI" from John James Audubon's Quadrupeds of North America, publ...

A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman catalog number 47 state vii/xiv. 5 1/2 x 8 1/2 (sheet 6 7/8 x 9 1/2). An extremely rich impression with drypoint burr, p...

Ancel Nunn (1928-1999) Austin, Tyler, Palestine Artist Image Size: 12 x 17.5 Frame Size: 18 x 24 Medium: Lithograph "San Ygnacio - Vela Mercantile" Biography Ancel Nunn (1928-1999)...

Untitled (Nr. 0189) Landscape Photography 36" x 44" Edition of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culminatio...

This etching by Dimitrios Galanis , Greek early 20th century artist is part of my private collection and there is only one available. Dimitrios Galanis was a good friend of Picasso. ...

Etching on medium stock, cream wove paper, 5 15/16 x 10 3/16 inches (151 x 259 mm), full margins. Signed and titled in pencil, lower margin. A fine and detailed impression in dark bl...

Artist: Harold Altman (American, 1924-2003) Title: November 1981 III (Jardin du Luxembourg, Paris) Year: 1981 Medium: Original color lithograph Edition: Inscribed "Artist Proof" in pencil Paper: Arches Image size: 7.75 x 11.70 inches Framed size: 18.65 x 22.5 inches Signature: Hand signed and titled in pencil by the artist Condition: Excellent Frame: Custom framed in a wooden silver frame frame, with light light grey matting and brownish green fillet. About the artist. Print...

Jean-Marie Picard, French - Paysage, Medium: Lithograph on Arches, signed in the plate lower right, Image Size: 19.5 x 26.75 inches, Size: 22 x 29.75 in. (55.88 x 75.57 cm)

Le Buisson is a photogravure realized in the 19th Century. signed. Good condition.

Tilmann Krieg Morning at St. Malo from folio "Bretagnemappe Finis Terrae" Color Etching Image Size: 4.72 x 7.08 inches (12 x 18 cm) Sheet Size: 10.43 x 15.55 (26.5 x 39.5 cm) Signed...

Etching on cream wove Japon paper, 7 3/8 x 7 3/4 inches (188 x 197 mm), full margins. Signed and dated in pencil, lower margin. In excellent condition with some minor surface soiling...

At certain times of the year hares are running wild in the field opposite my house. A summer crop will be harvested and the hares will return to the field. They move quickly and are ...

Title: Mountain Lake (Berg see) Creator: Lovis Corinth Date Created: 1922 Signatures / Inscriptions: Signed by artist Set or Series Title: Early Spring in the Mountains (Vorfrühling ...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 012 Subject: Red Boats, Framed Size: 17.5" x 24.5" x 0.8''inch, 44x62x2cm, Ready to Hang, Wooden Frame. All works are co...

Subscription and first edition lithographs in stock Full plate: 196 Presented in a acid free mount

Urbain HUCHET Paris : Before the Show at Opera, c. 1980 Original lithograph Handsigned in pencil by the artist Numbered / 350 copies On Arches velllum 12 x 18 cm (c. 5 x 7 in) Exce...

Lithograph on acid-free Rivoli paper. Paper Size: 8.5 x 10.3 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Against All Odds, 20 drawings - Oct. 3, 1...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

Lithograph on vélin paper. Paper Size: 12.4 x 14 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, No...

Artist Mati (Abdul) Klarwein Title: Developments  Year: 1978 Print - Lithograph Paper Size 23" x 23½" inches Edition: signed in pencil and marked 2/300 Hand embellished by the artis...

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

An image of Jerusalem from the first comprehensive collection of documentary images of the Holy Land. London: Cassell, Petter & Galpin, circa 1850. Lithograph with hand coloring an...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 10.5 x 13.75 inches Inscription: Signed in the plate...

Etching with aquatint on cream wove paper, 6 11/16 x 9 15/16 inches (170 x 252 mm), full margins. Signed in pencil in the lower right margin. With significant toning and moderate mat...

Antonio Frasconi created the color woodcut entitled "View of Venice II – Bacino" in 1968. It is signed, titled, dated, and inscribed “13/18” in pencil. The paper size is 24 x 36 inch...

Vibrant screen print of people gathering around a pond by Jane Leddy (American, 1925-2019). People and various animals - including goats, ducks, and cows - ...

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

large scale original photograph of vintage television set with iconic western movie in American Wild West landscape Cowboy TV by Frank Schott 30 x 40 inches (76 x 102cm) signed edi...

This coastal linocut was inspired by light on water and the tumble of floats on the ramp. The source was the East Anglian harbour at Southwold. I also wanted to use bright red and or...

This rare original John James Audubon hand-colored royal octavo lithograph is entitled "The Jaguar", No. 21, Plate CI, 101 from Audubon's "Quadrupeds of North America". It was drawn ...

Artist: Christo Title: Ponte Neuf Empaquette-Long View Medium: Photograph Size: 25 x 38 inches Year: 1985 Publisher: Nouvelles Image Reference #: Schellmann 86 Hand signed by the art...

Series - Monet's House by Lélia Pissarro (B. 1963) Serigraph 38 x 48 cm (15 x 18 ⁷/₈ inches) Signed and numbered Printed in an edition of 300 Artist's Biography: Born in Paris in 19...

Original vintage poster: "Map of the United States as Californians See It". 1947, artist: Oren Arnold. Size: 16.5" x 20.5", R. H. MOEBUS COMPANY This poster is not linen-backed. This poster is in very good fine condition, ready to frame. A humorous satirical pictorial map from 1947 with the golden sun on the upper left, gives a detailed depiction of California, its relative size to the rest of the United States, showing Florida as "Death Valley", the rest of the United States as "Unexplored" 'Unimportant anyway, not in California". The image has your Mexican singer; bikini-clad bathers and others set in the image. Shows rivers, lakes, harbors, landmarks, parks, recreational activities, and local people. This map shows Los Angeles’ city...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The Workshop (Stirling). 1905. Etching and drypoint. Rinder 369 state .ii/iv.Image: 8 3/16 x 12 (sheet 8 5/16 x 12). No published edition. A rich impression with drypoint burr printe...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Serigraph on paper. Hand signed and numbered by the artist. Artwork appears to be in excellent condition. Artwork has not been examined outside the matting. Image size: 27 x 39 in. M...

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

Lithograph on vélin paper. Paper Size: 10.875 x 22.25 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Mar...

Two (2) historiated engraved maps, each 11 1/4 x 16 7/16 inches (285 x 418 mm) with handcoloring, on wove paper, the latter engraved by C. Smith after Couché fils, published by Combe...

Etching, engraving, roulette and drypoint on watermarked BFK Rives wove paper, 5 x 8 3/4 inches (126 x 222 mm), full margins. Signed and numbered 4/32 in pencil, lower margin. Minor ...

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...

This 90 color hand pulled serigraph exhibits all of the subtle brushwork, light, and color that the artist is known for. "Afternoon Glow" is signed by the artist in an edition of 240...