Lithograph Landscape Prints
Color: Black
Medium: Lithograph
Windswept Landscape Henry Moore drawing of Scottish landscape for W.H. Auden
By Henry Moore
Located in New York, NY
One of a series of 18 lithographs drawn by the artist fo¬r the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from ...
Category
Late 20th Century Modern Lithograph Landscape Prints
Materials
Lithograph
THE BIG APPLE NEW YORK CITY Signed Lithograph, Police, Taxi, Times Square, Deli
By Alex Echo
Located in Union City, NJ
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...
Category
1990s Pop Art Lithograph Landscape Prints
Materials
Lithograph
LE VERTE GALANT
Located in Aventura, FL
Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...
Category
1980s Cubist Lithograph Landscape Prints
Materials
Paper, Lithograph
Fjord by Henry Moore drawing of Scottish landscape for W.H. Auden poetry book
By Henry Moore
Located in New York, NY
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 t...
Category
Late 20th Century Lithograph Landscape Prints
Materials
Lithograph
THE MAIN ATTRACTION Hand Drawn Lithograph, Surrealist, Moon, Tree Onstage
Located in Union City, NJ
THE MAIN ATTRACTION is an original hand drawn limited edition lithograph by the British artist, Michael Hasted printed using hand lithography on archival Somerset paper, 100% acid fr...
Category
1980s Surrealist Lithograph Landscape Prints
Materials
Lithograph
'Navajo Courtship Dance' — 1940s Southwest Regionalism
Located in Myrtle Beach, SC
Ira Moskowitz, 'Navajo Courtship Dance (Squaw Dance)', lithograph, 1946, edition 30, Czestochowski 161. Signed and titled in pencil. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/16 to 2 3/4 inches). Pale mat line, otherwise in excellent condition. Matted to museum standards, unframed.
Image size 11 13/16 x 14 13/16 inches (300 x 376 mm); sheet size 13 1/16 x 20 1/8 inches (332 x 511 mm).
ABOUT THE ARTIST
Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972.
After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001.
Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955).
Moskowitz’s lithographs of...
Category
1940s American Modern Lithograph Landscape Prints
Materials
Lithograph
Original Bruxelles Foire Internationale vintage travel poster
Located in Spokane, WA
Original linen-backed Bruxelles (Brussels) Foire Internationale oversize vintage travel poster. The poster features the most famous Grand Pal...
Category
1950s American Impressionist Lithograph Landscape Prints
Materials
Lithograph
Carrera de Veleros Regata original sailing sports vintage poster
Located in Spokane, WA
Carrera de Veleros Regata, an original vintage sailing poster: Carrera de Veleros, Corpus Christi to Tampico Regata, April 17th. Texas - U.S....
Category
Mid-20th Century American Realist Lithograph Landscape Prints
Materials
Lithograph
City Park, Winter
By Aaron Bohrod
Located in Fairlawn, OH
City Park, Winter
Lithograph, c. 1947
Signed in pencil lower right (see photo)
Published by Associated American Artists
Printed by George C. Miller, New York
Edition: c. 250
In the Bohrod papers at Syracuse University, the artist states that it is a view of Pittsburgh. It depicts the George Washington Monument in Allegheny Commons Park, dedicated in 1891. The sculptor f the monument is Edward Ludwig Albert Pausch (1856-1931).
Condition: Excellent
Image size: 9 1/4 x 13 7/16 inches
Frame size: 19 x 23 inches
Provenance: Estate of Adolf Dehn
Reference: AAA Index No. 848
Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings.
Education
Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings.
Career
He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...
Category
1940s American Realist Lithograph Landscape Prints
Materials
Lithograph
French Forest Landscape Lithograph "Bord de la Forêt et Maisons Sous la Neig"
By Bernard Gantner
Located in Soquel, CA
Quiet winter scene on a frozen lake by listed artist Bernard Gantner (France, b. 1928). Presented in a rustic wood frame. Signed and numbered in pencil: edition number "149/275" lowe...
Category
1980s Impressionist Lithograph Landscape Prints
Materials
Paper, Ink, Lithograph
Recodo, Puerto Rican Modernist Color Lithograph on Paper
Located in Surfside, FL
Rafael Ferrer (b. 1933 in San Juan) is a Puerto Rican artist. He attended the Staunton Military Academy in Virginia, where he cultivated an interest in music. In 1951 and ’52, he stu...
Category
1990s Modern Lithograph Landscape Prints
Materials
Lithograph
Original Cruwell Tabak vintage poster. Crüwell-Tabak
Located in Spokane, WA
Original vintage poster Cruwell-Tabak. Archival linen backed in very good condition and ready to frame.
Cruwell tobacco company was founded in 1753 in Bielefeld, Germany. Note: In...
Category
1950s Gothic Lithograph Landscape Prints
Materials
Lithograph
ROSIGNANO DAWN (DIPTYCH)
Located in Aventura, FL
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...
Category
Early 2000s Photorealist Lithograph Landscape Prints
Materials
Offset, Lithograph
GOING TO CHURCH Signed Lithograph, Southern Landscape, African American Heritage
Located in Union City, NJ
GOING TO CHURCH was the very first limited edition print created by the self-taught African American artist William Tolliver (b.1951-2000) in 1987. GOING TO CHURCH is an original hand drawn lithograph (not a photo reproduction or digital print) printed on archival printmaking paper 100% acid free, using hand lithography techniques.
William Tolliver 's recognizable artistic style freely combines the colors of Chagall with the solid compositional principles of Cezanne and the mood and forms reminiscent of Modigliani and Picasso. GOING TO CHURCH depicts a Southern Landscape with a group of black country folk - three females clothed in long dresses, and two youths wearing blue jeans, all walking on their way to religious services. The black textured drawing background defines the composition's frame and outlines the rural landscape, trees, and sky with the procession of human figures in the foreground; a rainbow of multicolors creating a vibrant, almost stained-glass visual effect .
GOING TO CHURCH is an impressive large horizontal landscape...
Category
1990s Contemporary Lithograph Landscape Prints
Materials
Lithograph
Singapore Singapour Original Modernist Lithograph on Arches vellum
Located in Surfside, FL
Original lithograph, handsigned and numbered HC
On Arches vellum ragpaper
Dimensions : 69 x 54,5 cm (27.2 x 21.5 inches)
Joan Gardy Artigas (born 1938) is a Catalan ceramist, artist...
Category
20th Century Modern Lithograph Landscape Prints
Materials
Lithograph
"Path, " Original Color Lithograph Park View signed by Harold Altman
Located in Milwaukee, WI
"Path" is an original color lithograph by Harold Altman. The artist signed the piece lower right, wrote the title of the piece in the lower center, and wrote the edition number (30/2...
Category
1990s Pointillist Lithograph Landscape Prints
Materials
Lithograph
Cleveland. Moonlight Arrival on the Cuyahoga ca. 1876
By John Stobart
Located in Mount Vernon, NY
Signed limited edition print after painting by John Stobart (b.1929).
Born and raised in England, John Stobart emigrated to the United States in the 1960's and became interested in America's maritime history. His first exhibition of marine paintings in New York was an immediate sellout. Since then he has dedicated his work to capturing the great port scenes during the golden age of American commerce. Based on hours of thorough research and on-site drawings, and enhanced with lighting to create a sense of season and time of day, his paintings vividly recreate what it must have been like to stroll the cobblestones along a busy wharf at dawn or under the glow of moonlight.
Maritime Heritage Prints was established in 1976 by Stobart to ensure control of the highest quality production of his prints.
Top: Published by Maritime Heritage Prints, Inc., in limited signed edition of 950 (35 remarqued), from the original painting...
Category
Late 20th Century Lithograph Landscape Prints
Materials
Lithograph
La Braque
Located in Palo Alto, CA
Utilizing cool shades of grays, blues, and greens, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts the calm before the storm. A peaceful rowboat rests on the shore beneath a...
Category
1950s Modern Lithograph Landscape Prints
Materials
Lithograph
Original "Queen of the Jungle" US 1-sheet vintage (1935) movie poster
Located in Spokane, WA
Original Queen of the Jungle vintage lithograph movie poster, archival linen backed. US 1-sheet.
"The Temple of Mu." Serial. Episode No 10. St...
Category
1930s American Modern Lithograph Landscape Prints
Materials
Lithograph
Photogenic Drawings Poster (Hand Signed by Sugimoto)
Located in New York, NY
Hiroshi Sugimoto
Photogenic Drawings (Hand Signed), 2012
Offset Lithograph Poster. (Hand signed by Hiroshi Sugimoto)
Unframed
This offset lithograph poster was hand-signed by photogr...
Category
2010s Surrealist Lithograph Landscape Prints
Materials
Offset, Lithograph, Permanent Marker
Landscape - Original Lithograph by Michel Estèbe - 1980s
Located in Roma, IT
Landscape is an Original Lithograph realized by Michel Estèbe. Hand signed on the lower right margin.
Good conditions.
Michel Estèbe is a french artist born in Talence. He studied ...
Category
1980s Contemporary Lithograph Landscape Prints
Materials
Lithograph
Salvador Dali (after) - Alpes - Lithograph
Located in Collonge Bellerive, Geneve, CH
Lithograph after Salvador Dali
Title: S.N.C.F
Stamp Signed Dali
Dimensions: 46.5 x 34 cm
Edition: /1700
1969
References : Catalogue raisonne Michler & Lopsinger Ref. 1222-1228
Category
1960s Surrealist Lithograph Landscape Prints
Materials
Lithograph
'In Memory of William W. Peabody' original hand-colored lithograph by N. Currier
Located in Milwaukee, WI
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...
Category
Mid-19th Century Romantic Lithograph Landscape Prints
Materials
Watercolor, Lithograph
1940s Vertical American Modern Mining Town Landscape Lithograph, Mountain Scene
By Otis Dozier
Located in Denver, CO
Lithograph titled "Mining Town" by Otis Dozier (1904-1987) from 1940. Modernist scene of a mountain mining town with several buildings at the base of the mountain. Presented in a custom black frame, outer dimensions measure 25 ½ x 18 ⅜ x ¼ inches. Image sight size is 16 ¼ x 9 ½ inches.
Print is clean and in very good condition - please contact us for a detailed condition report.
Provenance: Private Collection, Denver, Colorado
Expedited and international shipping is available - please contact us for a quote.
About the Artist:
Born in Forney, Texas, Otis Marion Dozier was raised on a farm in Mesquite, Texas. Dozier was a muralist, potter, lithographer, sculptor, and painter. Dozier was a member of a group of Texas regionalist artists known as the "Dallas Nine." His surroundings in Texas became the focus of much of his art.
Dozier’s first artistic training took place in the early 1920’s when his family moved to Dallas. He studied under Vivian Aunspaugh, Cora Edge, and Frank Reaugh...
Category
1940s Abstract Lithograph Landscape Prints
Materials
Paper, Lithograph
Original "Back Them Up!" vintage British WWII poster
Located in Spokane, WA
Original WWII poster: A British "Commando" raid on a German-held port in Norway. Back Them Up! Linen backed and ready to frame. Printed in England...
Category
1940s American Modern Lithograph Landscape Prints
Materials
Lithograph
Original "1984 Olympics Los Angeles" Torch Runner signed and numbered
Located in Spokane, WA
The Los Angeles Olympics Torch /runner
Original, hand signed and numbered #232/300 "The Olympic Torch Runner". Printed on fine textured paper in 1980 ...
Category
1980s American Realist Lithograph Landscape Prints
Materials
Lithograph
Sunday, Central Park
Located in San Francisco, CA
Artist: Harold Altman (American, 1924-2003)
Title: Sunday, Central Park
Year: c. 1985
Medium: Color lithograph
Edition: Numbered 56/285 in pencil
Paper: Wove
Image size: 17.5...
Category
Late 20th Century American Impressionist Lithograph Landscape Prints
Materials
Lithograph
The Forest Henry Moore drawing of Yorkshire landscape for W.H. Auden poetry book
By Henry Moore
Located in New York, NY
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 t...
Category
Late 20th Century Modern Lithograph Landscape Prints
Materials
Lithograph
Poster-Evening Tide
Located in Clinton Township, MI
Poster. Galaxy of Graphics LTD. Measures 24 x 36 inches and is Unframed. Good/Fair Condition-signs of wear primarily along the lower-border (please see secondary photos for details).
Category
1980s Lithograph Landscape Prints
Materials
Lithograph
Ceremonial Night, by Dan Namingha, limited edition, lithograph, Hopi, landscape
By Dan Namingha
Located in Santa Fe, NM
Ceremonial Night, by Dan Namingha, limited edition, lithograph, Hopi, landscape
hand pulled limited edition lithograph Tamarind Institute signed and numbered by the artist Glenn Gr...
Category
1980s Contemporary Lithograph Landscape Prints
Materials
Lithograph
Puerto Rico 3N
By Enoc Perez
Located in Boston, MA
Artist: Perez, Enoc
Title: Puerto Rico 1N
Date: 2016
Medium: Photogravures with hand coloring
Unframed Dimensions: 25" x 32"
Signature: Signed
Editi...
Category
2010s Contemporary Lithograph Landscape Prints
Materials
Lithograph
Eton College Courtyard 19th Century Victorian lithograph
Located in London, GB
Anonymous (19th century)
Eton College Courtyard
Lithograph
29 x 38 cm
Mounted to board.
Category
Late 19th Century Modern Lithograph Landscape Prints
Materials
Lithograph
James Penney, Menu
By James Penney
Located in New York, NY
James Penney was widely known for his New Yorker covers as well as his paintings and prints.
Penney was from Saint Joseph, Missouri. He trained in NYC at the Art Students League. Th...
Category
1930s Ashcan School Lithograph Landscape Prints
Materials
Lithograph
Nocturnal Abstracted Full Moon Lava Landscape Lithograph #2
Located in Soquel, CA
Dramatic and compelling abstract lithograph of an abstracted lava-like form or glowing skyline under a full moon on a pitch black background by Patricia A. Pearce (American, b. 1948)...
Category
1980s Abstract Expressionist Lithograph Landscape Prints
Materials
Paper, Ink, Lithograph
El Santuario de Chimayó, large lithograph, signed, numbered 1/40 renowned artist
Located in New York, NY
GREGORY AMENOFF
El Santuario de Chimayó, 1986
Lithograph in Colors on wove paper
37 × 38 inches
Edition 1/40
Hand Signed, titled, dated, and numbered in pencil 1 from the edition of only 40 lower margin front
Unframed
A stunning richly colored lithograph by this important artist...
Category
1880s Abstract Expressionist Lithograph Landscape Prints
Materials
Lithograph, Pencil
Jamboree, by Roman Sustov
By Roman Sustov
Located in Palm Springs, CA
Signed, titled and numbered in pencil, from the edition of 30. An imaginary musical instrument combining elements of a trumpet and French Horn. Using traditional stone lithography,...
Category
21st Century and Contemporary Contemporary Lithograph Landscape Prints
Materials
Lithograph
'Partridge Shooting' original hand-colored lithograph by Nathaniel Currier
Located in Milwaukee, WI
The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime.
9.25 x 12.5 inches, artwork
18.38 x 22 inches, frame
Entitled bottom center "Partridge Shooting...
Category
Mid-19th Century Romantic Lithograph Landscape Prints
Materials
Watercolor, Lithograph
Village de Provence
Located in San Francisco, CA
This artwork "Village de Provence" c.1970 Is an original colors lithograph by noted French artist Denis Paul Noyer, b.1940. It is signed and number...
Category
Late 20th Century Modern Lithograph Landscape Prints
Materials
Lithograph
Italian State Railways - Lithograph by A. Terzi - Early 20th Century
Located in Roma, IT
Italian State Railways is an original artwork realized in the early century by Aleardo Terzi.
Mixed colored lithograph.
A vintage affiche depicting Ita...
Category
Early 20th Century Art Nouveau Lithograph Landscape Prints
Materials
Lithograph
Gem Mining Company, Colorado Landscape Mining Scene 1930s Lithograph Print
Located in Denver, CO
'Gem Mining Company', lithograph by Arnold Ronnebeck from 1932. Colorado mining scene with several mining buildings amongst the mountains. Presented in...
Category
1930s American Modern Lithograph Landscape Prints
Materials
Lithograph
Multitude II Henry Moore yorkshire landscape black and white abstract drawing
By Henry Moore
Located in New York, NY
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 t...
Category
Late 20th Century Lithograph Landscape Prints
Materials
Lithograph
The Long Trail West
Located in San Francisco, CA
This artwork titled "TheLong Trail West" c.1980 is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed and n...
Category
Late 20th Century American Realist Lithograph Landscape Prints
Materials
Lithograph
Grand Canyon of Arizona from Hermit Rim Road 1912 (Color Chromolithograph)
By Thomas Moran
Located in Rancho Santa Fe, CA
IN PRISTINE CONDITION.
A color Chromolithograph published by the Atchison, Topeka and Santa Fe Railroad in 1912 after the original oil painting, “Gr...
Category
1910s Hudson River School Lithograph Landscape Prints
Materials
Paper, Lithograph
When Predators Meet
Located in San Francisco, CA
This artwork titled "When Predators Meet" 1988 is an offset lithograph by renown Western artist Gary Carter, born 1938. It is hand signed and numbered 817/...
Category
Late 20th Century American Realist Lithograph Landscape Prints
Materials
Lithograph
Norman Kent, The Bentley-Kent House, 1831
Located in New York, NY
Signed titled, and dated, in pencil, and annotated in lower margin "My great-great grandfather's house, built in Bentleyville, Ohio in 1831; torn down in 1956."
The wood engraving i...
Category
1960s American Modern Lithograph Landscape Prints
Materials
Lithograph
"San Fransisco Shoreline" by William Keith
Located in Clinton Township, MI
Published by New York Graphic Society, 1973.
Printed in USA
Good Condition
27 x 37 in.
Category
20th Century Lithograph Landscape Prints
Materials
Lithograph
Original Holy Week in Spain original full lithograph vintage poster
Located in Spokane, WA
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...
Category
1940s Gothic Lithograph Landscape Prints
Materials
Lithograph
Philip Cheney, April Thaw
Located in New York, NY
This peaceful, idyllic scene is a perfect example of works published by Associated American Artists in the 1940s -- an American subject, drama-free, and masterfully drawn. It was iss...
Category
Mid-20th Century American Modern Lithograph Landscape Prints
Materials
Lithograph
"Vue de Mantes" Lithographic Print. Created in Italy.
Located in Clinton Township, MI
Vintage, unframed lithographic print after Jean - Baptiste Camille Corot. Piece is titled "Vue de Mantes", published by Hyperion, printed in Italy. ...
Category
20th Century Lithograph Landscape Prints
Materials
Lithograph
Vladimir: Greek column abstract etching and screenprint, handmade paper frame
Located in New York, NY
An abstract black and white shadowbox drawing of a Greek column, with a unique handmade, hand printed, leather brown wood grain frame. According to Roberta Smith, Michael Hurson "......
Category
1980s Contemporary Lithograph Landscape Prints
Materials
Lithograph, Intaglio, Screen
Histoire d’Albert - Prints by Rodolphe Töpffer -1845
Located in Roma, IT
Histoire d’Albert is an original modern rare Book engraved by Rodolphe Töpffer (31 January or 1 February 1799 – 8 June 1846) in 1845.
Original First ...
Category
1840s Modern Lithograph Landscape Prints
Materials
Lithograph
Composition - Lithograph by Jiri Kolar - 1983
Located in Roma, IT
Composition is an original lithograph realized by Jiri Kolar in 1983.
Good conditions.
The artwork is depicted through harmonious colors in a well-balanced composition.
Category
1980s Contemporary Lithograph Landscape Prints
Materials
Lithograph
Cypress Swamp Land
Located in San Francisco, CA
This artwork titled "Cypress Swamp Land" 1947 is an original lithograph by noted American artist Henry Clarence Pitz, 1895-1976. It is hand signed in pen...
Category
Mid-20th Century American Realist Lithograph Landscape Prints
Materials
Lithograph
"Shooting on the Prairie, " Original Hand-colored Lithograph by Currier & Ives
Located in Milwaukee, WI
"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field.
8 1/2" x 12 1/2" art
20 1/4" x 23 3/4" frame
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...
Category
1870s Other Art Style Lithograph Landscape Prints
Materials
Lithograph
Animals - Original Lithograph By Jean Lurçat - Mid-20th Century
By Jean Lurçat
Located in Roma, IT
Animals is an original artwork realized by Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) .
Lithograph print, mid-20th Century.
Perfect conditions.
Jean Lurçat (1892-1966) ...
Category
1940s Modern Lithograph Landscape Prints
Materials
Lithograph
Alps - Lithography on Paper by A. Lauro - 20th Century
Located in Roma, IT
Alps is an original lithography artwork on paper realized by A. Lauro in the XX century.
The State of preservation is very good.
Included a white Passepartout: 34 x 49 cm.
The ar...
Category
20th Century Modern Lithograph Landscape Prints
Materials
Lithograph
Garbage Ocean 2
By Murmure
Located in Miami, FL
Murmure
Garbage Ocean 2, 2020
Hand signed and numbered by artist
8 Colour lithograph On 300 gsm Vélin BFK Rives at Idem Paris
Edition of 50
Category
2010s Lithograph Landscape Prints
Materials
Lithograph, Screen
Ann Michalov, A View of the Park
Located in New York, NY
Originally from Illinois, Ann Michalov worked in Spokane, Seattle and Portland, where she finally settled. This lithograph however really looks very like New York City's Central Park...
Category
1930s Ashcan School Lithograph Landscape Prints
Materials
Lithograph
Lithograph landscape prints for sale on 1stDibs.
Find a wide variety of authentic Lithograph landscape prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape prints created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, red, purple and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Peter Max, John James Audubon, Marc Chagall, and Harold Altman. Frequently made by artists working in the Modern, Pop Art, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Lithograph landscape prints, so small editions measuring 0.01 inches across are also available
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