Watercolor Landscape Prints

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood 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...

This is an exclusive handprinted limited edition cyanotype. "Sparkling Firework Burst" is a beautiful cyanotype of the New Years Eve Fireworks Lights. Details: + Title: Sparkling Fi...

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

Artist: Peter Max (1937) Title: Galaxy Profile Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 11 x 15 inches Inscription: Signed in ink Notes: Published, printe...

James Pollard 1792-1867, was an English painter and watercolourist. Pollard was born in North London he was the son of a painter and publisher. He exhibited at the Royal Academy, Suf...

Artist: (after) George Fennell Robson (English, 1788-1833) Title: "Ben Lawers" (Plate 18) Portfolio: Scenery of the Grampian Mountains Year: 1819 (Second edition) Medium: Original Ha...

This is an exclusive handprinted limited edition cyanotype. "Caribbean Sandy Shore" is a cyanotype of a shoreline on a Caribbean beach. It is a beautiful image for tropical decor and...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Artist: William Cavendish (English, 1593-1676) Title: "Welbeck Park Belongs to the Marquis of Newcastle" (Plate 38, Page 263) Portfolio: Methode et Invention Nouvelle de Dresser Les ...

Burr, George Elbert. OASIS OF SEVEN PALMS CALIFORNIA. Gouache on paper, not dated, but before 1921. Titled in pencil, lower left, and signed in pencil, lower right, and with the numb...

Artist: Peter Max (1937) Title: Flower Lady Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 14 x 12.5 inches Inscription: Signed in ink Notes: Published, printed...

Artist: Peter Max (1937) Title: Himalayan Mountain with Sailboat Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 15 x 11 inches Inscription: Signed in ink Notes:...

Artist: Peter Max (1937) Title: Lady Profile Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 15 x 11 inches Inscription: Signed in ink Notes: Published, printed,...

Artist: Peter Max (1937) Title: Magic Carpet Ride Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 13.75 x 12 Inscription: Signed in ink Notes: Published, printed...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Tokyo: Kawaji, 1830. Three (3) woodblock prints (nishiki-e) in color on handmade mulberry paper, each 2 5/8 x 3 3/8 inches (67 x 82 mm), the full sheet, margins slightly trimmed. Ea...

'Elizabeth's Cone II', Hand Colored Aquatint Etching with the plate (image itself) 15 x 22 inches. On a larger piece of archival paper . An iconic still life image featuring the “tragedy” of a dropped ice cream cone. The artist came to see dropped cones as fleeting promises of joy; offering refreshing coolness, a mixture of favorite flavors, soft ice cream gushiness, and crunch of cake cone. Whether devoured or dropped, their existence is short lived. Beside the alluring visual attributes, dropped cones represent a metaphor for the temporal nature of life, itself. And was an important sub-series for James Torlakson...

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...

This is an exclusive handprinted limited edition cyanotype. "Nighttime Firework Flaring" is a beautiful cyanotype of the New Years Eve Fireworks Lights. Details: + Title: Nighttime ...

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

Amida, a Deity of Japan; One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earliest period to the present time Vol...

A scarce impression of cartographer James Duffield Harding's view of the Port of London as it was in 1834. London: 1834. Lithograph with hand coloring in watercolor on heavy wove p...

El Mercado de Pátzcuaro II captures a glimpse of daily life in the highland town of Pátzcuaro, Michoacán. The scene shows three Indigenous figures, rendered with bold lines and earthy tones, standing amid the bustle of the market. Two men in traditional white cotton clothing and wide-brimmed straw hats stand in conversation, their woven baskets and bundles suggesting they are either arriving to sell goods or preparing to return home with their purchases. Beside them, a woman cloaked in a dark rebozo gazes outward, her expression reflective and steady, grounding the composition with a quiet dignity. The strong woodcut textures emphasize folds of fabric, rough straw, and woven fiber, reminding the viewer of the handmade traditions that sustain the culture. The marketplace of Pátzcuaro has long been a hub of commerce and cultural exchange, and Oñate’s print conveys both the social energy and the rooted traditions of this setting. The figures are depicted not as anonymous passersby but as individuals whose posture, clothing, and belongings tell stories of community, resilience, and labor. The muted yet warm palette, accented with yellows and reds, suggests early morning light spilling across the plaza’s cobblestones, while the abstracted background blocks provide rhythm and structure without distracting from the human presence. Francisco Rodríguez Oñate (1940–2019) was a distinguished Mexican post-war and contemporary artist whose career extended over several decades throughout Mexico, the United States, and Latin America. Born in Michoacán, he received his education at the Escuela Popular de Bellas Artes at the University of Michoacán, where he studied under esteemed artists such as Alfredo Zalce, Roberto Martínez, and Javier Arévalo...

Two (2) historiated engraved maps, each 11 1/4 x 16 7/16 inches (285 x 418 mm) with handcoloring, on wove paper, the latter engraved by C. Smith after Couché fils, published by Combe...

Tokyo: Yokoyama Ryohachi, 1892 Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full ...

In image of the Tokugawa family paying homage to Tosho-gu Shrine in Nikko. Tokyo: Matsuki Heikichi, 1896 Woodcut in ink with embossing and hand-coloring in watercolor on handmade m...

This is an exclusive handprinted limited edition cyanotype of a beautiful Palm Tree Leaf. Details: + Title: Palm Tree Leaf Over Blue Sky + Year: 2025 + Edition Size: 100 + Stamped a...

This is an exclusive handprinted limited edition cyanotype. "Lake Tahoe Panorama" shows a sequence of abstracted ripples of the calm Tahoe waters. Details: + Title: Lake Tahoe Panor...

Artist: Peter Max (1937) Title: Angel with Spread Wings Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 15 x 11 inches Inscription: Signed in ink Notes: Publishe...

Vienna: Chez Artaria. Engraving with hand coloring in watercolor on cream laid Van Gelder Zonen paper with a large heraldic watermark with a fleur-de-lys and a crown, 10 3/4 x 16 1/...

Lithograph with hand tinting on heavy wove paper, full margins. Significant condition issues in the margins which include adhesive residue, edge tears and minor edge losses. The image area is clean with minor mat tone, however, colors are slightly attenuated. The verso shows moderate uneven toning. Issues primarily exist outside of the image area. This large and lively work was printed by Charles Hullmandel. _______ The images in Boys's 1842 portfolio, Original Views of London...

By François Bellay after Jacques François Joseph Swebach-Desfontaines Voyage en poste; Galerie du Palais Royal Paris: J P Quénot, c1830. Stipple point engraving with extensive hand ...

This is an exclusive handprinted limited edition cyanotype. "Abstract Ripples Under Moonlight" is a handmade cyanotype print portraying the subtle movements and abstract ripples of t...

Artist: Peter Max (1937) Title: Umbrella Man Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 28 x 22 inches Inscription: Signed in ink Notes: Published, printed,...

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

A rare early 19th century view of the Great Fire of London over Ludgate, enhanced with hand coloring. London: Robert Wilkinson, 1811. Copperplat...

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

Four 18th Century Optical views "Vue des Rives de la Seine prise du Pont Neuf à Paris" "Vue de la Place de l'Hôtel de Ville et du Phare à Calais" "Vue de Paris prise du Port de la Co...

London: Charles Joseph Hullmandel, 1842. Lithograph with hand coloring in watercolor on cream wove paper, 17 5/16 x 12 3/16 inches (440 x 309 mm), full margins. Scattered foxing thro...

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

Paris: c1675. Five engravings: "Une Autre Partie du Palais Villa Mene a Gene" Engraving with hand-coloring, circa 1760-1790, on laid paper, with a Letters watermark (WA....), publis...

Ganesh Haloi - Untitled (Landscape) Watercolour on Paper 10.2 x 14.1 inches, 2025 ( Unframed & Delivered ) This untitled painting by Ganesh Haloi, created in 2025, is a watercolour ...

Artist: Peter Max (1937) Title: Umbrella Man Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 12 x 13.75 inches Inscription: Signed in ink Notes: Published, print...

Artist: Peter Max (1937) Title: Umbrella Man Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 12 x 13.75 inches Inscription: Signed in ink Notes: Published, print...

Artist: Peter Max (1937) Title: Umbrella Man Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 12 x 13.75 inches Inscription: Signed in ink Notes: Published, print...

Boulevard du Temple, Paris, France - Hand Colored Lithograph Detailed lithograph of a Paris street scene by Louis Valentin Emile de La Tramblais (French, 1821-1892). This piece is f...

Bowles, Thomas III (after John Donowell) John Bowles & Richard Wilkinson, 1751. Steel engraving with extensive hand coloring in watercolor on cream wove paper, 10 1/4 x 16 inches (...

Paul KLEE (after) Miraculous Docking : Boat and House Lithograph and stencil (Jacomet process), on canson paper Printed signature in the plate 50 x 38.2 cm (19.6 x 14.9 in) INFORMA...

This is an exclusive handprinted limited edition cyanotype of a beautiful Aloe plant. Details: + Title: Jurassic Aloe Leaves + Year: 2022 + Edition Size: 100 + Stamped and Certifica...

Etching on cream wove paper, 8 1/8 x 9 3/4 inches (205 x 246 mm), full margins. Signed in pencil, lower right margin. One minor printing defect appearing as a slightly folded bottom ...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a palm tree from the Majorelle Gardens in Marrakesh. Details: + Title: Marrakesh Majorelle Palm + Y...

Aquatint printed in brownish ink with extensive hand coloring in watercolor on buff paper, 10 1/4 x 12 1/2 inches (260 x 317 mm) (sheet), uneven narrow to full margins. Laid down to a contemporary wove paper support. Scattered condition issues on the sheet (excluding the mount) include surface soiling, creasing, a significant vertical repaired tear, and toning, despite these issues, the hand coloring remains good. Suitable for framing. From A Picturesque Tour Through the Cities of London and Westminster, Illustrated With the most interesting Views, accurately delineated And executed in Aquatinta By Thomas Malton, published by Thomas Malton, London 1796. The work was published serially, in twenty-five numbers. The plates in Volume I carry the dates 1792, 1793, 1794, 1795, 1796 or 1797; those in Volume II, the dates 1797, 1798, 1799, 1800 or 1801. In most copies the title page of Volume I carries the publisher's later address, of 103 Long Acre...

Lake Constance c 1850. Watercolor on cream wove paper mounted on thin card stock, 10 x 12 1/2 inches (255 x 320 mm), wide margins. Adhesive residue aro...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Details: + Title: Serene Cove Ripples + Year: 2022 + Edition Size: 100 + Medium: Handmade Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided + Measurements : 100x140 cm (40 x 55.2 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

Marc Chagall (1887-1985) - Exodus From Egypt Etching and watercolour from 1956. The edition of 100 on Arches paper. Dimensions of work: 37.5 x 52 cm. Hand signed. Publisher: Tér...

Tokyo Lights is a limited edition cityscape print by Laura Jordan. The process in which Laura creates her work is that she produces lots of small illu...

Ruga, Pietro (after Luigi Magozza). Veduta della Piazza del Popolo. Rome: Giacomo Antonelli, 1825. Engraving with hand coloring in watercolor on cream wove paper with a "PM" watermar...

Paul KLEE (after) Landscape With Black Columns Lithograph and stencil (Jacomet process), on canson paper Printed signature in the plate 50 x 38.2 cm (19....

"Ocean's Edge" - Giclee Print on Watercolor Paper Giclee print of the Oceans Edge by California artist Jan Bearse (American, 20th Century). Colorful buoys are the focal point, with...

Crazy Town 2014 by Laura Jordan is a fun portrait of London. The work is a Limited Edition Print in an edition of 50. This artwork is printed on archival paper with a hand finished overlay of pencil watercolour and collage. The process in which Laura creates her work is that she produces lots of small...