Horizontal Landscape Prints

This is from his New York series consisting of 10 original lithographs signed & numbered. Limited edition of 150 numbered and 30 AP.. It is number 58 in the catalogue of lithographs. The size is the registered paper size plus the frame. Vol.1 Bernard Buffet lithographs...

HOVERING STONE is a hand drawn original lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on archival Arches printmaking paper 100% acid...

Les Demoiselles de Village is an artwork realized by Gustave Courbet in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative o...

Colorful print depicting a sunflower by Japanese artist Fumihiro Kato. The subject of of the print is a majestic mountain, rendered in shades of purpl...

This artwork "Two Horses" 1964, is an original color aquatint on paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered 107/120 in pencil by the artist. ...

Sepia mezzotint by Richard Earlom (1743-1822) After Claude Gellee ('Claude Lorrain') (1600-82). From 'Liber Veritatis; or A Collection of Prints after the original designs of Claude le Lorrain...

A beautiful Arcadian landscape after Johannes Glauber. Amsterdam: 1721. Etching on handmade laid paper with an intact fleur-de-lis watermark. 203 x 275 mm; 8 x 10 7/8 inches, trimm...

'Remains of a Triumphal Arch, Petra', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in t...

"State 16" Geometric Abstract Collagraph Print by Patricia A. Pearce (American, b. 1948). This boldly geometric collagraph print by Patricia Pearce resembles a fragmenting landscap...

"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...

Original Les Vignobles de France , Vins du Sud-Quest French vintage wine map poster. Horizontal. Size 36.5" x 27". Archival linen backed and re...

This richly engraved map of Rome and its environs entitled "Urbis Cum Vicis Seu Pagis Adiacentibus Dissertationi III De Aq et Aqueaed Veteris Promae Praemissa Authore Raph Fabretto G...

Medium: original etching. Catalogue reference: Tabanelli 199. This impression on laid paper was printed in 1906 and published by Gazette des Beaux Arts. Plate size: 4 x 8 1/2 inches ...

Also a sculptor, Harry Wickey was a master printmaker and Art Students League teacher. This rural scene pre-dates the much better known, very close subject, John Steuart Curry's li...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 9.5 x 12.5 inches; image size: 7.08 x 8.66 inches Inscription: Signed in the plate and unnumbered, as...

David Lee, Chinese (1944 - ) - Lake (18), Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 21 in. x 29 in. (53.34 cm x 73.66 cm), Descript...

"Field in Darsham" Village in Suffolk - England Darsham village etching by London artist Pip Carpenter (UK, 20th C.) Drypoint etching with hand coloring teal blue wash. The name of...

Watermark: Wappen von Amsterdam mit Nebenmarke

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

Mesmerizing large scale photograph from the artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Winter Sunrise by Frank Schott 48 x 72 inches / 122cm x 183cm signed edition of 7 27 x 40 inches / 69cm x 101cm signed edition of 25 archival quality fine art pigment print limited art edition published by Edition EKTAlux...

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, Hans Hartung, Peintres d'aujourd'hui...

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, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui, 1962. Pub...

George Elbert Burr, 'Old Cedars – New Mexico', etching, 1920, edition 40, Seeber 218. Signed and annotated '(c) George Elbert Burr Del. et Imp.' in pencil. ...

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...

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...

Temples of Iside and Serapi is an etching realized by the italian artist Giovanni Battista Piranesi in 1759. Image dimensions: 41.5 x 55.5 cm. Very precious lifetime impression. C...

View of Paris is a Modern artwork realized by Orfeo Tamburi (Jesi, 1910 – Paris,1994) in the 1970s. Colored Etching and Aquatint on paper. Hand-signed. Numbered on the lower, E...

ABOUT THIS ARTIST: Niko (aka c-nik) is a multidisciplinary artist, currently based on a pixel in a city that never sleeps, quietly working to create peace from chaos in surreal arcs ...

Firmada a lápiz por el artista en la parte inferior y con tiraje 8/250 En buen estado de conservación Sin enmarcar Medidas: 49 cm x 58 cm.

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-19...

Racetrack by Frank Schott ( framed ) "Modern Gallery Frameless" highly detailed photographic capture of the mesmerizing night sky above the California desert "Modern Gallery Framele...

Héliogravure on vélin paper. Paper Size: 10.5 x 14.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...

Jean HELION Fishermen and People at the Harbor Original lithograph Handsigned in pencil Numbered / 50 On BFK Rives vellum 38 x 53 cm (c. 15 x 21 in) Excellent condition

Andreas FEININGER New York Skyline at Night, 2008 Offset original vintage poster On paper 68 x 74 cm (c. 27 x 29 in) Original poster for artist's exhibition in Fundation Juan March ...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Based in New York, Caitlin McGauley is an artist and illustrator with...

Kent Hagerman was an amazing draftsman who managed to get fantastic detail into his work while showing the environment and atmosphere. This print captures the moment a 'pod' is bein...

This is an original John James Audubon hand-colored lithograph entitled "White Weasel Slout, No. 12, Plate LIX" from John James Audubon's Quadrupeds of North America, published in Ph...

Landscapes and seascapes are a specialty for McMillan, but capturing the night-time lights of the Grand Canal in Venice is an unusual subject for this artist who usually specializes ...

GIOVANNI BATTISTA PIRANESI (Italian 1720-1778) VEDUTA del SEPOLCRO della Famiglia PLAUZIA per la strada che Conduce da Roma a Tivoli vicino a Ponte Lugan...

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...

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'...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Traveling away from his normal area of the Pacific Northwest, McMillan shows his ability to capture the essence of landscapes far afield. This print of the gondolas of Venice and the...

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, Maurice Estève, Peintres d'aujourd'h...

Limited Edition series of Classic a couple Porsche Targa within Palm Springs California. Mid Century Modern Design Architecture. Photography by Tom Blach...

Chelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

Swimmer, 2019 Archival print on heavy matt stock 30.5 x 38.3 cm Edition of 200 signed and numbered by the artist Billy Childish is a prolific British artist, musician, and writer k...

This artwork titled "TheLong Trail West" c.1980 is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed and n...

’Labyrinth’ By William Crozier Medium - Carborundum printmaking, collagraph process Edition - 47/80 Signed - Yes Size - 509mm x 407mm Date - 2007 Condition - Excellent. 10 out of 10....

Etching on Rives BFK paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Alternance, 1946. Published by Le Gerbier, Paris; printed by atelier Quesnevill...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

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, Maurice Estève, Peintres d'aujourd'h...

This serigraph titled La Marine à Honfleur by French artist Jacques Pellegrin, published by Pamplemousse Press in 1985, depicts a serene seaside sett...

The Factory is a lithograph on paper realized in 1980 by  Giuseppe Megna. Hand-signed and dated on the lower right, artist's proof. Good conditions. The artwork represents the a f...

Jack Hofflander, American (1920 - 2003) - Balloon Trips, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, HC, Image Size: 19 x 26 inches, Size: 21.5 in. x 28 in. (54.61 cm x 71.12 cm), Description: In this fantastical scene depicting dozens of hot-air balloons filling the sky, Jack Hofflander showcases his childlike imagination and mastery of landscape painting. Flying high through the air, balloon baskets...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

L'Abreuvoir  is an Etching print on paper realized by After Jules Dupré in the 1870s. Titled and signed on the plate. The artwork is in good conditions.

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle sé...