Unframed Landscape Prints

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 12.5 x 9.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Prints from the Mourlot Press, 1964. Published by Fernand Mourlot, Par...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 9.5 x 12.5 inches; image size: 9.05 x 10.24 inches Inscription: Unsigned and unnumbered, as issued No...

Medium: Lithograph on vélin paper Year: 1952 Paper Size: 12.125 x 9.25 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the album, The Circus by Toulouse...

Artist: Victor Vasarely (1908-1997) Title: Vega Blue Year: Circa 1982 Medium: Silkscreen on Arches paper Edition: 190/300, plus proofs Size: 30 x 22 inches Condition: Good Inscriptio...

Lithograph on vélin paper. Paper Size: 8 x 6 inches, image; 15 x 11 inches, overall. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Marc Chagall, The Jerusal...

Collotype on vélin d’Arches paper. Paper size: 16.5 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

THE BIG APPLE, NEW YORK CITY is a handmade limited edition color lithograph with metallic gold silkcreen by the American artist Alex Echo. THE BIG APPLE, NEW YORK CITY was printed us...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Waters" is a handmade cyanotype print portraying fresh ripples movements in a Greek Islands cove...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas paper, spécialement filigrané pour cette édition. Unsigned and unnumbered, as issued. Good condition. Notes: From ...

Blue space themed surrealist block print by Texas modernist artist Josefa Vaughan. The yellow toned abstract forms create a whimsical landscape. Signed "Fo...

Lithograph on vélin du Marais paper. Inscription: unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Éloge de André Lhote, 1960. P...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 9.375 x 13.75 inches Inscription: Signed in the plat...

Original first edition printing of Scandinavia by SAS, Scandinavian Airlines System. The first edition has a greyish panel along the bottom. The poster also features the SAS logo...

This attractive and interesting map of Bermuda by Henricus Hondius in 1633 is entitled "Mappa Aestivarum Insularum, Alias Barmudas". It is based on a ...

John McNulty, Irish/American (1949 - ) - River Bank, Year: 1982, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 175, Size: 22 x ...

Linda Plotkin, American (1938 - ) - Oh What a Lovely Day IV, Year: circa 1965, Medium: Lithograph on Arches, signed, titled and numbered in pencil, Edition: 6/100, Image Size: 18...

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 ...

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, 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...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Les Signes du zodiaque, 1959. Published by Édit...

Rolf RAFFLEWSKI (1943-) Paris : Near the Seine River (Quai de Bethune) Original lithograph Handsigned in pencil Limited /275 copies On vellum 56 x 76 cm (c. 22 x 30 in) Excellent c...

Medium: Lithograph and stencil on vélin paper Year: 1954 Paper Size: 13.5 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Femmes de Lau...

Lithograph on papier Kitakata à la main, mounted on papier Cartiere Enrico Magnani à la main paper, as issued. Paper Size: 23.5 x 19 inches. Inscription: Unsigned and unnumbered, as ...

Medium: original etching. Published in Paris in 1906 for the Revue de l'art ancien et moderne. This is a magnificently rich, dark impression on laid paper. Sheet size: 11 1/2 x 8 inc...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 6.69 inches Inscription...

This is a rare 17th century engraving of a plant entitled "Caunga" by the Dutch botanist Hendrik van Rheede tot Drakenstein, plate 6 from his 'Hortus Indicus Malabaricus' (Garden of Malabar), published in Amsterdam in 1686 by Johann van Someren. The engraving depicts the caunga plant, also known as Inca cucumber or horned squash, which is a climbing vine that produces edible, cucumber-like fruits. Rheede's 19th century publication featured illustrations of exotic plants and fruits labelled with script in the upper right corner in Latin, Malay, Arabic, and Sanskrit. Hortus Indicus Malabaricus is believed to be the earliest comprehensive published work on the flora of Asia and the tropics. The 17th century treatise featured important illustrations of 740 plants of the region, including Indian medicinal plants. The engraving is printed on 17th century laid, chain-linked paper, watermarked with an elaborate crown design. The sheet measures 15.25" high by 18.88" wide. There is a central fold, as issued. There is a small dark spot on the left which appears to represent a paper inclusion which occurred when the hand-made paper was produced. The print is otherwise in excellent condition. There are additional Rheede botanical engravings from his 'Hortus Indicus Malabaricus' publication that are listed on my 1stdibs storefront and online website. These would make for an impressive display grouping. A discount is available for purchase of two or more of the prints. Hendrik Adriaan van Rheede tot Drakenstein...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 10.63 x 7.87 inches Inscription: Signed in the plate and unnumber...

Artist: John Sell Cotman (English, 1782-1842) Title: "Cathedral Church of Notre Dame, at Séez (West Front)" (Vol. 2, Plate 99) Portfolio: Architectural Antiquities of Normandy Year: ...

BOOK CIRCLE is a hand drawn, limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arc...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.84 x 7.48 inches Inscription: Signed in the...

Original “Le Rapide, Grand Journal Quotidien” art nouveau vintage poster. Conservation linen backed and ready to frame. Year: 1892 Artist: Jules Cheret, referred to as the father of the poster. Le Rapide, Grand Journal Quotidien. Jules Cheret (French, 1836-1932) is a well-listed draftsman, printmaker, and designer is best known as a fin de siecle poster designer. Arguably, he is the best-known French poster designer of his age. Figure no 126; No 568; Posters of Jules Cheret. Most people overlook the fact that she is still writing for Le Rapide using a quill instead of an ink pen. Yes, this poster is over 130 years old and still presents itself well. There are telegraph wires in the sky background. The last time this poster was sold in the big NYC poster...

Woodcut on vélin Tosa Hanga à la main paper. Paper Size: 16 x 12 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Description of a Masque, 1998. Publis...

The Spring is a very brightly colored serigraph realized by the contemporary Italian artist Maddalena Striglio in the late 20th Century. Hand-sign...

William Eggleston William Eggleston The Democratic Forest Selected Works (Hand signed), 2016 Hardback monograph with dust jacket Hand signed by William Eggleston...

The Nile is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolors realized by the artist during a trip to Egypt betwe...

Woodcut on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January 17, 1947. Notes: ...

Salvador DALI (1904-1969) Butterfly suite : Roussillon, 1969 Heliogravure / Photogravure after an original design by Dali Blind stamp signature bottom right Numbered / 1700 copies Printed in Draeger workshop On vellum 53,5 x 37 cm (c. 21 x 15 in) References : - Catalog raisonné Field 69-2 E - Catalog raisonné Michler & Lopsinger 1227 - Catalog raisonné Sahli 130 Information : This artwork was edited by J...

Original pencil signed etching and aquatint by Karl Schrag, 1958. In excellent condition - neither matted nor framed. No. 1 of the edition of 50. Image measures 19 7/8 x 27 3/4 inche...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 10.63 x 8.27 inches Inscription: Signed in th...

An 18th century hand colored botanical engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering sage plants:...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Signed and numbered (17 of 25) etching from this much collected Scottish Artist. Image 6.75 x 7.75 Excellent condition. Matted Ian Laurie was born in 1933 and is a self taught ...

large format photograph of mesmerizing water and cloudscape SEASCAPE IX by Frank Schott 48 x 48 inches ( 122 x 122cm ) edition of 7 signed 5...

This black and white portrait drawing is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 8/25 lower right in pencil. This print features a pair of sketches...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

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...

Noel Mahaffey Night Times Square – 1979 Print – Silkscreen print on Somerset Paper 22” x 30” Edition: signed in pencil and marked PP 4/25 Noel Mahaffey was born in St. Augustine, ...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

Jack Hofflander, American (1920 - 2003) - Barnyard II, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 30 AP, Image Size: 30 x 22 inches, Size: 35 ...

This is a 19th century etching entitled "Tour De Montalban, Amsterdam" (Montalban Tower, Amsterdam) by Maxime Lalanne, published by Phillip Gilbert Hamerton in 1884. The etching depicts a canal scene in Amsterdam with Montalban Tower on the right. Row boats are moored along a dock in the foreground on the left and larger sail boats are seen on the other side of the dock. A boat in the middle of the canal is being rowed by one man. Many buildings are seen along both shores. This etching is presented in a white mat that is suitable for framing. This excellent impression is printed on thick chain-linked, laid cream-colored paper with wide margins and two watermarks; "Portfolio" along the left margin and "MBM" along the right margin. It is signed, titled and dated in the plate in the lower right. There is a collector's stamp (either an "NC" or a "CN") in the lower right corner. The sheet measures 10" high by 15" wide and the mat measures 13" high by 16" wide. There is a small spot in the right margin and some mild discoloration in the periphery on the upper margin. The print is otherwise in excellent condition. This etching is held by many museums and institutions, including The Fine Arts Museums of San Francisco, The Museum of Fine Arts, Boston, The Yale University Art Gallery and The Philadelphia Museum of Art. References: Beraldi (1889) 105; Villet (2016) 148, IV; Lalanne (1882) 137; Bibliothèque Nationale (1932) 82; Gutekunst (1905) 105. François Antoine Maxime Lalanne (1827-1886) was a leading French etcher and painter of landscapes and urban views, who was at the forefront of the French revival of etching during the 1860's. He grew up in Bordeaux, but he refined his artistic skills and worked in Paris. His art was first exhibited at the Paris Salon in 1852 and he continued to regularly show both etchings and paintings there until the mid 1880's. He was also the author of several important books on the subjects of etching and other graphic arts. He was a founding member of the Societe des Aquafortistes, along with Auguste Delatre, Cadart, Ribot and Bracquemond. Lalanne created over one hundred and fifty fine etchings. Lalanne's unique style of art influenced many French and English artists in the twentieth century. Philip Gilbert Hamerton (1834-1894) was a British artist, art critic and author. He was particularly focussed on contemporary graphic art and printmaking techniques. He frequently wrote about the theory of the English Etching...

Frederic Menguy, French (1927 - 2007) - Regate II, Year: 1992, Medium: Lithograph, signed and numbered in pencil, Edition: 145/150, Size: 20.5 x 24.75 in. (52.07 x 62.87 cm)

Artist: Lowell Nesbitt (1933-1993) Title: Flamingos Year: 1981 Edition: 178/200, plus proofs. Medium: Silkscreen on Arches paper Size: 33.5 x 41 inches Condition: Good Inscription: S...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Anonymous pedestrians passing on a snowy walk through Central Park. Um...

Medium: Lithograph on vélin du Marais paper Year: 1957 Paper Size: 14.5 x 11 inches Catalogue raisonné reference: Cramer, illustration 84 Inscription: Inscription: Unsigned and unnum...

Medium: Lithograph on vélin de Lana paper Year: 1950 Paper Size: 9.75 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Signac Dessins, 1950. Publi...

Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...

A charming depiction of a street in San Remo, Italy in fine detail. In the foreground a woman stands with on the steps collecting water from a well. The background captures tall Italian buildings...