Small Landscape Prints

"Mythological Scene--Satyr & Goat Herder" is an original etching signed by Italian artist Giovanni Benedetto Castiglione. It depicts a satyr lounging on the left and an approaching g...

The Choice is Ours by Cleon Peterson Hand Pulled Screen Print Printed on 290gsm Coventry Rag Paper Hand Deckled Edges Size: 18" x 24" Edition of 100 In the realm of contemporary art...

Niagara Falls Lithograph, 1931 Signed lower right (see photo) Titled/edition lower left. (see photo) Edition of 25 Provenance: the Estate of the Artist Condition: Excellent Image si...

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...

Harmony by Susan Brown [2022] limited_edition and hand signed by the artist Giclée Print on Paper Edition number 150 Image size: H:40 cm x W:40 cm Complet...

Darkening Sky by John Scott Martin [2021] original Linocut Print on Collage Image size: H:36.5 cm x W:36.5 cm Complete Size of Unframed Work: H:36.5 cm x W:36.5 cm x D:0.1cm Frame Si...

Peche a la Sardine is a black and White etching realized by Pierre-Émile Berthélemy in the 1860s.  Titled in the lower. Image size: 12 x 18, 12 x 18. Very good impression with wid...

Vue Prise aux Iles Borromees is a black and White etching realized by Giberto Borromeo in the 1860s.  Titled in the lower. Image size: 23x32. Very good impression with wide margin...

Bacchante Ivre is a black and White etching realized by Jules Chevrier in the 1860s.  Titled in the lower. Image size: 32x23. Very good impression with wide margins and a very fre...

Truands de Campagne is a black and White etching realized by Jules Laurens in the 1860s.  Titled in the lower. Image size: 31x23. Very good impression with wide margins and a very...

Canards et Poules is a black and White etching realized by Francisco Gimenez in the 1860s.  Titled in the lower. Image size: 32x13. Very good impression with wide margins and a ve...

La. Benediction de l'Aieul is a black and White etching realized by Edouard Moyse in the 1860s.  Titled in the lower. Image size:23x31. Very good impression with wide margins and ...

Moulins dans le pas de Calais is a black and White etching realized by A. Sogé in the 1860s.  Titled in the lower. Image size: 23x31. Very good impression with wide margins and a ...

La Lettre is a black and White etching realized by Smits in the 1860s.  Titled in the lower. Image size: 31x23. Very good impression with wide margins and a very fresh inking. Re...

The Pattern of Denial print is an examination of image versus reality. The image is inspired by the sleek and idealized mid-century architecture of both deluxe homes and deluxe facto...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Evening at Soar Mill Cove [2022] limited_edition Linocut Edition number 1-10 Image size: H:15cm cm x W:30cm cm Complete Size of Unframed Work: H:20 cm x W:60 cm x D:3mmcm Sold Unfra...

Artist: Roy Ahlgren, American (1927 - 2011) Title: And On the Third Day Year: 1974 Medium: Serigraph, signed and numbered in pencil Edition: AP Size: 20 x 20 in. (50.8 x 50.8 cm)

Cliff Edge is a limited edition reduction linocut print by Ian Phillips. Ian Phillips is available online and in our gallery at Wychwood Art. My printing process starts today, as it’...

Waterloo Bridge Sunset. John Duffin Limited Edition Etching Printed on White 300g Somerset Paper Edition of 90 Signed – John Duffin Image Size: H 24cm ...

Cities 19 – Castle Rock, Edinburgh by Susan Brown. Hand signed by the artist Limited edition giclée print. The print edition is 150 The image size is 40 x 40 cm, overall size is 50 x 50 cm. Each print is signed and numbered by Susan Brown Sold unframed. Discover limited edition giclée prints online with Wychwood Art and in their Oxfordshire art gallery. Susan Brown (BAHons HonDArts. MCSD) is an interior architect and a painter,and has been involved in both disciplines for many years. The paintings are held in many collections including, The Royal Bank of Canada, HBOS, Universities of York and Sheffield, and the National Trust. The work has been represented and shown by many galleries throughout the UK, has been represented internationally in New York, Hong Kong and Singapore, the paintings have been included in many open exhibitions including the Royal Academy Summer Exhibition, and the Scottish...

Elements - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself in t...

Pappe, Carl. CALLE EX CONVENTO, TASCO. Woodcut, c.1940s-60s. Edition unstated. This print is one of a series of 16 images, all of scenes in Taxco, distinguished by the strength of the carving and the richness of the blacks. 12 x 14 1/4 inches (image), 13 1/2 x 15 3/4 (sheet). Titled and signed in pencil. In excellent condition. Carl Pappe...

Butterfly blossom by Anne Storno Limited edition print and hand signed by the artist Screenprint on paper Images Size: H:52 cm x W:40 cm Complete size of unframed work: H:52cm x L:40cm x D:0.1cm Sold unframed Please note that the insitu images are purely an indication of how a piece may look. I have always believed that butterflies are magical and that if one lands on you, you can make a wish! So delicate and beautiful, I adore them. They effortlessly glide from flower to flower embracing their opportunity for freedom and change. Signifying sunshine and beauty, butterflies are everywhere in our culture. Often people say how butterflies are inspiring and that they can motivate one to change for the better. Maybe it’s their stunning beauty, or the fact that through metamorphosis they inspire change in a short period. Discover new works by Anna Harley available to buy online and in our art gallery. Anna Harley is a professional fine art screen-printer, making prints at Spike Print Studio in Bristol. She has a Masters Degree in Multi-Disciplinary Printmaking and lives in South Bristol...

Artist: Ching Jang (C.J.) Yao, Taiwanese (1941 - 2001) Title: Coca-Cola Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: 250 Paper Size: 22 x 23 in. (55.88 x 58....

Italian village: Warm colors were used by the artist James Pratt to create this painting that could be almost any European city! This is a limited edition...

Swallows over the Ley by Ann Burnham [2021] limited_edition linocut Edition number 1-10 Image size: H:16cm cm x W:30cm cm Complete Size of Unframed Work: H:28cm cm x W:48cm cm x D:3...

St Mary Le Strand, London by Susan Brown. Limited edition giclée print and hand signed by the artist The print edition is 150 The image size of print is 40cm X 40cm, the overall s...

St Giles, From Princess Street and Castle Rock Edinburgh by Susan Brown [2021] limited_edition and hand signed by the artist Giclee Print on Paper Edition...

Eva's House by Alistair Grant, 1956 Additional information: Medium: lithograph 35 x 52 cm 13 3/4 x 20 1/2 in signed and dated Alistair Grant was a printmaker, painter and illustrat...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Cindy Bernard’s career spans nearly three decades and she is best known for photographs and projections that explore the relationship between cinema, memory, and landscape including the widely exhibited series Ask the Dust (1988-92), now in the collections of the Museum of Contemporary Art, Los Angeles (21 part set), the Pompidou, MOMA and the Whitney Museum of American Art. She is a recipient of grants and fellowships from the J. Paul Getty Trust Fund for the Visual Arts, California Arts Council, Creative Capital, Anonymous Was a Woman, the Harpo Foundation, California Community Foundation, the John Simon Guggenheim Memorial Foundation and the MacDowell Colony. Her work has been exhibited in museums and galleries in the US, Canada, Mexico, Europe, and Japan, and was included in the Whitney and Lyon Biennials. In addition to her visual practice, Bernard takes an active interest in the spaces and production of social exchange. She was a director and advisor to Foundation for Art Resources from 1985 to 1990, a founding director of the Coalition for Freedom of Expression, and co-founder of MOCA Mobilization. Bernard is also the founder and director of The Society for the Activation of Social Space through Art and Sound (SASSAS), an organization she began in response to the need for a flexible and sustainable association dedicated to experimental music in Los Angeles. She has curated and produced more than 50 concerts for SASSAS including Welcome Inn Time Machine for Pacific Standard Time in 2012. Her interest in sound has spurred several projects including a series of photographs of municipal band shells which Bernard sees as an architecture of public exchange and The Inquisitive Musician, an adaptation of a 17th century German satire, Musicus Curiosus, or Battalus, the Inquisitive Musician; the Struggle for Precedence between the Kunst Pfeifer and the Common Players. The Inquisitive Musician pits itinerant “beer fiddlers” against the city sanctioned “Kunstpfeifer” in an argument over who has the right to perform and be compensated. Presented as a staged reading incorporating video and live music, The Inquisitive Musician has been performed in New York, in Los Angeles at the LA County Museum of Art, and most recently at the Stedelijk Museum in Amsterdam in June 2013. Current projects include Vinland, a meditation on the complex and continually shifting relationships between spaces, social and economic structures, and personal and collective histories and, more recently, an “episodic” series based on the history of social nudism: Your Personal View of (Social) Nudism. Bernard is a Adjunct Professor of Graduate Fine Art at Art Center College of Art and Design and was appointed the inaugural Ruffin Distinguished Artist-In-Residence at the University of Virginia for the academic year 2013/2014. She was a 2016 National Endowment for the Arts Fellow at the MacDowell Colony and will be in residence at the UCross Foundation in 2017. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski and Nancy Dwyer...

Hand Signed. Edition of 45 prints. Reference: Catalogue Battisti n.4. Armando Buratti (Rome, 1924), is an italian artist and painter. His first exhibition was held in 1946, and fro...

Ronnie Scott’s [2020] limited_edition Etching on paper Edition number 110/150 Image size: H:38 cm x W:25 cm Complete Size of Unframed Work: H:56 cm x W:...

Honfleur by Alistair Grant, 1956 Additional information: Medium: lithograph 61 x 48 cm 24 x 18 7/8 in signed and dated in pencil Alistair Grant was a printmaker, painter and illust...

Lillebonne en 1848 is a black and White etching realized by George Snell in the 1860s.  Titled in the lower. Image size: 25x37. Very good impression with wide margins and a very f...

La Peche is a black and White etching realized by Charles-André Malardot in the 1860s.  Titled in the lower. Image size: 25x17. Very good impression with wide margins and a very f...

La Priere is a black and White etching realized by Jacques-Joseph Lecurieux in the 1860s.  Titled in the lower. Image size: 31x23. Very good impression with wide margins and a ver...

Map of the Chelsea Physic Garden by Mychael Barratt [2021] limited_edition Silkscreen print Edition number 75 Image size: H:41.5 cm x W:31.5 cm Complete S...

Artist: Alan Turner Title: Pine Cut Down C Year: 1981 Medium: Lithograph, Signed and Numbered in Pencil Edition: 40 Paper Size: 22 x 17 inches [55.88 x 43.18...

Winter Grasses by Anthony Gross, 1972 Additional information: Medium: etching 39 x 52 cm 15 3/8 x 20 1/2 in signed, titled and dated English painter and printmaker. He trained in L...

Gavin Dobson Kingfisher Gold Limited Edition Silkscreen Print Edition of 50 Signed and Numbered Size: H 50cm x W 35cm x D 0.1cm Sold Unframed Please note that in situ images are pure...

Katie Edwards -Created in 2014 for a competition on the theme of Joy, which the concept of escaping on a carousel horse conveyed perfectly. This illustration was the winner of the 20...

Artist: Red Grooms Title: Sarajevo Year: 1968 Medium: Marker Drawing on Paper, Signed and Dated l.l. Paper Size: 13.5 x 19 inches (34.29 x 48.26 cm) Frame: 17 x 22.5 inches (43.18 x ...

Flower Field Trevor Waugh Oil on board Unframed Flowers

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

‘Lamb’ by Tammy Mackay Limited edition and hand signed by the artist Photopolymer print on paper Image Size: H:41.5 cm x W:59 cm Complete size of unframed work: H:41.5cm x W:59cm x ...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame 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. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

Vicky Oldfield, ‘Jug of Tulips’ limited edition and hand signed by the artist Collagraph print on Paper Image size: H:49CM X W:40CM Complete size of ...

Days Like These ii [2021] limited_edition Screenprint Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these ii is the second in a series of coastal print...

The Secret Woman by Anne Storno [2017] Limited edition print and hand signed by the artist Screeprint on Paper Image size: H:50cm x W:40cm Complete size of unframed work: H:50cm x...

Nellie by Simon Tozer Limited edition print and hand signed by the artist Screenprint on Paper Image Size: H:35cm x W:50cm Complete size of unframed work:...

Rue St. Nicolas a Blois is a black and White etching realized by Emile Louis Vernier in 1863  Titled in the lower Image Size: 31x23 Very good impression. Realized for the "Sociét...

Chris Keegan Sky Street Limited Edition Silkscreen Print Hand signed by the artist Edition of 50 Paper Size: H 56cm x W 25cm x D 0.1cm Sold Unframed Plea...

Autumn Prelude [2022] limited_edition Reduction linocut Edition number AP Image size: H:47.5 cm x W:30 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Autumn prelude is based on one of my favourite Box hill...

Crazy days, City Lights by Sarah Russell Original and hand signed by the artist Sold unframed Image size: H:37cm x W:60cm Complete size of unframed wo...