Early 20th Century Landscape Prints

Ex Libris Rodrigues is an original Contemporary Artwork realized in the early 20th Century. Original B/W woodcut print on paper. The work is glued on cardboard. Total dimensions...

This Map of Vallombrosa is a vintage offset print realized by an anonymous author in 1926. The state of preservation of the artwork is aged with some small diffused stains and the a...

Mountain ("Montagne del Canton Grigioni") is a beautiful lithograph on ivory-colored paper, realized by Albert Marquet (Bordeaux, 1875 - Paris, 1947). Image Dimensions: 11x 11 cm H...

Etching, 1908. Image Dimensions: 30 x 17 cm Hand signed and signed on plate. Provenance: Galleria Prandi 26/10/1976. Jean-Émile Laboureur was a French painter, illustrator and engra...

View of Rome is a vintage offset print on paper, realized by Godefroy Engelmann in the early 20th Century. In very good condition. The artwork represents the roman landscape " "Cam...

Landscape is an original etching on paper realized by P.Ziliken Hand-signed on the lower right. Image Dimensions: 25 x 18.5 cm The state of preservation of the artwork is good exc...

Fontana nella Piazza della Trinità de Monti is an original black and white etching on paper, realized by Anonymous Artist of the 20th Century. At the bottom left margin the printed ...

Houses is an original etching on brownish color paper realized by Leo Grimm (1889-1916). Hand-signed on the lower right in pencil. In good conditions. The artwork is created throu...

Hand signed. Not numbered. With dedication to "Bernard" (1921). Etching and aquatint technique. Perfect conditions. Image Dimensions ： 15 x 19 cm Passepartout included : 35 x 50 cm

Landscape is a etching on paper realized by an Anonymous artist of the early 20th Century. The desciption on the lower left in pencil, illegible. The state of preservation is goo...

"The Couple" is an original print in etching technique on ivory-colorated paper by Jean Ronfor Boubée. In excellent conditions: As good as new. Container dimension: 40 x 30 cm. Ha...

Specchio (Mirror) is an original woodcut on paper realized by G. Guerrini. Very good condition. Included passepartout: 40 x 30 cm.

Navona Square - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Num...

"The Persecuted" is an original drawing in etching, realized by an Anonymous Artist of the early XX Century . The state of preservation of the artwork is very good; only small tear...

Landscape is an original etching artwork on paper realized in 1876 by Arthur Evershed (1836-1919), printed by Delatre London, hand-signed on the lower right. The State of preservat...

Venice is an original pouchoir artwork realized in 1920 by Leonardo Brunelleschi. The State of preservation is very good. The artwork represents the scenery in Venice next to the c...

To see our other views of Public Schools, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. A J Meyer (British, fl 1900-1930) Dulwich College Etching 22x30cm Sadly little is known of Meyer, an accomplished artist and particularly producer of etchings. He was one of many artists to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street...

Landscape is an original pouchoir artwork realized in 1920 by Leonardo Brunelleschi. The State of preservation is very good. The artwork represents the scenery of a road trip by ca...

La butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

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 ...

Image dimensions: 11,7 x 15,3 cm. Hand signed in pencil. Note lower left "2em état". Artist's proof, II state. Original etching. Catalogue Salomon n. 116.

Gifford Beal (1879-1956) Original Pencil Signed Etching with Drypoint. Presented in a smart black frame. Signed below plate lines. On paper.

Bucolique Moderne Color woodcut, 1901 Edition of 550 impressions on Holland paper (as here) and an edition of 200 impressions printed on Japan paper signed in pencil by the artist. References And Exhibitions: Published in Di Gesellschaft fur vervielfältigende Kunst à Vienne Reference: Lotz Brissonneau 271 v/V Illustrated: Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Illustrated: Musee de le Vendee, no. 171 (see photo) Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Auguste Louis Lepère...

Original etching by Robert Pierre Grouiller after a painting by Johan Barthold Jongkind. Signed and dated on plate by Jongkind. Edition of 600 prints. Etching and aquatint print on v...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Berkeley Hunt...

Pianta Di Roma e Dell'Esposizione is an original print realized in 1911 on a drawing by Ludovico Beranger. Black and white etching. The artwork was realized ...

Etching on antique handmade laid paper, 9 5/8 x 4 1/4 inches (246 x 109 mm), full margins. Signed and dated (1928) in pencil, lower margin. Printed by Frederick Reynolds. In very goo...

Lake fog Year: circa 1928-1932 Medium: lithograph Pencil signature, numbered 6 Image size: 9 9/16 x 11 7/16 Harold Keeler was born in Denver, Colorado in 1905. He studied at both th...

Landscape is an original artwork realized by the French artist Léopold Lévy (1882-1966) in the first half of the XX century. Etching and drypoint on paper. Edition of 110 prints. Hand-signed by the artist on the lower right corner; numbered on the lower left. The artwork is part of the series of the "Peintres Graveurs". Perfect conditions. Very beautiful print, fresh and delicate, representing a natural landscape. Black thin lines define the whole composition in a refined way. The composition is realized with geometrical and volumes and lines. Image dimensions: 14.5x19.5 cm. Léopold Lévy (Paris, 1882 - Paris, 1966) a French painter and engraver. The edition of De la nature (De Rerum Natura) illustrated with 41 original etchings is considered one of the most beautiful artist books of the XX Century. He was one of the friends of Charles Edmond Kayser...

Kampf is a very beautiful black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, as is remembered Franz Von Bayros (Agram, 1866 – Vienna, 1924). From M...

Medium: original etching. Published in Berlin by Bruno Cassirer in 1904 for Kunst und Kunstler. The plate measures 5 1/2 x 7 1/4 inches (140 x 185 mm). Not signed.

Original drypoint in mint condition printed in greenish black ink on wove paper by well-known New York artist and printmaker Martin Lewis (1881-1962). The print is signed in pencil ...

Hand Signed and signed on plate. Edition of 35 prints. Image Dimensions : 30 x 20 cm This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created ove...

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...

Rue Eginhard Lester George Hornby, American (1882–1956) Date: 1908 Etching on laid paper, signed in pencil Image Size: 7.25 x 5.5 inches Size: 8.75 x 6.5 in. (22.23 x 16.51 cm)

Hans Füsser (German, 1898-1959) Signed: Hans Füsser (Lower, Right) " Siebengebirge ", circa 1920s Etching Plate Size: 6 1/4" x 8 1/2" Housed in a 1/2" Frame Overall Size: 12 3/...

G.C. Haverkamp ( 1872-1926) View of Antwerp, Veemarkt with Saint Pauls Church , original signed etching circa 1914. Fine detail etching in good condition . Antique giltwood frame.

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Mabel Oliver Rae (1868 - 1956) The Bridge of Sighs, St John's College, Cambridge (circa 1920) Etching 13 x 18 cm Hand-signed in pencil lower left, and titled in pencil lower right. Initialled 'MR' in plate lower left. The Bridge of Sighs is an iconic feature of St John’s College, and one of the most recognisable pieces of architecture in Cambridge. It was built in 1831 by the architect Henry Hutchinson and crosses the River Cam between the college's Third Court and New Court. It is the only covered bridge to cross the River Cam, and the only College bridge built in the Victorian Gothic style. Mabel Oliver Rae was born in Cambridge, Cambridgeshire, and trained at the Slade School of Fine Art between 1888 and 1890. Rae is known for her skilled etchings of various rural scenes and townscapes, particularly those of the colleges of Oxford and Cambridge. She signed works...

Hudson - Fulton Celebration is an original lithograph celebrating the 300 year anniversary of the discovery of the Hudson River. The image shows a portrait of Henry Hudson and a portrait of Robert Fulton...

To see our other views and maps of England - including London, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Mabel Oliver Rae (1868-1956) Chapel Court, Sidney Sussex...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

The Great War no.5 by French artist Paul Renouard shows the interior of a church with pigeons flying and roosting in the abandoned interior. A powerful...

Schutz, Anton (1894-1977). 543 Hub of the World. Published in New York, 1927. Original etching. Signed in pencil. Sheet size: 19 x 13 5/8 in. Plate size: 13 7/8 x 10 5/8 in.

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Emery Walker (1851 – 1933) after Edmund Hort New (1871 – 1931) Wadham College, Oxford Photogravure 27 x 41 cm New produced a series of pen-and-ink drawings of Oxford colleges, of which this is one. They paid homage to the artist David Loggan, often using the same aerial viewpoint as him, but showing the colleges two hundred years later. Emery Walker turned...

Beautiful proof of state on vélin, 3rd state. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, 2nd essai. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, with notes by the author “essai” in pencil. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, 3rd state. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Untitled (Moulin Rouge and other Paris landmarks) Lithograph, 1926 Rare signed in pencil proof on chine paper (see photo) Lithograph from Joseph Delteil's "Allo, Paris," published by...

Otto Kuhler (1894-1976) original etching, 1923. Title: “Mississippi Evening” Signed in pencil lower right. Title in pencil lower center. Dated lower left, 1923. Image measures 7 7/8...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. William Nicholson (1872-1949) All Souls College, Oxford Signed, and numbered 98, published by Stafford Gallery with blindstamp Lithograph 35x28cm Probably best known through his graphic works, as a book designer and illustrator, Nicholson was greatly encouraged in his landscapes by Whistler from about 1900. In 1902-03 he produced a series of watercolour, chalk and pen drawings of Oxford which were published in 1905 by the Stafford Gallery as two portfolios of lithographs, with descriptions by Arthur Waugh – father of Evelyn Waugh...

Beautiful proof of state on vélin, with notes by the author “1er essai” in pencil. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

To see our other views of Oxford and Cambridge, particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from ...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Mabel Oliver Rae ((1868-1956) Christ's College Cambridge Hall Etching 13x9cm Rae was born in Cambridge and trained at the Slade 1888-1890. Her early painting was mostly portraits, but her commercial work is mostly etchings of Oxford, Cambridge and public schools at which she was very skilled. She signed her work as ‘M Oliver Rae...

New York in 1835 from the bay near Bellows Island Raoul Varin ( 1856 - 1943 ) Hand-colored aquatint 1931 paper size 24.50 x 35 image size 17 x 22.75 cond...

To see our other views and maps of England - including London, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Mabel Oliver Rae (1868-1956) Kings College...