Miniature Landscape Prints

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°3, July-August-September 1938. Published and printed und...

Rainy NIght in Rome.. 1913. Drypoint. Dodgson 299.x. 12 x 9 (sheet 16 x 11 1/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Pr...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 154, 1965. Published by Aimé Maeght, Éditeur, Paris; pr...

'Petits Hotels. Boulevard Berthier 45 et 47, a Paris. Elevations, Coupe et Plans, par Mr Boland, Archte.' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lac...

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, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...

Linocut on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Pablo Picasso: Grabados al linóleo. Published by Gustavo Gili, S.A., Barcelona, and...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Artist: Peter Max (1937) Title: Cosmic Jumper, Detail I Year: 2003 Edition: 495/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent I...

To see our other hunting prints and paintings, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Charles "Snaffles" Johnson Pa...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Lithograph and stencil on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Mon ami Léger par André Maurois de l'Académie ...

This is an original antique colored botanical mezzotint and line engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 2. Mauze, Baradis-feigen", p...

This stunning original lithograph, titled The Passing Parade, is a signed piece by renowned American artist Ila Mae McAfee (1897-1995). Created in the 20th century, the artwork depic...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Linocut on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Pablo Picasso: Grabados al linóleo. Published by Gustavo Gili, S.A., Barcelona, and...

Lithograph on grand vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Parallèlement, Illustré de lithographies originales ...

"Minotaure Endormi Contemplé Par Une Femme" (1933) is a striking and emotionally charged work by Pablo Picasso, capturing the artist’s complex engagement with mythology, surrealism, ...

Etching on cream laid paper, 6 7/8 x 10 7/8 inches (175 x 275 mm), thin margins. Some minor surface soiling and paper tape residue in four areas along the top sheet edge, verso, othe...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Anton Schutz, 'Spirit of Buffalo', etching, edition not stated, c. 1927. Signed in pencil. Annotated 'Spirit of Buffalo 522', in another hand, in the bottom right margin. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 8 7/8 x 11 7/8 inches; sheet size 12 1/4 x 15 7/8 inches. ABOUT THE ARTIST Etcher, painter, and architect, Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 350. Artwork is in excellent condition. Certificate of authenticity included. All reason...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

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...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

Etching with drypoint on Japan paper, 9 3/4 x 12 3/4 inches (245 x 322 mm), full margins, from an edition of approximately 50. Signed by the artist in pencil, lower center margin, t...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Phototype and Stencil on wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Diurnes Découpages et Photographies, 1962. Published by Berggruen, Par...

Lithograph and Silkscreen with grease crayon, lithographic tusche, lead pencil, and charcoal on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition;...

Mounts Bay Mood. Limited Edition etching from the well collected studio of Ian Laurie. Signed and numbered 14 of 50. Each one of the 25 is slightly different in tone and color Image...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 179, 1969. Published by Aimé Maeght, Éditeur, Paris; pr...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

Chama Winter is a hand-pulled, limited edition serigraph, no. 133 /260 and is signed in pencil by the artist. Published by Aspen Mountain Graphic...

Campi Phlegraei - View of a section of a part of the cone of Astruni taken at the entrance of this volcano Copper-line engraving with gouache. 1776. ...

Abstract Lithograph of The Louve with E.M. Pei Glass Pyramids Limited edition lithograph of an abstracted urban landscape, with fractured yellow and green color fields, by Bu King (...

Lithograph on hand made Fabriano vélin paper mounted on museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Elegy of Ihpetonga and Ma...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Geniculata Wieder Kraief, B. Genipa seu Ganipaba". It is plate 531 in...

B.J.O. Nordfeldt, 'Broad Street (Wall Street)', etching, edition not stated, c. 1915. Signed in pencil. A superb impression, with rich burr, selectively wiped plate tone, and inky plate edges, on cream wove paper; the full sheet with margins (3/4 to 1 1/4 inches), in excellent condition. Printed by the artist. Matted to museum standards, unframed. Impressions of this work are in the permanent collections of the Fine Arts Museums of San Francisco, Princeton University, Smithsonian American Art Museum. A view looking down Broad Street past the New York Stock Exchange Building on the right with the columned Federal Hall...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 198. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Linocut on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Pablo Picasso: Grabados al linóleo. Published by Gustavo Gili, S.A., Barcelona, and...

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°3, July-August-September 1938. Published and printed und...

This is an original John James Audubon hand-colored royal first octavo edition lithograph entitled "Red-shafted Woodpecker, 1. Male, 2. Female", No. 55, P...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

ANDERS ALDRIN (Swedish /American 1889 – 1970) THE SUNFLOWER ca. 1935 (Newark Museum 9) Color woodcut, edition c. 150. Signed, unnumbered, but dedicat...

Lithograph on hand made Fabriano vélin paper mounted on museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Elegy of Ihpetonga and Ma...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "a. Pisum Minus sine Putamine, b. Pisa Indicum". It is plate 819 in Weinma...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, ...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

New York Bouquet Lithograph, 1917 Edition: 93 Signed with the artist's cipher in pencil lower right (see photo) This lithograph is inspired by Hassam's oil painting of the same title...