Animal Landscape Prints

The Hunt Susan Hall, American (1943) Date: 1980 Lithograph, signed and numbered in pencil Edition of 175 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Linnets Over Salthouse by Joanna Padfield [2022] limited_edition and hand signed by the artist Linocuts Edition number 50 Image size: H:30.5 cm x W:30.5 cm Complete Size of Unframed Work: H:38 cm x W:38 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Linnets Over Salthouse is an original limited edition linocut print, printed in a light blue. All of my prints are printed by hand. The inspiration for this print comes from walks along the beautiful North Norfolk coast. Salthouse is a small and very pretty village. On one side is the heathland and woodland, and on the other are marshes and the sea, making this village rich in wildlife. Jo Padfield, printmaker and artist, is available for sale online and in our gallery at Wychwood Art. Jo Padfield is an artist based in rural Norfolk - I love the natural world and my work celebrates nature and the natural environment, using bright vibrant colours and bold eye catching shapes and patterns. After studying at Norwich School of Art I went on to study and work in architecture. As my path in design continued, I have developed my love of colour and graphics in print making to create linocut prints. I like the process of cutting fresh lino with sharp tools and the anticipation of peeling paper off an inked...

‘Lamb’ by Tammy Mackay Limited edition and hand signed by the artist Photopolymer print on paper Image Size: H:41.5 cm x W:59 cm Complete size of unframed work: H:41.5cm x W:59cm x ...

Longing for your return by Emma Reynolds [2022] A celebration of the developing season as the swallows arrive. Additional Information: limited_edition Screenprint Edition number ...

The Sea Eagle by Tim Southall [2019] limited_edition Screen Print on Paper Edition number 50 Image size: H:40 cm x W:59 cm Complete Size of Unframed W...

Lithograph measures 38 x 26 inches. Good/Fair, slight creasing at bottom of lithograph.

limited_edition Original Silkscreen Print Edition number 50 Image size: H:20 cm x W:28 cm Complete Size of Unframed Work: H:40.5 cm x W:30.5 cm x D:0.2cm Sold Unframed Please note th...

Elephant Composition Caroline Schultz, American (1936–2004) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300 Image Size: 19 x 19 inches Size: 29 in. x 23 in. (73.6...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Sheep Portfolio 7 Year: 1981 Medium: Screenprint and Etching, signed in pencil Edition Size: 65, AP 5 Size: 33.5 x 31 in. (85...

Paul Bartlett is a highly acclaimed artist who has won many awards for his original depictions of nature which inform and educate the viewer on conservation issues. Reflective Avoce...

The Gift of Flight [2021] limited_edition and Hand signed by the artist Screen print Edition number 45 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screen print depicts a geometric bird inset with a set of shapes in Seven colours including Metallic Gold ink. The flying Bird artwork...

Kate Heiss Sunflower Fields Linocut Edition of 30 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velvet Paper Signe...

Title: The Nightmare Artist: Cleon Peterson Year: 2021 Step into the dark and thought-provoking world of Cleon Peterson with "The Nightmare," a mesmerizing piece that captivates the...

Tim Southall A Hole in the Ice Limited Edition Print Size: H 10cm x W 15cm Sold Unframed (Please note that in situ images are purley an indication of how a piece may look). ‘A Hole ...

Dogs on a Beach By Tim Southall [2017] Limited Edition Etching Edition number 75 Image size: H:15 cm x W:20 cm Complete Size of Unframed Work: H:25 cm x W:30 cm x D:0.1cm Sold Unfram...

Thistle by Anna Harley [2022] limited_edition screenprint Edition number 30 Image size: H:22.5 cm x W:25 cm Complete Size of Unframed Work: H:26 cm x W:26 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Part of my flower print series...

En Écosse is an artwork realized by Otto Weber in the 1870s. Etching. Image size:19x31 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of t...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame 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 a hand-colored engraving of a turtledove entitled "Tourterelle du Senegal (Turtledove of Senegal)" by Francois Nicolas Martinet, plate 160 from 'Histoire Naturelle des Oiseau...

Kristjana Williams Fugl Ne Fiskur – Circular Sea-Born Limited Edition Print Giclee print on Paper Edition of 275 Size: H 80cm x W 80cm Sold Unframed...

Kate Heiss Hobbies at Ken Hill Limited Edition Print Edition of 30 Image Size: H 30cm x W 30cm Mount Size: H 40cm x W 40cm Signed Sold Unframed Please note that in situ images are p...

Swallows over the Ley by Ann Burnham [2021] limited_edition linocut Edition number 1-10 Image size: H:16cm cm x W:30cm cm Complete Size of Unframed Work: H:28cm cm x W:48cm cm x D:3...

Unique UV pigment print on a 6-colour silkscreen printed background 410gsm Somerset Tub-sized Radiant white 100% cotton paper, finished with hand-applied 24 carat gold leaf and ink. Hand signed lower left by Pejac. Hand numbered 723/1000 lower right corner. Artwork size 31.49 x 21.65 inches. Frame size 38 x 28 inches. The artwork is in excellent condition. Certificate of authenticity by Pejac included. All reasonable offers will be considered. HOPE was born in 2020 when, at the height of the pandemic, Pejac painted a mural on a hospital in his hometown – Santander. Seen from afar, thousands of figures formed the illusion of large crevice. The artwork quickly went viral online, and became a symbol of hope for many. Begun in the middle of 2023, our collaboration is centered on the question of how hope is found or created. To create the original work, Pejac undertook a month-long residency at Make-Ready in London. HOPE is an unprecedented collaboration between artist and printmaker. With the edition, Pejac reinterprets his iconic crevice which, seen up close, you will be surprised to see is made up from a multitude of tiny, individually-painted people. Each one plays their part in an overarching story of humanity. In the first print, just three figures appear, in the second, there are six and so on until the final print in the series of 1000, which features several thousand figures – each one unique. About the Artist: Pejac, born in Santander in 1977 is a Spanish street artist known for his minimalist style whilst exploring sensitive social, environmental and political issues. His work is powerful and deliberately provocative about real-world issues and he uses a range of artistic styles and mediums to get his often critical message across. Pejac studied art in Barcelona and Milan where he became disillusioned with the elitist attitude of the art world he was studying; he left formal education and embarked on his street art career. To label Pejac as a street artist is only capturing one element of his work. Pejac works to such fine detail and is technically highly skilled; he is quite capable at getting his message across with silhouette paintings on a wall or floor as he is at producing work in a classical style with exquisite fine detail. Pejac’s art...

Frasconi, Antonio. NIGHT FLIGHT. Color Woodcut, 1958. Edition of 20. Signed and dated, numbered 10/20, and inscribed "imp," all in pencil. 19 x 34 inches,...

To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See all from this seller" - or sen...

This is a hand-colored engraving of an Icelandic Ger Falcon entitled "Gerfault d''Islande" by Francois Nicolas Martinet, plate 210 from 'Histoire Naturelle des Oiseaux' in associatio...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

"It was very strange and magical for my dogs to suddenly and instinctively to become an integral part of the landscape. I suppose that’s what hunting dogs do." - David George David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Rudolf Hayder (active in the 1st half of the 20th century), Heron. Color woodcut on thin Japanese paper, 24 x 29 cm (image), 29 x 36 cm (sheet size), signed by hand at lower right "R. Hayder" and titled by hand as "Reiher". Lower left inscribed by hand "Orig.[inal] woodcut, hand print". - A little bit stained in the margins and very occasionally in the image, minimal hole above the signature, traces of creasing. At the back side's margins with remnants of an old mounting. About the artwork In the context of French Japonism, the color woodblock print, which was widespread in the Asian region, was rediscovered for Western art. The artists of the time, such as Édouard Manet, Claude Monet, Edgar Degas, Paul Gauguin and Vincent van Gogh, were inspired not only by the cultural influence, but also by the two-dimensionality of the pictorial spaces. Thus, color woodcuts became an important moment in the development of the modern pictorial concept founded by Impressionism. In Rudolf Hayder's "Herons", too, the two-dimensionality of the pictorial space is decisive for the pictorial effect. The herons, surrounded by reeds, are framed by the yellow background of the lake, followed by the dark blue-greenish stripe of the opposite shore and, above it, the sky in a lighter blue-green. Formally, it is a sequence of planes, but the two-dimensionality of the motif creates a spatial effect. This spatiality in the surface creates an intense pictorial effect. Hayder intensifies this effect with the blazing lake. In terms of color, the water becomes a sunset. The yellow turns reddish brown toward the shore, then fades to brownish red, while the shore is a watery turquoise...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additional fees will be requested for this type of frame + shipping Hugo Pondz...

Plants and Animals is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of t...

The pretty boats is an artwork realized  by Giovanni Omiccioli (February 25, 1901 – March 1, 1975). Etching on cardboard. The artist wants to define a well-balanced composition, th...

Le Cheval Blanc is an artwok realized in early-20th century, by the French Artist Paul Emile Colin . Black and white etching on paper. Hand Signed on the right corner. Limited editi...

Orchid and small swallows (Hokuri, kotsubame). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparatory watercolo...

Nursing is an etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realized through s...

Skeleton is an etching realized by Jardinier in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Paris: I...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

L'Ecureuil Barbaresque is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

Le Saia Gorge Blanche is an etching realized in 1771 by Juste Chevillet (1729–1802) Signed in plate.

Letter A is an Etching realized by Luigi Vanvitelli in 18th century. The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (ori...

"Silent Witness" is an original color lithograph by Michael Knigin. It features a realistic rendition of an Emperor Angelfish swimming in front of the New York skyline including the ...

Floating point is a beautiful print on canvas of a digital collage realized in 2017 by the Italian artist Chiara Santoro. Edition of 10. Hand-signed and numbered. The work represen...

Surreal Scene is an original etching realized in the 1970s by the Italian Contemporary artist Leo Guida. Good conditions. The artwork is depicted through soft strokes in a well-ba...

Bulls in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

Bulls in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

Fishing is a beautiful etching on cardboard, realized in 1971 by the Italian artist Giovanni Omiccioli (Rome, 1901-1975). Hand-signed in pencil on the lower right and dated. Number...

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 ...

Tomas Sanchez Simplemente un vuelo, 1990 Serigraph Ed 4 of 250 21 x 16 in

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

Terriers No. 1 1883-84 Chromolithograph 8.5 x 11 inches

Paul Bartlett is a highly acclaimed artist who has won many awards for his original depictions of nature which inform and educate the viewer on conservation issues. Winter Fieldfare...

ARAQUÉM ALCÂNTARA Jaguarete #16, Brazil, 2018 40 x 40 inches - Edition of 10 Archival Pigment Print - Black box frame matt - Regular Plexiglas Araq...

Plate Sz: 16 3/4"H x 25"W Frame Sz: 23 3/4"H x 31 3/4"W Pencil signed: LL Published 1992 by Thomas Ross Limited Binfield, England England v. North America at The Guard's Polo Club, Windsor Great Park. In the presence of Her Majesty Queen Elizabeth II to whom this plate is, with permission, respectfully dedicated by the publishers-Thomas Ross. England (Dark Blue) 1. William Lucas...

ARAQUÉM ALCÂNTARA Lion & Lioness, Tanzania, Africa, 2012 40 x 32 inches - Edition of 10 Archival Pigment Print - Black box frame matt - Regular Plex...

ARAQUÉM ALCÂNTARA Leopard, Tanzania, Africa, 2009 60 x 48 inches - Edition of 10 Archival Pigment Print - Black box frame matt - Regular Plexiglas ...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper