Etching Landscape Prints

"La Plage de la Panne" is an original etching by James Ensor. The artist signed the piece in plate in the lower right and signed, titled, and dated it below t...

Seascapes With Monument and Figures is an Etching realized by Giuseppe Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original titl...

This print is part of a small series of works to investigate the use of layering, colour blends and texture in screen print to elicit an ethereal, eerie and potentially dizzying sens...

Signed, titled and numbered aquatint print, Printed on Arches Cover Paper. A gentle fog descending on Lake Whatcon on a December morning. A walking m...

Navona Square is an artwork realized by Giuseppe Malandrino. Print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Numbered edition of 190 cop...

A fine etching in colours by the well listed artist William Tatton Winter (1855-1928). Signed in pencil below plate lines. Inscribed in plate to the lower left. Smartly mounted in a ...

Caprices. Paper, etching, 15.5x10.5 cm "Caprices" is an etching artwork on paper that presents a series of whimsical and imaginative scenes or subjects. Through the intricate lines...

Il Ponte Palatino is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good ...

Ships is an etching realized by Charles-François Lacroix de Marseille in the 18th Century. Good conditions with slight foxing. The artwork is realized through deft expressive strokes.

The Wild Boars is a B./W.  etching on paper realized on 1934 by the French artist Xavier de Poret. Hand Signed on the left and dated on the right corner.

Fishermen is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realize...

John Harris after Harry Hall The Merry Beaglers c. 1845 48x65cm Aquatint with hand colouring The most famous beagling print there is, after the 1845 pa...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 61 is a beautiful black and white etching and aquatint on paper realized by the Italian artist Ludovico Caracciolo, after Claud...

Château de la Malmaison. is an Etching realized by Shelton in 1837. Good conditions. The artwork is realized in a well-balanced composition. the artwork and belongs to the suite su...

L'Arc en Ciel is an original print in etching technique on ivory paper, realized by R.P. Grouiller (engraver and sculptor) after by J.F. Millet (French Painter, 1814-1875). Good co...

Etching on buff wove J Whatman handmade paper with a partial watermark, 3 1/2 x 1 3/4 inches (89 x 44 mm), full margins. Signed in pencil and inscribed "III" in the lower margin. A p...

Vitaly was considered an up and coming artist in his native Ukraine, after years of training under one of the Ukraine’s greatest graphic artists...

Borgo Pio - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Number...

Casino di Villa Mattei is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corleone,1710 -...

City in Night is an original etching artwork on cardboard realized by Virgilio Retrosi, a ceramist and engraver pupil of Duilio Cambellotti. Hand-...

Bold black and white print by David Mar (American, 20th Century). An abstract print of wartime imagery is layered over the poem "Suicide in the Trenches" by Siegfried Sassoon...

Óbuda was a city in Hungary that was merged with Buda and Pest on 17 November 1873; it now forms part of District III-Obuda-Békásmegyer of Budapest. The name means Old Buda in Hungar...

Ryohei, Tanaka (Japanese, 1933-2019). GROVE #2. Etching in color, 1966. Edition of 50. Numbered 23/50, signed, and dated in pencil.11 5/8 x 14 1/2 inches (plate), plus full margins. ...

Battle of Sedyman is an etching print on paper in the Late 19th century. Good conditions. From the suite of "France Pittoresques, including costume of the world.

Storm Spectres I’ is a unique monotype made at the artist’s studio in Cadiz, southern Spain. Much of Tim’s work takes the land or the sea as a starting point – a vast unending springboard where he explores concepts of human mortality, perceptions of life and death, emotions and colour. Although the pieces are clearly some sort of landscapes there is always ambiguity allowing the viewer to make a personal interpretation of what is directly in front of them. Tim’s monotypes are completely unique pieces of work made from inking up several copper etching plates...

Gibraltar From The Sea is a lithograph realized by James Charles Armytage in 1940. Signed on the plate and titled on the lower. Included a Pasepartout:24 x 30 cm Good conditions w...

Image dimensions: 11x17 cm. Landscape is an original etching realized by Alberto Salietti, an italian artist of the 20th century. The state of preservation is very good, except for...

Landscape is an original etching artwork by an anonymous artist. Hand-signed on the lower right (illegible) Numbered, edition 5/99. The state of preservation is very good. Sheet ...

The famous Austrian artist, Luigi Kasimir ( 1881- 1962 ) studied at the Vienna Academy of Art. He went on to develop the technique of color etching using multiple plates to create a finished etching in color. Previously a colored etching had to have the color applied by hand. Kasimir was a very prolific artist famous for his scenes of Vienna...

Artist: James Rosenquist (1933-2017) Title: Carousel, State II (Glenn 131A) Year: 1978 Medium: Etching & Aquatint on Pescia Italia paper Edition: 21/78, plus proofs Size: 22.75 x 40 ...

As dawn breaks in the frozen north, a herd of reindeer roam across a winter landscape. This print is made on a copper plate using acid to etch the drawing into the plate. It is print...

Marine Nature is an original Contemporary artwork realized in the mid-20th Century by Robert Naly (1900 - 1983). Original Etching on paper. Passepartout is included (cm 60 x 40)....

Signed, titled and numbered by the artist. Medium: etching and aquatint Image size: 12 x 9 inches Year: 2019 Fall colors in Lithia Park, Ashland OR Born in Berkeley, California, ...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Medium: etching and aquatint Edition of 250 Year: 2014 Image Size: 9 x 12 inches Signed, titled and numbered by the artist. Inspired by a scene of seven Canadian Geese in Lake Padde...

View of the River is an original artwork realized by George Henri Tribout. Original etching on paper glued on cardboard. Signature on the lower right corner. George Henri Tribout ...

The Bridge is a beautiful etching artwork realized by Jan Peter Verdussen in 1745. In good condition except for missing piece of paper and ripping along the margins. Passepartout i...

Arch of Janus is an original etching on ivory paper realized by Dominique Montagù after Jean Barbault. Signed on the plate on the lower right. Titled on...

This black and white etching by American painter and print maker of the Hudson River School in New York: Thomas Moran, is a rare Klackner #53 of the catalogue raisonné, depicting "The Harbor of Vera...

Image dimensions: 21 x 16 cm. The Church is an original modern artwork realized in 1980 by the Italian artist Bellosti. Original etching on paper. Edition of 95 prints. Numbered...

Tomb of Caecilia Metella is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is good with some foxing on the upper ...

Fontana e Teatro di Marcello is an original etching hand watercolored of the Late 18th century, realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions...

Horter, Earl. NEW YORK CITYSCAPE. Etching, not dated. Edition size not known. Printed on heavy laid paper, and signed in pencil. 6 1/2 x 6 1/8 inche...

Signed, titled and numbered aquatint print. This Monterey Cypress lined trail wends its way along the bluff above the rocky Pacific shore in San Simeon. I printed it using three ble...

Trees is an original black and white etching realized by Lino Bianchi Barrivera in 1964. Hand signed on the right margin. Numbered on the lower left. Edition of 102 copies (16/102...

Image dimensions: 11.5 x 14.7 cm Vie of Taranto is an original black and white etching on paper, realized by the Italian engraver Achille Parboni. Printed as a plate of the prints ...

Original Figurative Etching Edition number 7 Image size: H:52 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This etching ...

Palazzo Madama is an etching of the Late 18th century realized by the Artist Giuseppe Vasi. Signed and titled on plate lower margin.  Good conditions. 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...

Signed, titled and numbered from the edition of 200. Lily pads and the sky reflected in a quiet lake, inspired by canoe trip at Lake Terrell in Ferndale, Washington on a warm summer afternoon. Born in Berkeley, California, on December 21, 1949, he was raised in a home that had a sweeping view of the San Francisco Bay. This scene kindled his interest in landscape and was one of his earliest drawing subjects. Stephen McMillans etchings and aquatint prints capture the landscapes of California...

After the Storm is a contemporary landscape print by Phil Greenwood. The serene combination of earthy green, blue and white tones gives the work a calming feel and Greenwood’s attent...

Il Tevere e S.Pietro   is a black and white etching realized by  Nazareno Gattamelata  in the 1985. Hand signed by the artist on the lower right margin:  Gattamelata . Numbered on ...

The Houses of Scilla is an artwork realized  by Giovanni Omiccioli (February 25, 1901 – March 1, 1975). Etching on cardboard. The artist wants to define a well-balanced composition...

Sainte Hélène is an Etching realized by P.Bellange in 1837. Good conditions. The artwork is realized in a well-balanced composition. the artwork and belongs to the suite suite "Atl...

Les enfants à la fenêtre is an original print, realized in early 20th Century, by the French Artist Alfred Renaudin,  previously known under the pseudonym E. Naudy ( 1886-1944)  Han...

Polymer gravure type etching on Velin Arches Blanc 250 gsm. Signed and numbered by the artist Paper size: 24 x 29.5 cm Edition of 100

Chiesa di S.Carlo ed Ambrogio al Corso is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except f...

Working in the tradition of the Etching Revival, Ernest David Roth made this amazingly conceived and detailed study of the entrance to the Spanish ci...

Landschap Met Vierkante Toren is an engraving on ivory-colored paper realized by Charles Amand Durand after an etching by Rembrandt dated 1650. This wonderful piece of art belongs to...

Bath of Titus is an artwork realized by Giuseppe Vasi in the late 18th century. Etching, 33 x 45 cm. "Vasi and Piranesi dis.e inc" in the lower left part. Good conditions! 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...

Black and white etching on wire rod paper, representing the Greek myth of Alcyone. Wonderful plate with very fresh impression and a beautiful use of chiaroscuro, from the volume “Le...