Watercolor Landscape Prints

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

Castor Bean Blossoms is one of a kind original mixed media work on paper by Cynthia MacCollum. This botanical artwork is 22 x 22 on archival paper. It is currently unframed. Accord...

‘Beaver Lake with Stargazer Lilies II (triptych),’ is an original mixed media giclée print on watercolor paper, signed by the artist in the right panel....

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Before the printmaking boom of the 1830s, however, such inexpensive memorial images were not widely available. These prints became popular as ways of remembering loved ones, an alternative to portraiture of the deceased or to meticulous hand-embroidered memorials often made by female academy students. In the image, the urn-topped monument contains a space where a family could inscribe the name and death dates of a deceased loved one, though this example was never used. In the variations of this image type produced by the Kellogg...

Carriages is an original drawing in pencil and watercolor, realized by an anonymous artist of the XIX century. Monogrammed "FB". Sheet Dimension: 21.5 x 26 cm Passepartout includ...

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

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...

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 ...

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

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...

Aldenburgum Holsatiae, or Stade, from the collection Civitates Orbis Terrarum by Braun Hogenberg. Precious hand-colored aquatint, hand watercolored, showing a view of Stade, indicat...

David Barnett's "Homage to Schomer Lichtner: The Merrymakers" is an original mixed media artwork, signed by the artist in the lower left. The artwork itself becomes a collaboration b...

Burr, George Elbert. OASIS OF SEVEN PALMS CALIFORNIA. Gouache on paper, not dated. Titled in pencil, lower left, and signed in pencil, lower right, and with the number "85" at the lo...

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...

Shepherds 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: 12.5x17 cm. Includi...

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...

Unframed

'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...

'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...

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) ...

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...

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...

GUILLAUME CORNET (b. 1987, Paris, France) Guillaume Cornet is an artist working with illustration and painting, exploring notions of abstract geometry, influenced by surreal perspec...

This beautiful intricate, hand colored silk screen print made using fine calligraphy pens to crate the black outline, then Cornet makes 10 lithograph prints, each one is colored diff...

This beautiful intricate, hand colored illustration made using fine calligraphy pens to crate the black outline, then Cornet makes 5 lithograph prints, each one is colored differentl...

Dionisio MORETTI Venice, Rialto Bridge, 1831 Original etching Finely enhanced by hand with watercolor On vellum 26 x 41 cm (c. 10.2 x 16 inch) Ve...

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...

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...

Paul CEZANNE (after) Bathers with Sainte Victoire Mountain Lithograph and Stencil watercolor (printed in Jacomet workshop) After a watercolor painted c. 1902/07 On heavy paper 12.6 ...

A hand-painted print of a Chinese landscape with the Chinese wall and traditional Chinese architecture. The work is a traditional woodblock print ...

GUILLAUME CORNET (b. 1987, Paris, France) Guillaume Cornet is an artist working with illustration and painting, exploring notions of abstract geometry, influenced by surreal perspec...

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...

Cinema cityscape, an aquatint print and hand painted watercolor by Leon Kroll (American,1884-1974). Signed lower left vertical "Leon Kroll '68". Edition one of six, 1/6. Unframed. 15...

Natural Green Landscape is an original artwork realized by Jacqueline Barbet between the end of the XIX and the beginning of the XX centuries. Watercolor and china ink on paper. Ha...

GUILLAUME CORNET (b. 1987, Paris, France) Guillaume Cornet is an artist working with illustration and painting, exploring notions of abstract geometry, influenced by surreal perspec...

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 ...

Max Pollak (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine coll...

"Beaver Lake Hybrids" is an original watercolor by David Barnett. The artist signed the piece lower right. It depicts a bed of brightly-colored flowers. 10" x 8" art 17" x 15" fram...

William Meyerowitz (1898-1981), Armistice Day, 1918, etching with watercolor. Edition not stated. Signed in pencil. Signed and dated in the plate, lower left. Image size 9 3/4 ...

Rare early 19th Century lithograph laid on india paper, hand colored aquatint print, titled "Beech Trees in the Grounds of St. Leonards Hill, Berks, Seat o...

1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a silk mat and an elegant carved gold leaf frame. Twelve of the artist'...

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...

This is an exclusive handprinted limited edition cyanotype. Lovely scene of a hidden pond in a Scandinavian forest. Details: + Title: Scandinavian Enchanted Forest + Year: 2022 + Edition Size: 50 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), 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, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

This is an exclusive handprinted limited edition cyanotype. Exquisite landscape of a "Mystic Louisiana Marsh". Details: + Title: Mystic Louisiana Marsh + Year: 2021 + Edition Size:...

Paul CEZANNE (after) Group of Bathers near the Lake Lithograph and Stencil watercolor (printed in Jacomet workshop) After a watercolor painted c. 1900/05 On heavy paper 13 x 21 cm (...