Unframed Landscape Prints

Donald Baechler, Ice Cream Cone, 1999: A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Soft-ground etching an...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

Signed, titled and numbered from the edition of 120. A November walk from Cambria led the artist to a patch of ice plant on a bluff in the local preserve, Fiscalini Ranch. These succ...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

Lithograph on vélin d’Arches pur chiffon paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, L'Histoire d'O, 1962. Published and...

Original; linen-backed Italian travel by train to Mantova, ENIT poster. Created for the Italian railways to advertise the travel route to Mantova. E.N.I.T....

Christo (American-Bulgarian, b. 1935) Lower Manhattan Packed Buildings (2 Broadway and 20 Exchange Place, from Monuments), 1968 Medium: Offset and screen print on Bristol board Dimen...

The Hague - Le fameux Vivier de la Haye is an original print realized on peep-leaf in the 18th Century. A beautiful watercolored etching (on copper plaque) sold at the time by Daumi...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Smithii" (Hispid-Stemmed Tree Houseleek), plate 1980, published in London in 1818 in...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additio...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

This print considers how we view the contemporary sublime landscape and how easy it can be to experience when we take the time to look. We often don’t have to travel far: parks in ci...

Little Devils Bridge over the Russ, above Alt Dorft Swiss From: Liber Studiorum Etching and mezzotint, 1809 Signed in the plate by JMW Turner and Charles Turner who applied the mezz...

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...

Dramatic, large scale black, white, green and grey Western American landscape with river, grassy banks, trees, and rolling clouds filling the sky. Hang in minimalist, modern, and con...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 225. Published by Aimé Maeght, Éditeur...

Ethiopian Churches is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.59 (as reported in the higher margi...

Plombiers Les Bains (Bosges . Original vintage French travel poster: Artist: Adrien Senechal. Travel from Paris in 5 Hours. Note ...

Shungo Sekiguchi, (Japanese, 1911-2002): Lithograph in color on Rives paper Hand signed in pencil lower right, hand numbered It appears to be the village of Montmarte in Paris T...

70x70cm, print on canvas Edition 20 pcs.

Chaque année Grégoire Mathias produit une affiche de tourisme avec pour sujet la ville de Périgueux, en Dordogne. Etant collectionneur d'affiches, il...

The Pacific Coast Highway winding up the iconic Big Sur Coast in California. In the distance is Bixby Bridge. Signed, titled and nubmered by the artist. Medium: etching and aquatin...

Artist: Peter Max (1937) Title: Liberty Head X Year: 2004 Edition: 679/700, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 7 x 6.87 inches Condition: Excellent Inscripti...

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Colour aquatint by John Bluck (active 1791-1819) after Auguste Pugin (1762-1832). Architectural interior with superb original colour. From 'Westminster Abbey', published by Rudolf A...

"Moorea" is an beautiful hand pulled serigraph created from the oil painted on location in Tahiti by Maria Bertran. This Contemporary Impressionist painting captures a timeless scene...

Original vintage travel poster Holy Week in Spain. Original color lithograph in English HOLY WEEK IN SPAIN. Linen backed and in excellent condition, ready to frame. Spanish Nat...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Sempervivum Glutinosum" (Clammy Houseleek), plate 1963, published in London in 1818 in William C...

Original Caribbean South America Holland America Cruises vintage poster. S.S. Rotterdam and the S.S. Statedam cruise ships. Artist: David Klein. Archivally linen-backed and ready to frame. In excellent condition. Note that his poster was printed with a shiny surface. David Klein was the notable artist that created most of TWA’s travel posters...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

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...

This print was made to accompany the deluxe version of the Catalogue Raisonne covering the years 1993-2002. One of his imaginary garden huts or cabanes in wilderness setting. The pr...

This beautiful woodcut print in the tradutional "oban" format is the work of the great Japanese master Utagawa Hiroshige (1797-1858). It represents the landscape from a high point o...

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

Artist: Peter Max (1937) Title: Heart Series IV Year: 1998 Edition: 300/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 5 x 4 inches Condition: Excellent Inscripti...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 13.78 x 10.24 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 160, 1966. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

This is a 16th century original hand-colored copperplate engraved map of Tournai, Belgium, entitled "Tornacum" by Georg Braun & Franz Hogenberg, in volume IV of their famous city atlas "Civitates Orbis Terrarum", published in Cologne or Augsberg, Germany in 1575. The map provides a bird's-eye view of the walled city of Tournai, the second oldest city in Belgium. It lies approximately one hour by car southwest of Brussels or from Ghent. The names of thirty of its streets, prominent buildings, churches and squares are listed in a key within a strap-work cartouche in the lower left. These locations are numbered in the key corresponding to their locations on the map. This colorful map of Tournai (Tornacum or Tournay as it was called in the 16th century) includes the title in Latin in a cartouche in the upper center. Three crests are present across the upper map. A man and two woman are standing on a hill in the foreground in the lower right dressed in the style of 16th century upper class residents of the town. This is an English translation of an excerpt of Braun's description of Tornai: “Tornacum or Turnacum is a city in Gallia Belgica, situated on the Schelde in the territory of the Nervii, called Tournai by its French inhabitants, but Dorneck by the Germans. Tournai has always been a large and powerful city, with an abundance of goods and commercial activities and wonderfully resourceful craftsmen, who invent new articles every day, and although some of these go out of use they constantly conceive of other new things, both useful and delightful, so that they have at all times something that provides work and a means of livelihood for the poor." ReferencesVan der Krogt 4, 4435, State 1; Taschen, Braun and Hogenberg...

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...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré à Jean-P...

CENTER OF ATTENTION is a hand drawn original lithograph printed in blue gray ink using hand lithography techniques on archival Arches printmaking paper 100% acid free. CENTER OF ATT...

Medium: Lithograph on grand vélin Renage paper Year: 1954 Paper Size: 12.25 x 9.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Pascin, 1954. Publishe...

The Feast of San Gennaro was a traditional celebration in Naples for Saint Gennaro, who became a martyr in the year 305. Long celebrated in Italy, immigran...

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

Bauxite Factory, Suriname Clarence Holbrook Carter American (1904–2000) Date: 1980 Lithograph, signed and numbered in pencil Edition of 200, AP 30 Image Size: 17.75 x 26 inches Siz...

This is a larger version of the 18 x 11 inch photograph of the same name. This is an original, hand-printed contact photograph using the antique cyanotype process. These Monterey pin...

Towering Monterey pines lean into the blue mist of the valley beyond. These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. The photograph is of the coastal redwood...

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...

Artist: Ian Hornak (1944-2002) Title: The Unexpected Frontier Year: 1981 Edition: 57/150, plus proofs Medium: Silkscreen in colors on vélin de Rives BFK paper Size: 29.13 x 38.19 in...

Collegio di Propaganda Fide is an etching on paper of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins and Foxings. Giuseppe Vasi (Corleone,1710 - Rome, 1782) was an engraver, architect, and landscape artist. Between 1746 and 1761, Vasi published 10 volumes with 240 engravings of the monuments of Rome...

“THE SHADOW OF THE BROOKLYN BRIDGE” Emilio Sanchez (1921-1999) created this color lithograph entitled “Shadow of the Brooklyn Bridge” in 1988. The image size is 21.38 x 30.50 inche...

Offset lithograph on paper. Each stamped and numbered on verso. Edition of 120. Size: 35.5 x 27.5 inches (each); 35.5 x 55 inches (total). Artwork is in excellent condition. Certif...

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: 6.69 x 7.87 inches Inscription: Unsigned and ...

Héliogravure on vélin pur fil du Marais paper, archivally mounted on a larger vélin pur fil du Marais support sheet, as issued Paper Size: 11 x 9 inches, image; 19.25 x 15.25 inches,...

COLMAR is an original wood engraving by the American artist Bernard Brussel-Smith, hand printed in yellow, light blue and black ink. COLMAR depicts a quaint French village scene with...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Lucas Vorsterman (1595 - 1675) after Peter Paul Rubens (1577 - 1640) The Fligh...

The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...