Small Landscape Prints
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Size: Small
'The Pont Neuf with Notre Dame in the Distance', Tokyo Fine Arts Academy
Located in Santa Cruz, CA
Signed lower right, 'K. Ogata' with number and limitation, 120/275, lower left. Accompanied by a Certificate of Authentication from the Societe de Verification de la Nouvelle Gravure...
Category
1970s Post-Impressionist Landscape Prints
Materials
Paper, Lithograph
Over Owler Tor, Original screenprint by Katie Edwards, Animal Art, Bright Art
Located in Deddington, GB
Katie Edwards
Over Owler Tor
Limited Edition Silkscreen Print with Hand Painted Layers
Edition of 50
Size: H 40.5cm x W 50.8cm x D 0.5cm
Sold Unframed
Please note that insitu images ...
Category
21st Century and Contemporary Pop Art Landscape Prints
Materials
Paper, Screen
"A Dance in Otaheite" (Tahiti), Engraving from Captain Cook's 3rd Voyage
By John Webber
Located in Alamo, CA
"A Dance in Otaheite" (Tahiti) is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It is a plate in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell.
Two women and two men wearing ceremonial costumes, performing a dance outdoors standing on a mat. Three men are playing the drums in the background, in front of a thatched roof building. An audience of men are sitting on both sides of the stage. By the time Webber arrived in Tahiti, 'south sea' imagery had become familiar. Webber gave concentrated attention to dance. He had the opportunity to distinguish the Tahitian dance from the more formalized dancing of Tonga. Whereas they seem to have called to mind the more formal dances of antiquity, the Tahitian dancing aroused memories of peasant and folk dancing.
This engraving is professionally framed in Koa wood. Koa wood is legendary in Hawaii. Not only is this amazing wood native to Hawaii, but it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa.
There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and double mats (LU117324682432, LU117324684052, LU117324684062). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included.
Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...
Category
1780s Realist Landscape Prints
Materials
Engraving
Rue des Rats, Modernist Lithograph by Stuart Davis 1928
By Stuart Davis
Located in Long Island City, NY
A modernist lithograph by American artist Stuart Davis. In this cityscape of Paris he begins to show his inclinations towards Cubism, with the slightly skewed perspective and the fla...
Category
1920s American Modern Landscape Prints
Materials
Lithograph
Trinità dei Monti - Original Screen Print by Carlo Mazzoni - Late 20th Century
Located in Roma, IT
Trinità dei Monti is an original screen print realized by Carlo Mazzoni.
Hand-signed by the artist in pencil on the lower right corner.
Edition 19/60
Good conditions.
This artwo...
Category
Late 20th Century Figurative Prints
Materials
Paper, Screen
Julian Trevelyan Kensington Gardens Etching Modern British Art London Print UK
Located in London, GB
Julian Trevelyan (1910-1988)
Kensington Gardens (1969)
Etching and aquatint, signed, numbered 55/75
35x48cm
Nephew of the historian G M Trevelyan h...
Category
1960s Modern Figurative Prints
Materials
Etching
Paris - Original Etching by A. Buratti - 1947
Located in Roma, IT
Image dimensions: 24 x 27 cm.
Paris is an original artwork realized in 1947 by Armando Buratti.
Original black and white etching.
Hand-signed and dated in pencil on lower right. N...
Category
1940s Contemporary Landscape Prints
Materials
Etching
Bonn, Map from "Civitates Orbis Terrarum" - by F. Hogenberg - 1575
Located in Roma, IT
Braun G., Hogenberg F., Vienna or Bonn, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617.
Very fine B/W aquatint showing a wonderful view of the German city Bonn, named after its antique name...
Category
16th Century Figurative Prints
Materials
Etching, Aquatint
MANHATTAN CLIFFS (Large Lithograph)
By Mark Freeman
Located in Santa Monica, CA
MARK FREEMAN (1908 - 2003)
MANHATTAN CLIFFS, 1947
Lithograph (offset?) with 2 color plates. Signed, titled and dated. 19 1/2 x 15 in., large grey sheet, 22 3/8 x 17 1/2 in. Very good condition. A large and very strong image of New York.
Category
1940s American Modern Landscape Prints
Materials
Lithograph
Landscape - Original Etching by Paulette Humbert - Mid-20th Century
Located in Roma, IT
Landscape is an original etching on paper realized by Paulette Humbert.
Hand-signed on the lower right in pencil. Numbered, edition of 8/25 prints. on the lower left in pencil.
The...
Category
20th Century Modern Landscape Prints
Materials
Etching
Orleans and Bourges, Map from "Civitates Orbis Terrarum"-by F. Hogenberg - 1575
Located in Roma, IT
Braun G., Hogenberg F., "Orleans, Bourges", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1572-1617. Image Dim: cm 37 x 46.5 Dim: cm 40.5 x 53.5.
Interesti...
Category
16th Century Figurative Prints
Materials
Etching, Aquatint
The Sea - Original Lithograph by Sandro Sanna - 1969
By Sandro Sanna
Located in Roma, IT
The Sea is an original lithograph by Sandro Sanna in 1969.
Hand-signed and dated on the lower right.
Edition: 79/100.
In excellent conditions: as good as new.
The artwork represe...
Category
1960s Landscape Prints
Materials
Lithograph
"Centre County, PA (Suit of 2), " Original Color Lithograph signed by H. Altman
Located in Milwaukee, WI
"Centre County, PA" is a suite of two lithographs by Harold Altman. Both feature expansive landscapes with blue skies and fluffy clouds over verdant green fields. The artist signed t...
Category
1990s Landscape Prints
Materials
Lithograph
Laburnums and Battersea.
Located in Storrs, CT
Laburnums and Battersea. 1889-90. Etching and drypoint. Hausberg 34.iii/v. 13 1/2 x 8 5/8 (image and sheet). Only one other known impression in this state (total of about 62 known im...
Category
19th Century Impressionist Landscape Prints
Materials
Drypoint, Etching
'Naval Heroes of the United States' hand-colored lithograph by Nathaniel Currier
Located in Milwaukee, WI
The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country.
9.5 x 13.5 inches, artwork
20 x 23.38 inches, frame
Entitled in the image
Signed in the stone, lower left "Lith. and Pub. by N. Currier"
Inscribed lower right "2 Spruce N.Y." and "No. 1"
Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y."
Framed to conservation standards using 100 percent rag matting and housed in a gold gilded 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...
Category
1850s Victorian Landscape Prints
Materials
Lithograph, Watercolor
NIGHT GLOW
By William Behnken
Located in Aventura, FL
Lithograph on paper. Hand signed, numbered and dated by the artist. Image size 12 x 16 inches. Sheet size 16 x 20 inches. From the edition of 100. Artwork is in excellent conditi...
Category
1980s Contemporary Figurative Prints
Materials
Lithograph, Paper
'Victor's Camp - Hell Gate Ronde' original John Mix Stanley lithograph
Located in Milwaukee, WI
In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole.
This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels.
Stanley shows here the stop the Stanley Party made at the junction of the Bitterroot and Hell Gate, in present day Montana. While there, the Party met with the Flathead Chief by the name Victor, as is shown in the image. The figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories.
5.75 x 8.75 inches, image
6.5 x 9.25 inches, stone
17 x 20 inches, frame
Artist 'Stanley Del.' lower left
Entitled 'Victor's Camp - Hell Gate Ronde' lower center margin
Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right
Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left
Inscribed 'GENERAL REPORT — PLATE XXXI' upper right
Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding.
Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame.
John Mix Stanley...
Category
1850s Romantic Landscape Prints
Materials
Lithograph
Pair French Chateau Landscape (1) Signed by Artist Lithographs c1920
Located in FR
Pair of Landscape with Chateau (1) signed by artist Lithograph c1920
These have their own frame of the time slightly distressed and glorious
Good vintage condition
Category
1920s Aesthetic Movement Landscape Prints
Materials
Lithograph
Late 19th Century Normandy French Market Engraving
Located in Soquel, CA
Charming engraving of the market in Aumale, France in Normandy by Charles John Watson (British, 1846-1927), circa 1880. Signed within engraving and below by artist. Presented under g...
Category
1880s Impressionist Landscape Prints
Materials
India Ink, Paper
Through the Storm.
Located in Storrs, CT
Appleby 97. 4 x 6 15/16 (sheet 8 1/8 x 10 3/8). Edition 100. A rich impression with drypoint burr and carefully wiped plate tone, printed on 'FJ Head' paper, on the full sheet with ...
Category
1920s Modern Animal Prints
Materials
Drypoint, Etching
UNTITLED
By April Gornik
Located in Portland, ME
Gornik, April. UNTITLED. Aquatint, 1994. Edition of 75, from the
Portfolio "Six Couples - Twelve Prints" published by Parasol Press,
Portland, Oregon, 1996. Numbered 27/75, and sign...
Category
1990s Landscape Prints
Materials
Aquatint
“City Roofs” drypoint engraving by Peter Takal
By Peter Takal
Located in Berlin, MD
Peter Takal’s original drypoint engraving “City Roofs” is an accomplished work of art created in 1956. It is printed upon fine laid paper with full deckled margins as published in the limited edition of two hundred and fifty impressions. This engraving bears an embossed stamp “The Print Club of Chicago” on verso. This impression is signed by Takal in pencil. “City Roofs” is a fine example of the engraved art created by the 20th century Romanian / German / American artist, Peter Takal.
Peter Takal: Born in Romania in 1905, Peter Takal spent most of his youth in Berlin and was mainly self-taught. His first one-man exhibition took place in the Gurlitt Gallery, Berlin, in 1932. During the following seven years his art was frequently exhibited at galleries in Berlin, Munich, Paris and as well as Casablanca and Algiers. At the beginning of the Second World War (1939), Peter Takal came to the United States for an exhibition of his art at the Katherine Kuhe Gallery, Chicago. He decided to remain in the United States and became an American citizen in 1944.
Living in New York, Peter Takal quickly established himself as a leading printmaker and a modern master of both lithography and drypoint engraving. One-man exhibitions of his art took place in New York City (1942), Chicago (1939 & 1941), Washington (1959) and Los Angeles (1966). International exhibitions of his art were held at the Galeria de Arte Mexicano, Mexico City (1959), the Palazzo Strozzi, Florence, Italy (1960) and at the Kestner-Museum in Germany (1962). Museums to date that include Peter Takal's original prints in their collections are, the Chicago Art Institute, the Library of Congress, Washington, the Los Angeles County Museum of Art, the United States State Department, UCLA, the Berlin National Museum and the Bibliotheque Nationale, Paris. Over the years, the Museum of Modern Art in New York and the Arkansas Arts Center have acquired a very extensive collection of Peter Takal's lithographs and drypoints. The artist died in 1995.
The Print Club of Cleveland: Trees and Fields is an original lithograph commissioned by the Print Club of Cleveland in 1957 and published in a signed edition of 250 impressions. The Print Club of Cleveland is a non-profit adjunct organization and the country's first museum-affiliated print club devoted to the promotion of art and printmaking as a fine art for printmakers and collectors alike. With its creation in 1919, it has helped to support the growth of the department of prints and drawings at the Cleveland Museum of Fine Arts and has also been a source of great enrichment for collectors of fine prints. During the organizations long history, the club has annually commissioned one original etching engraving, lithograph, woodcut and or other form of original graphic art from such fine American artists as John Taylor Arms, Suzanne Anker, Luigi Lucioni, Will Barnet, Mark Tobey, Lyonel Feininger, Henry George Keller, Louis Lozowick, Karl Schrag, David Jansheski, Deborah Remington, and Peter Takal, as well as from leading international artists such as Henri Matisse, Edmund Blampied, Jean-Emile Laboureur, Salvador Dali, Michael di Cerbo, Phyliss Sloane, Paolo Boni, Juvenal Sanso...
Category
Mid-20th Century Abstract Landscape Prints
Materials
Drypoint
Oxford, Map from "Civitates Orbis Terrarum" - by F. Hogenberg - 1575
Located in Roma, IT
Braun G., Hogenberg F., Oxonium or Oxford, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617.
Very fine and interestig B/W aquatint showing a view of O...
Category
16th Century Figurative Prints
Materials
Etching, Aquatint
La celebre impresa di Ercole negl'Esperidi - Etching by Giuseppe Vasi - 1774
Located in Roma, IT
English Title: "The Famous Ercole’s undertaking in “Esperidi”
Beautiful Artist's Proof, representing the first complex apparatus for firework built in occasion of the Feast of S. Pe...
Category
1770s Old Masters Landscape Prints
Materials
Etching
The Basilica of Constantine
Located in Chicago, IL
A very fine impression of the 3rd State, still with the address and price which were eliminated in the following 4th state. The presence of the address and price confirms that this ...
Category
18th Century and Earlier Old Masters Landscape Prints
Materials
Etching
Untitled (Nr. 4564) Photography 24" x 18" Edition of 20 by Ben Cope & Rowan Daly
By Rowan Daly
Located in Culver City, CA
Untitled (Nr. 4564) Photography 24" x 18" Edition of 20 by Ben Cope & Rowan Daly
Unframed - ships rolled in a tube
Ben Cope + Rowan Daly Off the Grid
Off the Grid is the culmina...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Archival Pigment
Cley Twighlight, Colin Moore, Limited Edition Linocut Print, Rural Art, Windmill
By Colin Moore
Located in Deddington, GB
Cley Twighlight
Limited Edition Linocut Print of 100
3 Block Lino Print
Image Size: H 23.5cm x W 42cm
Sheet Size: H 38cm x W 50cm
Please note that in situ images are purely an indica...
Category
21st Century and Contemporary Landscape Prints
Materials
Archival Paper, Linocut
Wysteria, Charlie Davies, Limited Edition Etching, Contemporary Still Life Art
Located in Deddington, GB
Charlie Davies
Wysteria
Original botanical etching
Soft ground etching on paper
Image Size: 35 cm x 35 cm x 1 cm
Sheet/Canvas Size: 50 cm x 50 cm x 1 cm
Unframed
Free Shipping
Please...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Paper, Etching
'Provençal Landscape', Academie Chaumiere, Salon des Artistes Françaises, Paris
Located in Santa Cruz, CA
Signed lower right, 'Georges Lambert' (French, 1919-1998) and inscribed lower left, number and limitation, '19/175'.
Georges Lambert first studied in Paris at the Academie de la Gra...
Category
1960s Post-Impressionist Landscape Prints
Materials
Paper, Lithograph
Mark A Pearce, Mergansers on Wastewater, Landscape Art, Affordable Art
By Mark Pearce
Located in Deddington, GB
Mark A Pearce
Mergansers on Wastwater
Limited Edition Reduction Linocut
Edition of 46
Size: H 30cm x W 60cm x D 0.1cm
Sold Unframed
Please note that in situ images are purely an indi...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Paper, Linocut
Switzerland : View on the Lake - Original lithograph, Handsigned
Located in Paris, FR
Jules CAVAILLES
Switzerland : View on the Lake
Original lithograph
Handsigned in pencil
Justified EA (artist proof)
On vellum 36 x 56 cm (c. 14 x 22 in)
Very good condition
Category
1960s Post-Impressionist Landscape Prints
Materials
Lithograph
An Antique Engraved View of "Waterfalls in Smoland", Sweden by Erik Dahlberg
Located in Alamo, CA
This is an antique engraved view entitled "Delineatio Cataractae" (Waterfalls in Smoland), Sweden in 1705 from "Sueciae Antiquae et Hodiernae"' published in Stockholm by Erik Dahlber...
Category
Early 18th Century Naturalistic Landscape Prints
Materials
Laid Paper, Engraving
"Reiner Schwarz" (I)
Located in Kansas City, MO
Reiner Schwarz
"Reiner Schwarz" (I)
From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy
Year: 1972
Medium: Phototype (Lichtdruck)
Edition: 100
Size: 26.4 x 20.1 in.
Pu...
Category
1970s Pop Art Prints and Multiples
Materials
Lithograph
Pine Cut Down B, by Alan Turner
By Alan Turner
Located in Long Island City, NY
Artist: Alan Turner
Title: Pine Cut Down B
Year: 1981
Medium: Lithograph, Signed and Numbered in Pencil
Edition: 40
Paper Size: 22 x 17 inches [55.88 x 43.18...
Category
1980s Conceptual Landscape Prints
Materials
Lithograph
David Loggan King's College Cambridge Chapel South Front engraving 1690
By David Loggan
Located in London, GB
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Category
1670s Realist Prints and Multiples
Materials
Engraving
"Blacksmith Shop - Badenthal" Near Sisterdale Texas
By Ancel Nunn
Located in San Antonio, TX
Ancel Nunn
(1928-1999)
Austin, Tyler, Palestine Artist
Image Size: 12 x 17.5
Frame Size: 18 x 24
Medium: "Lithograph"
"Blacksmith Shop - Badenthal" Nea...
Category
1980s Impressionist Landscape Prints
Materials
Lithograph
Mark A Pearce, Great Gable and the Screes, Limited Edition Landscape Print
By Mark Pearce
Located in Deddington, GB
Mark A Pearce
Great Gable and the Screes
Limited Edition Linoprint
Edition of 42
Image Size: H 46cm x W 46cm
Sheet Size: H 58 cm x W 54cm
Signed
Sold Unframed
Great Gable and the Screes is a limited edition print by Mark A Pearce.
At school I spent most of my time in the art department. I then went on to do a one year foundation course at Carlisle College of Art. It was here that I learnt the art of printmaking and then continued my studies at the Norwich School of Art doing a degree in graphic design. Keen to move to London I found my first job as a graphic designer with John Nash and Friends and my second with Michael Peters and Partners. I went on to win a D&AD (Design and Art Directors Club of Great Britain) silver award for the very first greeting stamps issued by the Royal Mail. These featured smiles from the likes of Dennis the Menace...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Paper, Linocut
Villa di Castel Pulci del Signor Marchese Riccardi, Italy, engraving, 1744
Located in Melbourne, Victoria
Engraving with etching by Marco Antonio Corsi after a drawing by Giuseppe Zocchi (Italian, 1711/17–1767).
From 'Vedute delle ville, e d'altri luoghi d...
Category
18th Century Naturalistic Landscape Prints
Materials
Engraving
Roman Landscape - Original Etching by Giuseppe Malandrino - 1960s
Located in Roma, IT
Roman Landscape is an original etching artwork realized by the Italian artist Giuseppe Malandrino.
hand-signed by the artist on the lower right in pencil.
Numbered in Roman numeral...
Category
1960s Modern Landscape Prints
Materials
Etching
Prague and Egra, Antique Map from "Civitates Orbis Terrarum" - 1572-1617
Located in Roma, IT
Braun G. & Hogenberg F., Praga, Egra, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Image dimensions: 39.5 x 47.5 cm. Dimensions: 41 x 52.5 cm.
Wo...
Category
16th Century Landscape Prints
Materials
Etching
Spectre (an otherworldly landscape with trees and mountains under a dappled sky)
By Nicola Lopez
Located in New Orleans, LA
Lopez created her haunting landscape in an edition of 95 at Tamarind Institute. It is a four color-lithograph on white Revere silk paper. Collaborating Printer: Valpuri Remling.
"O...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Lithograph
Joanna Padfield, One Winter’s Day, Limited Edition, Affordable Art, Art Online
Located in Deddington, GB
Joanna Padfield
One Winter’s Day
Limited Edition print on paper
Edition of 50
Image Size: H 30cm x W 40
Paper Size: H 38cm x W 53 cm
Sold Unframed
(Please note that in situ images ar...
Category
21st Century and Contemporary Contemporary Landscape Prints
Materials
Paper, Linocut
'Camp Red River Hunters' original lithograph by John Mix Stanley
Located in Milwaukee, WI
In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole.
This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels.
In this image, Stanley shows an encampment of the people known as the Red River of the North hunters. They were generations of European and mixed-race trappers who lived on the frontier and had Indian wives and mixed-race children. They had come to the area for bison hunting, as the herds were still vast on the prairies. In the image, the figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories.
5.75 x 8.75 inches, image
6.5 x 9.25 inches, stone
17 x 20 inches, frame
Artist 'Stanley Del.' lower left
Entitled 'Camp Red River Hunters' lower center margin
Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right
Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left
Inscribed 'GENERAL REPORT — PLATE XII' upper right
Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding.
Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame.
John Mix Stanley...
Category
1850s Romantic Landscape Prints
Materials
Lithograph
Landscape - Original Screen Print by T.P. Rvat - 1974
Located in Roma, IT
Hand signed and dated lower right.
Very good conditions.
Tomislav Petranovic Rvat is a great Master of Croatian naive painting. He has made over 30 so...
Category
1970s Contemporary Landscape Prints
Materials
Screen
"The Main Bridge, " Landscape Etching signed by William Goodrich Beal
Located in Milwaukee, WI
"The Main Bridge" is an etching by William Goodrich Beal, signed in the lower right. The etching shows a quaint scene of a small town. The foreground showed a muddy hill with some gr...
Category
1880s American Realist Landscape Prints
Materials
Etching
Edificio con Loggiato per l'estrazione del Lotto - by Giuseppe Vasi - 1776
Located in Roma, IT
Image dimensions: 51x38.4 cm.
Beautiful Artist's Proof, representing the apparatus for firework built in occasion of the Feast of S. Peter and Paolo (29th June 1776) by Paolo Posi. ...
Category
1770s Old Masters Landscape Prints
Materials
Etching
'Beaver Lake Panorama with Stargazer Lilies II (triptych)' original mixed media
Located in Milwaukee, WI
‘Beaver Lake with Stargazer Lilies II (triptych),’ is an original mixed media giclée print on watercolor paper, signed by the artist in the right panel....
Category
Early 2000s Contemporary Mixed Media
Materials
Mixed Media, Watercolor, Giclée
Le Pont (The Bridge)
Located in Boston, MA
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...
Category
19th Century Post-Impressionist Landscape Prints
Materials
Lithograph
William Williams engraving of Christ Church - College at Oxford c.1732
Located in London, GB
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William Williams...
Category
Early 18th Century Realist Landscape Prints
Materials
Engraving
"Four Corners Project" Mathematical Geography and Global Art Monograph in Blue
Located in Detroit, MI
This monograph contains Nystuen's calculations, actually used by Barr to position his abstract tetrahedral sculpture within the earth. Placement of the sculpture vertices in Easter I...
Category
Late 20th Century Contemporary Landscape Prints
Materials
Paper, Lithograph
Birds Eye View of Cheshire Connecticut 1882 lithograph pub. by O. H. Bailey
Located in Paonia, CO
View of Cheshire, Connecticut, 1882. Original lithograph was drawn and published by O. H. Bailey & Co. , a prominent 19th century map maker. The map shows a bird’s eye view of the town as it used to be, including street names and old landmarks. Beautifully colored historic map...
Category
1880s Other Art Style Landscape Prints
Materials
Lithograph
FONDAMENTA DELLE ZATTERE (VIEW IN VENICE).
Located in Portland, ME
Bacher, Otto. FONDAMENTA DELLE ZATTERE (VIEW IN VENICE). Etching, 1880. #17 of the "Venice Set." Signed, titled, and dated in the plate. Framed. In excellent condition. Etching on pa...
Category
1880s Landscape Prints
Materials
Etching
David Loggan St Catharine's College Cambridge engraving 1690
By David Loggan
Located in London, GB
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 ...
Category
1670s Realist Prints and Multiples
Materials
Engraving
Millard Sheets, Family Flats
Located in New York, NY
Signed, titled, and numbered, in pencil. The proposed edition was 100 although it is very unlikely that these were printed.
This large and intensely urban lithograph, Family Flats, by Millard Sheets portrays the Bunker Hill neighborhood of Los Angeles. Now drastically changed, it's still home to the Angels Flight funicular railway built in 1901.
Sheets (1907-1989) was a painter, watercolorist, printmaker, mosaic artist, and teacher, who worked in Southern California. He attended the Chouinard Art institute and studied with F. Tolles Chamberlin and Clarence Hinkle...
Category
Mid-20th Century Ashcan School Figurative Prints
Materials
Lithograph
Map of Embden - Original Etching by G. Braun e F. Hogenberg - Late 16th Century
Located in Roma, IT
This map of Embdena is an original etching realized by George Braun and Franz Hogenberg in the Late 16th Century, as part of the famous Series "Civitates Orbis Terrarum" (Atlas of t...
Category
16th Century Figurative Prints
Materials
Etching
NETS
By Seong Moy
Located in Portland, ME
Moy, Seong. NETS. Woodcut, 1963. A.A.A. edition of 250. Titled, signed and numbered 224/250 in pencil. 9 1/2 x 13 inches. In very good condition, in an original AAA frame with the de...
Category
1960s Landscape Prints
Materials
Woodcut
Michael Dal Cerro, Triumph of the Grid, 2019, Linocut, Urban Landscape, Modern
Located in Darien, CT
Michael Dal Cerro's prints could be seen as imaginary architectural proposals. He takes satisfaction in taking something that is supposed to be exact...
Category
2010s Op Art Landscape Prints
Materials
Archival Paper, Ink, Linocut
Michael Dal Cerro, End of the Line, 2020, Linocut, Urban Landscape, Modern Art
Located in Darien, CT
Michael Dal Cerro's prints could be seen as imaginary architectural proposals. He takes satisfaction in taking something that is supposed to be exact...
Category
2010s Op Art Landscape Prints
Materials
Archival Paper, Ink, Linocut