Paper Landscape Prints

TOM BLACHFORD PHOTOGRAPHY Large Edition of 3 Palm Springs Mid Century Modern Architecture, Vintage Classic Mercedes Benz SL, Palm Desert, Limited Series. Archival Inkjet Print on ...

Rouen: Rouen Augé, 1880. Etching and engraving on Arches laid paper with a partial watermark, 9 3/4 x 6 1/4 inches (241 x 157 mm), full margins. In very good condition with an exper...

This piece titled "The Secret Life of Plants VE 8/8" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of...

Portofino Evening is a serigraph on paper, image size 27 x 36 inches, signed ‘Kerry Hallam’ lower right and numbered lower left. From the edition of 500, numbered 171/ 175 (there wer...

Gulls at Sunset [2022] limited_edition and hand signed by the artist Linocut on paper Edition number 1-10 Image size: H:19 cm x W:31 cm Complete Size of Unframed Work: H:40 cm x W:80 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Reduction linocut This print was based on some pictures I took back in the hot summer at sunset overlooking the calm...

A lower Manhattan landscape as it existed in 1922, with Trinity Church and City Hall visible in the background. New York: c 1922 Etching with aquatint on heavy-weight cream wove pap...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 350. Artwork is in excellent condition. Certificate of authenticity included. All reason...

Cities 12 – February in Prague by Susan Brown. Limited edition giclée print – The print edition is 150 The image size of the print is 40cm X 40cm, the overall size is 50cm x 50cm Ea...

L'Automne à Paris is a lithograph on paper with an image size of 2.75 x 3.75 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and rib...

"Weather Eye" - 1989 Lithograph on Paper 1989 Lithograph on paper titled "Weather Eye" by Deborah Rumer (American, 20th Century). A windowsill is the focal point, as the viewer look...

"High Noon 2" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 ABOUT Rob Woodcox Rob Woodcox is a fine art and fash...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a ferry sailing across Lake Hamana. Signed in Kanji lower right, "Hiroshige Ga" for Utagawa (Ando) Hiroshige (Japane...

ABOUT THIS PIECE: French artist Ludwig Favre traveled to California to shoot the state's most iconic landscape and architecture. “For my first time in Los Angeles I had the chance to...

"Valentines The First Time" Ex- Deschamps-Robertson Gallery Print Sz: 5"H x 8"W Frame Sz: 7 3/4"H x 10 5/8"W

A complicated collaboration between two perfectionists. by John Taylor Arms & Kerr Eby Etching on cream laid paper with a deckle edge, 12 5/8 x 8 11/16 (322 x 222 mm); sheet 18 x 11...

Artist: Cuca Romley– Spanish/American (1933- ) Title: Maple Sugar Grove Year: circa 1981 Medium: Color etching Sight size: 24 x 17.75 inches. Sheet size: ...

"Synchronicity (part 3)" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2021 ABOUT Rob Woodcox Rob Woo...

Etching on cream laid antique J Whatman paper with a watermark, 4 1/2 x 2 3/8 inches (109 x 61 mm); sheet 8 1/2 x 6 1/8 inches (216 x 153 mm), full margins. A proof impression from t...

Paris, Delpech. Lithograph with engraving on cream wove paper, 11 7/8 x 8 inches (299 x 203 mm), unevenly trimmed but full margins, the full sheet. In good condition with two paper ...

Etching on delicate, fibrous Japon paper with a deckle edge, 8 7/8 x 4 1/8 (227 x 105 mm); sheet 12 x 7 7/8 inches (304 x 100 mm), full margins. Signed and dated in pencil in the low...

Pink Flowers - Limited Edition Naive Serigraph Colorful serigraph by Croatian naive artist Ivan Rabuzin (b. 27 March 1921, d. 18 December 2008.) Three giant pink flowers stand in a ...

"Portals" Photography 50" x 40" inch Edition of 12 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2022 ABOUT Rob Woodcox Rob Woodcox is a fine ...

"Heart Strings" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2020 ABOUT Rob Woodcox Rob Woodcox is a fine art and fa...

A 19th century, hand coloured lithograph, the colours fresh and in good condition for its age. Artist: Captain Philip Meadows Medium: Hand coloured lithograph Plate 6 Created: 1842 Paper Size: 39 x 32.5 cm Plate Size: 27.5 x 21.2 cm With the description sheet on verso TAYLOR, Captain Philip Meadows (1808-1876). Plate from Sketches in the Deccan. London: published by J McLean 1842 Plate 6 From a series of views of the Deccan, at this time the state of Hyderabad. The suite of plates includes views, scenes and settings of places and buildings at Goa, Arungabad, Tooljapoor, Golcondag, Hyderabad, Ellors, Rozah, and the Tandoor hills, among others. Meadows Taylor arrived in India as a young man to work with a Bombay merchant, but quickly accepted a military commission...

Artist: Jean Daullé (French, 1703-1763) Title: "Départ Pour La Pêche (Maison de Campagne des Environs de Naples)" Circa: 1740 Medium: Original Engraving on watermarked laid paper Lim...

Original large format photography capturing the iconic monumental architecture of the ancient Forum Romanum in Rome by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Trittico Forum (2011) three individually framed original archival photography prints, each with diasec (acrylic glass) face mount in contemporary light grey lacquered gallery frames 76.7 in x 61.25 in (194.8cm x 156cm) / each 4,6m / 183.75" / 15' 4" installation width limited edition of 6 + 2AP signed, titled and dated verso 'Roman Forum' was installed at the US Embassy in Rome, Italy, as part of 2014 'Art in Embassies' exhibition curated by Virginia Shore and Claire D...

Original Vintage Swiss Avantgarde Poster created in 1933 by Walter Herdeg (1908 – 1995) and printed in 1934 by the Art. Institut Orell Füssli in Zurich as an intaglio to promote the ...

"Coastal Reflection (part 1)" Photography 30"x40"in Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2014 ABOUT Rob Woodcox Rob Woo...

Headland IV by Gordon Cook (American, 1927-1985). 1963. Signed on verso "gordon cook/ Headland IV 1963." Detailed etching based on a natural shore scene by Gordon Cook. Printed on ...

Signed lower right, 'Max Pollak' (American, 1886-1970) with number and limitation, lower center, '21/150' and titled, lower left, 'New York: East River'. Published by Rudolph Lesch a...

By J. Torrents Llado 35" x 24" Serigraph, Edition 53/75 Signed, bottom right. Unframed This brilliant and expressive serigraph captures a dynamic view of a creek within a densely f...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The midsummer full moon casts its pale light over the skeletal remains of a deceased oak. Twilight's Path ‘Now air is hushed, save where the weak-eyed bat With short shrill shriek flits by on leathern wing, Or where the beetle winds His small but sullen horn As oft he rises 'midst the twilight path Against the pilgrim, borne in heedless hum’ – William Collins (1721–1759), Ode to Evening. "Once in a while (helped by a bit of planning) everything comes together and you take a photograph that feels really satisfying. However much one reads about artists/photographers trying and failing, taking many shots to end up with that one that works, it’s hard to remember. Just keep showing up, keep doing what you do, it won’t always work out, but sometimes things flow and something special can come through." - Jasper Goodall...

Manfred Schwartz (American, b. Poland, 1909-1970), Rivulets in Red, Lithograph on Paper, mid 20th century, numbered edition "20/30" lower left, signed in pencil and with artist’s sig...

Published in Paris by Chalcographie Louvre around 1910. Drypoint etching on buff wove paper, 7 x 11 inches (175 x 278 mm) full margins. With the "Musée Louvre Chalcographie" blind st...

Large format photograph of a billboard signage in California desert landscape, from a series of conceptual motivational messages on iconic Americana roadside signs and billboards cap...

JOSHUA FISHER (AMERICAN, EIGHTEENTH CENTURY) A Chart of Delaware Bay and River, 1776 Printed for John Bennet and Robert Sayer, London Engraving on pape...

Serigraph printed in colors on paper. Hand signed, dated and numbered by Melanie Taylor Kent. Remarqued lower margin. Printer's Proof edition. ...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a sunset view of Narumi, in what is now Aichi Prefecture, circa 1850. Signed in Kanji lower right, "Hiroshige Ga" fo...

Classic polo scene drawn on stone featuring six ponies on the field drawn on stone & signed by Edward King (LL) Print Sz: 10 3/4"H x 18 1/2"W Frame Sz: 18"H x 25 3/8"W

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additio...

A magnificent impression from the collection of the artist's sister, with a dedication in Arms's hand. Etching on antique grayish-blue laid paper, 9 1/2 x 5 1/2 inches (242 x 140 mm...

Etching on cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm); sheet 14 7/8 X 8 3/8 inches (389 x 217 mm), full margins. Signed and dated in pencil in the lower right margin. Fro...

Image size: 30 x 34 in. Frame size: 41.5 x 39 in. Hand signed in pencil, bottom right. Hand numbered in pencil, bottom left "3/90". Handmade Serigraph depicts a luminous forested pa...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

"2 Lovely Strangers" - Pop Art Multi-layer Screenprint Highly saturated multi-layer screenprint by Steve J. Pon (20th Century). Two figures stand in the middle of a coastal landscap...

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

Signed lower right, 'Zarou' for Victor Zarou (French, b. 1930), titled 'Au Loin un Campanile' lower center and inscribed 'Epreuve d'Artiste' with number and limitation '1/25', lower ...

Signed lower right, 'Y. Ganne' for Yves Ganne (French, b. 1931) and with print edition and limitation, '114/150', lower left. Yves Ganne first studied at the Ecole des Beaux-Arts o...

ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...

Etching on thin laid paper laid down to mid-weight Japon paper, 9 5/8 x 7 9/16 inches (244 x 190 mm), narrow to thread margins. Lettered below the image in the lower right margin wit...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

Manfred Schwartz (American, b. Poland, 1909-1970), "Green Serration", Lithograph in Colors on Paper, mid 20th century, green waves and pointillism, numbered edition "11/50" lower lef...

large scale photograph of a billboard signage against ultramarine blue night sky, from a series of conceptual motivational messages on iconic Americana roadside signs and billboards ...

A beautiful 18th century nautical scene filled with movement and activity. One etching from the series of 10 lively nautical scenes entitled Seascapes. This image depicts four vesse...

A fine impression on antique watermarked paper. Etching on antique blueish-gray antique laid paper with an unknown crown watermark, 10 1/2 x 6 7/8 inches ( 268 x 175 mm); sheet 13 3...

Serigraph on paper. Hand signed and numbered by the artist. Artwork appears to be in excellent condition. Artwork has not been examined outside the matting. Image size: 27 x 39 in. M...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...