India Ink Landscape Prints

Mid 20th Century hand coloured lithograph of the Alexander III bridge and the Eiffel Tower by Janicotte. Signed in the plate bottom right and titled. Presented in a fine carved wood,...

This is an exclusive handprinted limited edition cyanotype. "Misty Sailboat Journey" is a handmade cyanotype print portraying a daytime sailboat journey...

Rare Engraving "Cabane Des Hold, Terres Artiques, Fig CII," 1st edition "Description de l’Univers, page 281 This rare image depicts the Willem Barentsz expedition of 1597 to Novaya Zemlya, Russia. The engraving, with later hand-coloring, shows the cabin and ship of the Dutch arctic expedition of Barentsz on Novaya Zemlya (Nova Zembla), with the party being attacked (and in some cases apparently eaten) by bears and wolves. Dutch explorer, Willem Barentsz, reached the west coast of Novaya Zemlya in 1594, and in a subsequent expedition of 1596 rounded the northern point and wintered on the northeast coast. Barentsz died during the expedition, and may have been buried on the northern island. This artwork is a page from a book by 17th century cartographer and engineer, Allain Manesson Mallet (French, 1630-1706), "Description de L'Univers, contenant les differents systêmes du monde, les cartes générals et particulières de la géographie ancienne et modern." Paris: Denys Thierry, 1683. Presented in an cream colored mat. Text on verso shown in images. Mat Size: 11.5"H x 9.07"W Paper Size: 8.25"H x 5.44"W Image Size: 5.63"H x 3.75"W Alain Manesson Mallet (French, 1630-1706) was a 17th century cartographer and military engineer. He started his career as a musketeer in the army of Louis XIV, became a Sergeant-Major in the artillery and an Inspector of Fortifications. He later served under Alfonso VI, King of Portugal...

Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...

Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...

The Little Elephant, drawing by Cuca Romley (b. 1933) Image size: 10.5 x 7 7/8 in. Framed 11 x 14 in. Signed Cuca Romley, lower right. Drawing framed, acquired originally from a Par...

This large, horizontal diptych of two woodcut prints on paper evokes the peacefulness of ocean waves depicted in shades of blue, bright royal blue offset by soft, pale blue tones. Th...

This is an artist proof (one of a kind) aquatint and watercolor depicting a cactus-filled Mexican garden, a mirror tilted up and an image of the artist s...

This large, horizontal diptych woodcut print on paper evokes the peacefulness of ocean waves depicted in shades of cobalt blue with purple undertones and the artist's addition of wat...

This is a very hard to find hand colored etching of Central Park Zoo, New York City, well conserved in this excellent condition. It’s beautiful both for the skill: intricate details,...

This is a one of a kind aquatint printed in rich blacks. The image is 12 x 12 and is printed on a 20 x 20 piece of paper. The image depicts large trumpet flowers in a garden with d...

A fine hand coloured 18th Century engraving after the original by Piranesi (Rome 1743), published by Danisy, Paris. Presented in period gold leaf frame, under glass. Piranesi was born in Venice, in the parish of S. Moisè where he was baptised. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, Matteo Lucchesi, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced him to the art of etching and engraving of the city and its monuments. Giuseppe Vasi found Piranesi's talent was much greater than that of a mere engraver. According to Legrand, Vasi told Piranesi that "you are too much of a painter, my friend, to be an engraver." After his studies with Vasi, he collaborated with pupils of the French Academy in Rome to produce a series of vedute (views) of the city; his first work was Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna. From 1743 to 1747, he was mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice. It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and antiquarian engravings. He then returned to Rome, where he opened a workshop in Via del Corso. In 1748–1774, he created an important series of vedute of the city which established his fame. In the meantime Piranesi devoted himself to the measurement of many of the ancient buildings: this led to the publication of Le Antichità Romane de' tempo della prima Repubblica e dei primi imperatori ("Roman Antiquities of the Time of the First Republic...