Lithograph Landscape Prints

Food is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolor realized by the artist during a trip to Egypt between 18...

Figure along Nile is an modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is from the watercolors realized by the artist during a trip to Eg...

Along the Nile is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolors realized by the artist during a trip to Egypt...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Time Line Kent, Maine Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 150, AP 3...

Roger Muhl. Passage, ca. 1970. Lithograph on paper, image measures 15.5 x 18.5 inches. Measuring 25 x 28 inches framed. From an adition of 60. Signed and numbered in pencil by artist...

Title continues: Built by Mr. Henry Steers, Greenpoint, L. I. Owned by Mr. James Gordon Bennett, Jr. Winner of the Great Ocean Yacht Race, With the ...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, The Intimate Sketchbooks of G. Braque, Verve: Revue Arti...

Artist Name: Jean Vollet Year: 1999 Medium Type: Mourlot Lithograph Size-Width Size-Height: 38'' x 28.75'' Signed Edition Size: Signed in pencil and marked 199/299 Title: Venetia...

Ancient View of Lago Maggiore is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Very rare original Signed E.A. Artist's Proof, color lithograph, "New York", by Bernard Buffet (1928-1999). Circa 1980. A Landscape image by the celebrated French Modernist figurative artist Bernard Buffet, titled "New York". The color litho shows buildings and skyline in New York City, this is a rare image from a series of New York views produced by Buffet. The artwork is signed in pencil lower left "E.A", Artist's Proof in French, from the limited edition numbered prints (which was limited to 150) , it is also boldly signed "Bernard Buffet" lower right. Condition is excellent, we at Bloomsbury Fine...

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...

Original Wiesbaden (Germany) Heilbad und Festliche Stadt vintage mid-century modern vintage poster. Archival linen backed in excellent condition, ready to frame. Grade A, A-. Th...

Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...

"Cote Basque" is an original lithograph of the Basque region of France created by Vecoux for the Societe Nationale des Chemis de fer Francais, the French N...

Artist Name: Richard Estes Year: 1983 Size-Width Size-Height: 22¾" x 20"  Natalie Knight Gallery David Krut Fine Art 8 Oct 83 Unframed in Very Good Condition. Richard Estes is an ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Lithograph on vélin de Rives paper. Paper size: 21.75 x 33 inches. Inscription: Hand signed and numbered, E.A., as issued. Notes: Published by Éditions Atelier Clot, Paris; printed b...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

This artwork "Landscape with Trees" c.1980 is an original lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand si...

Medium: original lithograph. Printed in Paris in 1958 at the Mourlot atelier, and published by Andre Sauret in an edition of 2000. Size: 9 1/2 x 12 1/4 inches (242 x 310 mm). Signed ...

Artist - John Lutes (1926-2001) Title - Cay Runner Year Published - 1980 Print Size - 29" x 22" Printer - JK Fine Art Editions Co., NY Cay Runner is an original hand drawn, limited edition lithograph, (not a photographically reproduced or digital print) by the American artist John D. Lutes created using traditional hand lithography techniques, proofed and printed in multiple colors on archival Arches paper 100% acid free. Cay Runner depicts a very detailed realistic rendition of a runner boat in still water, a solid light khaki grey sky serving as the backdrop for this quiet marine boat portrait. This is a rare limited edition lithograph by Mr. Lutes not often seen on the marketplace. Cay Runner is in excellent condition, unframed, pencil signed by John Lutes. Print size - 30 x 22 inches, unframed, excellent condition, pencil signed by John Lutes Edition size - 300, plus proofs Year published - 1980 Printer - JK Fine Art Editions Co. NY John D. Lutes, born 1926 in Chicago, died 2001...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 10.25 x 13.75 inches Inscription: Signed in the plat...

John Stobart "The Statue of Liberty in a Panorama of New York City in 1886" Color Lithograph approx 32 x 43 inches framed Signed in Pencil and Numbered 914/950 A marine painter of ...

The Old Lyme Congregational Church located on Ferry Road, a quintessentially New England landmark, was captured by Walter DuBois Richards. The church was a favorite subject of Old Ly...

Lithograph, silkscreen, drypoint, and collage on vélin de Rives BFK paper. Inscription: hand signed and numbered, I-70/250, as issued. Good condition. Notes: From the folio, Imaginat...

Lithograph and stencil on vélin paper. Paper Size: 12.2 x 15 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Douze aquarelles de Auguste Ro...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Lithograph and stencil on grand vélin de Mandeure paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Lettres de Nicolas de Staël à Pierre ...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 12.5 x 9.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Artist: Alexander Calder Medium: Lithograph Title: Red and Blue Spheres Portfolio: Derriere le Miroir #201 Year: 1973 Edition: Unnumbered Framed Size: 21 1...

Ai Weiwei “Forest (1977)”, 2024 Limited edition offset lithograph print Edition of 200 Hand-signed by the artist Published by Damocle Edizioni, Venice, 2024 Each edition comes with...

Lithograph and stencil on vélin paper. Paper Size: 15 x 12.2 inches. Inscription: unsigned and unnumbered, as issued. Notes: From the folio, Douze aquarelles de Auguste Rodin, 1920. ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph and stencil on vélin paper. Paper Size: 15 x 12.2 inches. Inscription: unsigned and unnumbered, as issued. Notes: From the folio, Douze aquarelles de Auguste Rodin, 1920. ...

Subscription and first Edition lithographs Full plate: 77 Presented in an acid free mount Original hand coloured subscription edition and modern hand-coloured lithograph for the fir...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

HERB KORNFELD (American, 1915-2001). Poster-“Bonnieux I Love You”, New York Graphic Society. Copyright 1984 New York Graphic Society, Ltd. Plate signed. Measures 33.25 x 24 in. Unfra...

Lithograph with foil stamping and embossing on paper. Hand signed and numbered by the artist. From the edition of 200. Artwork is in excellent condition. Certificate of authenticit...

This piece is part of my private collection since the 1970's. It is an original color lithograph signed and numbered by the Japanese artist Shungo Sekiguchi. In 1935 Shungo Sekiguchi...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Pool House by Andy Burgess is a limited edition Lithography, chine collé. It is an edition of 30, signed and numbered. It is 6/30. It is 29 1/2 x 37 inches, framed to 32 x 39.75 in a light wood frame with UV glass. This print is published by Tandem Press, Madison, Wisconsin Andy Burgess (b. 1969), a London-born painter and collage artist, is best known for his colorful explorations of modernist and mid-century architecture as well as his mosaic-like collages created using vintage matchbooks...

Ari Gradus, Israeli (1943 - ) - At the Fair, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Size: 30 x 22 in. (76.2 x 55.88 cm), Description: Bust...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Lithograph on vélin Johannot paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Paris Capitale, 1955; published by Joseph Foret, Editeur d'Art, Paris...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

Artist: Peter Max (1937) Title: Liberty Head I Year: 2001 Edition: 430/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscriptio...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

"Birch Bog" captures the beauty of birch trees in the woods. Artist Owen Wexler signed and titled this limited edition lithograph. We would be happy to frame it up with one that fits...

Plate signed signature. Lithograph Measures 24.9 x 28 inches. Good Condition

The School of Hard Knocks is a lithograph on paper, 7.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 129/275 (there were also 100 Roman a...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...