Watercolor Landscape Prints

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...

Palm trees in Spanish landscape with architectural designs. This intaglio print was further developed with a watercolor wash and pencil embellishment. Smith-Harrison is known for h...

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...

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...

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

"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...

Artist: Peter Max (1937) Title: Sailboat on the Horizon Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 21 x 15 inches Inscription: Signed in ink Notes: Publishe...

Artist: Peter Max (1937) Title: Umbrella Man Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 9 x 12 inches Inscription: Signed in ink Notes: Published, printed, ...

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...

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...

Coloured Print of Photorealist Painting of Gleneagles Golf Course in Scotland by 20th Century Scottish Artist, Graeme Baxter, entitled 'The Gleneagles Hotel, Monarch's Course'. Art measures 14 x 10 inches Frame measures 19 x 15 inches Coloured Print on High Quality Paper Signed on the Front Glazed & Mounted Good Condition Frame (commensurate with age) Graeme Baxter is the official artist to some of the world's most important golf tournaments, such as The Ryder Cup...

Morris Cox (1903-1998) Poem 6 from 9 Poems from Nature, 1959 Linocut inked with watercolours Image: 19.0 x 27.0 cm Frame: 34.0 x 41.0 cm Provenance: Morris Cox Archive Morris ...

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....

Country and coast: Scilla, Calabria, Italy. Etching and Watercolour (hand coloured) Very good conditions.

'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...

Lyonel Feininger (after) Insel, 1933 Collotype, watercolor Size: 11.5x17in on 17.5x22in Esther Gentle, Reproduction, 1952 Signed, titled and dated in the stone Stamped and numbered b...

Monotype ev edition 3/4 with heavy hand coloring. The plate is 28 x 28 inches and the overall paper size is 33 1/2 x 32 inches. Signed, titled and dated. Kim Frohsin spend 12 years w...

Medium: hard ground etching and aquatint, with hand-coloring Image size: 7.5" x 5.5" Paper size: 13" x 11" Printing element: 1 copperplate Edition Size: 135 Beautiful etching and aq...

"Sur la rivière (Marne)" - On the River Marne - Hand Colored Lithograph Serene depiction of a house along the Marne River by unknown artist "Charlot." This piece was commissioned and printed by Camilla Lucas Publishing in New York. A two-story house with a red roof sits on the bank of the river. Lush trees line the banks, some of which are depicted with orange-brown leaves, indicating that autumn has arrived. The color in this piece was added by hand. Titled "Sur la riviere (Marne)" in the lower left corner. Signed "Charlot" in the lower right corner. Presented in a wood frame with a double mat. Frame size: 20"W x 16"W Image size: 11.5"H x 9"W In 1928, Hungarian-born Sidney Zoltan Lucas founded "Camilla Lucas Publishing" which encompassed a wholesale art publishing house and a retail art gallery. This business was both wholesale and retail and dealt in reproductions of antique, modern, and contemporary prints. It also sold original art including etchings, lithographs, and paintings. Starting in the 1930's and continuing into the 1950's, Sydney Lucas traveled to Europe periodically and contracted with French and Flemish artists to publish their work under the banner of the "Paris Etching Society." During his career, Sydney published many thousands of images. He brought art into the homes of people at all levels of income through his etchings, serigraphs, woodblock prints, restrikes and reproductions. The various subjects included Redouté and Prevost Flowers, Barraband and Gould Birds, Piranesi, French Landscapes, Urban Scenes, Women, Children, Animals, Hunting and much more. Later on in the 1950s, Sydney and his wife Phyllis Lucas became the first North American publishers of original signed, limited edition lithographs by the famous surrealist artist Salvador Dali. They worked directly with Mr. Dali over several years and the three created such fine images that in 1985 the Lucas’ Collection of limited edition lithographs from Salvador Dali’s paintings were displayed alongside his original paintings at the Salvador Dali Museum...

'Wizard of Wyoming ' , Hand Colored Aquatint Etching with the plate (image itself) 12 x 12 inches. On a larger piece of archival paper at approximately 16 x 16 inches and matted to approximately 19 x 19 inches. . An iconic still life image featuring the crash scene of a lone overturned semi truck...

Barley, broad beans and a lark (Omugi, soramame, hibari). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparator...

Laura Jordan art works are available to buy online or in our contemporary art gallery in Oxfordshire. We offer Laura Jordan original artworks and limited ed...

Dionisio MORETTI Venice, Santa Chiara Island, 1831 Original etching Finely enhanced by hand with watercolor On vellum 26 x 41 cm (c. 10.2 x 16 inc...

Watercolor monoprint

Dionisio MORETTI View of the Grand Canal, 1831 Original etching Finely enhanced by hand with watercolor On vellum 26 x 41 cm (c. 10.2 x 16 inch) ...

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...

Town is a beautiful original painting (China ink and watercolor) on paper, realized in 1959 by the Italian artist Enrico Paolucci. Signed and dated in pencil on lower right margin. A joyful urban landscape realized with a naif style, the typical Paolucci's style, and a very rapid watercolored painting. In excellent condition, except for minor defect on the edges. Enrico Paulucci born Paolucci Delle Roncole (Genoa, 1901 - Turin, 1999) The Italian painter, Enrico Paulucci is remembered as a member of the Group of Six of Turin. In the years 1927-1928 he began to attend the most famous painters of the Turin area and became friends with Felice Casorati, and then with Lionello Venturi and Edoardo Persico. In 1928 he moved to Paris, where he deepened his knowledge of French painting, from Impressionism onwards, and became interested in the work of Pablo Picasso, Henri Matisse, Raoul Dufy, and Georges Braque. In 1929 he returned to Turin, where he joined his friends Gigi Chessa, Carlo Levi, Nicola Galante, Francesco Menzio...

Hand colored Etching from Civitates Orbis Terrarum. One of the first printed views of Moscow, and the first of Braun and Hogenberg,The table shows ...

Women is an original drawing in Ink and Watercolor on paper realized by Ibels in the Early 20th Century. Good conditions. The artwork is depicted through soft strokes in a well-ba...

Untitled landscape of trees against a stormy sky. Signed by the artist, with full information of signature on verso. RENAUD ALLIRAND was born in 1970, and currently lives and works ...

View of Canal in Venice is an original drawing in watercolor on cardboard realized by an anonymous artist in the mid-20th Century. Good conditions. The artwork represents the color...

Battle is an original artwork realized by Gaspard Gobaud in 19th century. Mixed colored watercolor. Includes frame. Hand signed on the lower right margin. Good conditions except ...

Tomb of Caecilia Metella is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is good with some foxing on the upper ...

Temple of Vesta is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, titled on the lower left, the state o...

Image dimensions: 10 x 14.5 cm. Tesoreria d'Atrée is a hand-colored lithograph on paper, representing the Treasure of Atreus, sometimes called Tomb of Agamemnon, the impressive tholos tomb located in Mycenae, Greece (on the hill called Panagitsa) and built around 1250 BC., discovered by the archaeologist Heinrich Schliemann...

London: James Whittle & Richard Holmes Laurie, 1814. Engraving with hand coloring in watercolor on wove paper, 11 1/2 x 17 1/4 inches (290 x 437 mm). Condition issues include signif...

Flowers is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in the half of 20th Century Etching and watercolor. Hand-signed in pencil on the lower mar...

Les Tuirleries is an original modern artwork realized by Andre Roland Brudieux. Original drawing in watercolor on paper. Not signed. This artwork represent a beautiful landscape wi...

Village House is an original painting in watercolor realized in 1890 ca. by an anonymous French artist of the end of 19th century. The state of preservation is good. Included a Pass...

Arcs is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is excellent. Image dimension: 13x 18 cm. Including a Pa...

Beautiful plate from the volume "Campi Flegrei" by William Hamilton including 59 plates by Pietro Fabris. Hamilton was one of Fabri's most important patrons. "Campi Flegrei" was pub...

Etching and Watercolour (hand coloured) Very good conditions.

View of Scilla, Calabria, Italy. Etching and Watercolour (hand coloured) Very good conditions.

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and 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...

Michael Angelo Rooker (1746–1801) St John's College, Oxford Watercolour 25 x 40 cm Depicting a lovely view over the gardens of St John's College, Oxford, this watercolour may have ...

Laura Jordan Central Park NYC Limited Edition Print Edition 20 Image Size: H 49cm x W 54cm Sheet Size: H 59.5cm x W 59.5cm x D 0.1cm Sold Unframed Please note that in situ images ar...

Ganesh Haloi - Untitled (Landscape) Watercolour on Paper 12.5 x 9.6 inches, 2025 ( Unframed & Delivered ) This untitled watercolour on paper by Ganesh Haloi, created in 2025 is a fi...

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...

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

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...

This is an exclusive handprinted limited edition cyanotype of a beautiful "Blue Upright Desert Cactus". Details: + Title: Blue Upright Desert Cactus + Year: 2022 + Edition Size: 100...

Spring Fever I1 (2016) Oil and watercolor monoprint 12 x 12 Inches Paper Size: 20 x 18 Inches Printed by Sue Oehme at Oehme Graphics

This is an exclusive handprinted limited edition cyanotype of beautiful palm tree leaves. Details: + Title: Majesty Palm Pattern + Year: 2024 + Edition ...

Spring Fever VI (2018) Oil and watercolor monoprint 12 x 12 Inches Paper Size: 20 x 18 Inches Printed by Sue Oehme at Oehme Graphics

Spring Fever VI (2018) Oil and watercolor monoprint 12 x 12 Inches Paper Size: 20 x 18 Inches Printed by Sue Oehme at Oehme Graphics

Spring Fever XXI (2018) Oil and watercolor monoprint 12 x 12 Inches Paper Size: 20 x 18 Inches Printed by Sue Oehme at Oehme Graphics

We Are London Landscape by London contemporary artist Laura Jordon. 84 x 118cm – Unframed. Printed on archival paper with a hand finished overlay of pencil watercolour and collage. S...

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...

Days Like These i [2021] limited_edition Screenprint with watercolour pencils Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these i is the first in a series of coastal print editions seeking to connect to memories of moments away from our busy urbane lives. For the aesthetic of reverie and reflection, a vintage colour palette is used to capture the feeling of Halcyon Days. This series capture a stillness and a sense of calm where we can pause and catch a breath. This small limited edition of 15 prints is hand printed with multiple layers, using blends and experimental techniques to achieve a piece that is reminiscent of a painting. For contemporary, fine-art print-maker, Emma Reynolds...