Etching Landscape Prints

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 ...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

This artwork titled "Arcadia" c.1990, is an original colors etching with aquatint on Wove paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled and numbered ...

East End of the Four Acre is an artwork, realized by the artist Joseph Banks in 1837. Colored etching, titled and signed in the plate. Beautiful engraving with contemporary colouri...

Gene Kloss: 1903-1996. Well listed and very important female American artist. She has Auction results up to $34,000 for an etching. She was born in Oakland California and died in Taos New Mexico, where she did a lot of her work. This fabulous etching is titled hunters in the snow...

Linda Plotkin, American (1938 - ) - Costa Secca, Year: 1965, Medium: Etching on Arches, signed, titled, numbered and dated in pencil, Edition: AP, Image Size: 15 x 14.75 inches, ...

Etching on antique laid paper, 6 9/16 x 3 15/16 inches (167 x 100 mm), signed and dated in pencil, lower margin. Potentially a trial proof impression aside from the unsigned edition ...

A beautiful and delicate 19th century image of one of New England's most storied ports. Boston: Estes & Lauriat Editions, 1882 Etching on cream laid paper, 2 3/4 x 5 1/4 inches (68 ...

Etching, Engraving on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagn...

This artwork titled "Venice" 1965 is an original color aquatint on Arches paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered 42/100 in pencil by the a...

Desolation, S.C. or Deserted Cabins, Beauford, S.C. Etching & Aquatint, c. 1930 Signed by the artist in pencil lower right (see photo) Annotated "Trial Proof" in pencil lower left corner of sheet Provenance: Estate of the artist By decent Note: An impression of this image is in the collection of the Greenville County Museum of Art, Greenville, South Carolina Condition: Excellent Plate/Image size: 8 x 9 3/4 inches Sheet size: 12 7/8 x 15 inches Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. Some small, scattered light spots...

Signed, titled and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect t...

Mabel Oliver Rae (1868-1956) Oriel College, Oxford 20 x 12 cm Etching Mabel Oliver Rae was born in Cambridge and trained at the Slade School of Fine Art between 1888 and 1890. Rae ...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901. In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon. Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years. Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate. Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

Jean-Emile Laboureur (1877-1943), Maisons au Bord de la Mer, etching, 1936, numbered bottom right (26/66) and inscribed in the bottom margin by Suzanne Laboureur (see below). Referen...

Boston: American Art Review, 1880. Etching on cream laid paper, 5 3/4 x 8 3/4 inches (146 x 230mm), full margins. Light uniform age tone, scattered handling creases and minor toning ...

The full moon is the lunar phase when the Moon appears fully illuminated from Earth’s perspective. This occurs when the Earth is located between the Sun and the Moon. This means tha...

Medium: original etching. This impression on laid paper was printed in 1868 for Philip Gilbert Hamerton's very scarce first volume of "Etching and Etchers". Image size: 4 x 6 1/4 inc...

Hank Laventhol, American (1927 - 2001) - Ripe Sky, Year: circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, Image Size: 16 x 24 inches, Size: 22 ...

This artwork titled "Wien" 1911, is a color etching on paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the artist's estate at the lower center. The ...

This artwork titled "Munichau (Austria)" 1926, is a color etching on paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the artist's estate at the lower center. The plate mark (image) size is 11.5 x 11.5 inches, framed size is 21 x 20.75 inches. Custom framed in a wooden gold frame, with grey/green matting . It is in Excellent condition. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

Alington in Wiltshire (The First Swallow). 1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In state iv, the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. Garton writes, page 11: "The design was based on the Anglican chapel-of-ease is the farmyard of Bulisge at Allinston near Chippenham....The print was originally entitled The First Swallow, but the swallow was burnished out before the 1927 edition....Fifty years later new work was effected in the worn-out areas of the sky and distance to produce prints which, in his opinion, were better than those of the original edition." Robin Tanner was an English artist, etcher, and printmaker. He followed the visionary tradition of Samuel Palmer and English neo-romanticism. His etchings began following night-school classes at Goldsmiths College, London. He had been inspired by the major Samuel Palmer retrospective exhibition organized by Martin Hardie...

A beautiful and delicate 19th century image of late autumn in New England. Boston: Estes & Lauriat Editons, 1888. Etching on cream laid paper, 6 x 11 inches (150 x 278 mm), full ma...

Hank Laventhol, American (1927 - 2001) - Pheasant and Tree, Year: circa 1980, Medium: Aquatint Etching, signed and Numbered in pencil, Edition: 300, AP XXXV, Image Size: 24 x 16 ...

Etching on cream wove paper, 3 3/16 x 1 9/16 inches (81 x 41 mm), full margins. Signed, dated, and inscribed "II" in pencil, lower margin, and with an inscription and dedication in t...

Prise de la Ville Pamfili is an artwork realized by Auguste Marie Raffet in the 1852. Etching on paper. Signed on plate on the left margin. Belongs to the series "Souvenir d'Italie...

Cudham, Kent. 1924. Etching. Tassi 15; Cooke 20. 3 1/8 x 4 (sheet 4 3/8 x 6 7/16). Edition of 42, including some artist's proofs. Published by the Twenty-One Gallery in London. Slight paper loss in the top left-hand corner. A rich impression with plate tone, printed by the artist on antique laid paper...

This artwork titled "Salzburg View" c. 1970 is an original color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed in pencil by the artist. The plate m...

Hank Laventhol, American (1927 - 2001) - Castle Eye, Year: circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, AP XXXV, Image Size: 20 x 16 inches,...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

HAROLD LUKENS DOOLTTLE (1883 - 1974) WESTERN GRANDEUR c. 1945 Aquatint, signed titled and dedicated. Image 9 ¾ x 13 5/8 inches. Large full sheet with deckle edges 15 ½ x 19 inches...

Manhattan Excavation David Muirhead Bone, Scottish (1876–1953) Etching on wove paper, signed in pencil lower right Image Size: 12.25 x 10.25 inches Size: 18 x 13 in. (45.72 x 33.02 cm)

In No Thru Traffic, master printmaker Art Werger offers a striking aerial view of an archetypal suburban neighborhood, rendered with his characteristic precision and subtle wit. Curv...

Etching on thin cream laid paper with a partial "M" or "W" watermark, 5 x 5 15/16 inches (126 x 150 mm), thread margins. Inscribed in the plate in the upper-right: “Antoni Waterlo fe...

Etching hand watercolored realized by Giuseppe Malandrino in 1970s. Edition of 93/199. Excellent condition.

Etching on papeteries vélin de Lana paper. Inscription: unsigned and unnumbered, as issued. Good condition, with full margins. Notes: From the folio, Jours de gloire, Histoire de la ...

Artist: David Rosenthal (American 1876-1949) Title: Village in France Year: c.1927 Medium: Color Etching with aquatint Image (Plate mark) size: 13.5 x 10 inches Sheet size: 14.75 x 11.25 inches Signature: Hand signed and numbered 9/50 in black ink by the artist Condition: Very good, margin slightly toned by age About the artist. David Rosenthal (1876-1949) was a Cincinnati artist...

This artwork titled "Innenhof auf Schloss Schallaburg" c.1930 is a color etching on wove paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed by the artist's estat...

Vue du Port au Chemin de Fer à Honfleur is an artwork realized by Jongkind in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initi...

Japanese born, Fugi Nakamizo came to New York City in 1910. He studied at the Art Students League and Cooper Union, NYC, and also printmaking with Joseph Pennell. He worked on the Federal Public Works of Art Project in the 1930s and in the 40s, during WWII, was interned at the Japanese-American internment camp in Topaz, Utah. His work is in the permanent collections of the Metropolitan Museum of Art and the Brooklyn Museum of Art, NYC, and the Library of Congress and Smithsonian Institution, Washington, DC. This etching of New York...

Medium: original etching and drypoint. This impression in sepia on watermarked laid paper was printed in 1907 and published in Paris for the Revue de l'art ancien et moderne. Plate s...

Etching on papeteries vélin de Lana paper. Inscription: unsigned and unnumbered, as issued. Good condition, with full margins. Notes: From the folio, Jours de gloire, Histoire de la ...

Etching by Ziveri. Hand signed. Signed and numbered in the bottom. Editions of 20 pieces (3/20). Passepartout included. Very good conditions.

Etching from cuivre rayé après tirage on vélin paper. Paper Size: 15 x 11 inches; image size: 2.8 x 3.9 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné re...

La Pompe Notre Dame. (The Pumphouse, Notre Dame). Schneiderman catalog 26.x. 1861. Etching. Image 6 3/4 x 10. Edition of 30 in this state. Series: Eaux-Fortes sur Paris . Initial...

This artwork titled "Schubert's Birthplace, Vienna, Austria" c.1925 is a color etching on Wove paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the a...

Artist: Richard Haas, American (1936 - ) Title: General Electric Building Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 20 Image Size: 20 x 16 inches Size: 26 x ...

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #7. Illustrated: Salaman, Modern Masters of Etching. A fine impression of this scarce pri...

A charming scene with romping dogs and spectators watching the cascading water play a trick on an unsuspecting man who is sprayed as he descends the steps, ...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire 1, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in ...

Etching and sand ground on cream laid paper, 10 1/2 x 7 5/8 inches (262 x 193 mm), full margins. Inscribed "No. 29" in black ink, lower right margin. In good condition with minor tim...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

(New York: John Taylor Arms, 1930) Etching on antique cream laid paper with a fancy "G" watermark, 7 1/8 x 16 1/2 inches (182 x 442 mm), full margins. Signed, dated and inscribed "Ed. 70" in pencil, lower margin. From a total edirion of 81 plus 5 trial proofs. Printed by Henry E. Carling. Number 18 from the Italian Series. A superb impression of this scarce print, with all of the subtleties and details of the reflections in the water printing clearly. [Fletcher 232] [Illustrated: Page 192, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy"]. Along with his constant companion and wife, Dorothy Noyes, Arms spent decades exploring and documenting gothic structures throughout Europe. Noyes, an accomplished travel writer, had gifted Arms an etching set...

Au Fil de l'Eau is an artwork realized by Aufray in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publisher Alf...

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

"The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009). Moody etching by prominent American printmaker and educator Chaim Koppelman. In this piece a nude...

Direct to plate photogravure and aquatint. Edition of 40.