Boat Landscape Prints

This coastal seascape Limited Edition giclee print by Daniel Pollera captures a sailboat at sunset. A single figure can be seen in the boat itself, navigating past a shadowed coastli...

"Quiloa", from the collection "Civitates Orbis Terrarum", Cologne, T. Graminaeus, 1575. The “Civitates Orbis Terrarum” (Atlas of Cities of the World) was the second oldest printed...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

Gibraltar From The Sea is a lithograph realized by James Charles Armytage in 1940. Signed on the plate and titled on the lower. Included a Pasepartout:24 x 30 cm Good conditions w...

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

Kay Ameche, American (1904 - 2005) - Malibu, CA, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 200, AP 40, Image Size: 20 x 16 inches, Size: 26 in. x ...

Diptych. This two sheet color woodcut was created by Antonio Frasconi in 1951. Edition 8. Each image size 19 7/16 x 16 7/16" (49.4 x 418 cm) plus margins. Signed and titled in p...

This traditional coastal Limited Edition print by Daniel Pollera pictures three white Adirondack chairs, positioned in the grass overlooking a body of water. Several sailboats can be seen close up and further out along the horizon line. A pale blue sky fades to a pale creme color as it descends toward the horizon. The composition is framed by a dark canopy of leaves along the top, and the dark shadow they cast on the grass at the bottom. This Limited Edition giclee print by Daniel Pollera is an edition size of 10. Printed on canvas, this giclee ships framed in a warm silver floater frame wired and ready to hang. Other floater frame options are available in gold, black, white, and walnut. For additional sizes and alternate frame options, please contact us. This print comes with a Certificate of Authenticity and ships for free. The artist granted permission to Sorelle Gallery to produce his Limited Edition prints which are printed with pigment ink on a Premium Fine Art Matte Canvas 410g/m2, designed to meet museum longevity requirements and ensure consistency. Please allow additional time for printing prior to shipping. Daniel Pollera was born in 1953 in the coastal town of Freeport, New York. His interest in art began at a very young age, gravitating toward drawing and painting the surrounding coastline of Long Island. After a short study at SUNY Farmingdale in Commercial Art, he left to enter the family business. For almost 15 years, Daniel took a sabbatical from painting, but this didn’t affect his love for the sea. He obtained a Captain’s License in 1977 from the United States Coast Guard and took passengers for hire on the open ocean. Through this experience and visual knowledge he was drawn to begin painting again. Although Daniel was primarily self-taught, he worked with Frances Norris Streit, a portrait and mural artist, assisting her on a 14’ x 30’ historical mural for the Roslyn Savings Bank. He also studied with Everett Molinari, a well-respected President of the National Mural Society. Museum collections include Long Island Museum, Parrish Art Museum, and Guild Hall Museum. Daniel split his time between his home in East Quogue...

This coastal seascape Limited Edition giclee print by Daniel Pollera is an edition size of 10. It captures a scene of a sailboat on blue, glistening water, sailing along the coast, w...

The Nile is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolors realized by the artist during a trip to Egypt betwe...

Ancient View of Havannah is an original modern artwork realized in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capital letters on the lo...

Mary Faulconer, American (1912 - 2011) - Paris Barge, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 12.5 x 17.5 inches, Size: 22.5 in....

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Uses and Customs - Grand Canal in Venice 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 o...

This traditional Limited Edition print by Daniel Pollera captures a coastal scene. A sailboat with its sail down sits in the shadow of dark trees, and looks out toward another white ...

This traditional Limited Edition print by Daniel Pollera captures a coastal scene. A sailboat with its sail down sits in the shadow of dark trees, and looks out toward another white ...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

This traditional coastal Limited Edition print by Daniel Pollera pictures three white Adirondack chairs, positioned in the grass overlooking a body of water. Several sailboats can be...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

This coastal seascape Limited Edition giclee print by Daniel Pollera captures two small sailboats, one white and one navy blue, anchored along a grassy shoreline in the foreground. T...

View Of Tongling is an original print realized in the beginning of the XVIII century by Pieter van der Aa. Hand-watercolored etching. Includes frame 42 x 52.5 cm. On the back label ...

This coastal seascape Limited Edition giclee print by Daniel Pollera is an edition size of 10. Printed on canvas, this giclee ships framed in a warm silver floater frame wired and re...

Richard Bankes Harraden Queen's College, Cambridge Engraving 40 x 54 cm Inscribed to the bottom: 'Published June 16th 1798 by R. Harraden.' A late eighteenth-century view of Queens'...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

This coastal Limited Edition print by Daniel Pollera depicts a brightly-lit row boat, with two ores resting on either edge of the boat, sitting on a small island of sand in the water...

Artist: Peter Max (1937) Title: Himalayan Valley Year: 1980 Medium: Lithograph on Arches paper Edition: A.P.; 165, plus proofs Size: 20.25 x 24.75 inches Condition: Good Inscription:...

This traditional coastal Limited Edition print by Daniel Pollera pictures three white Adirondack chairs, positioned in the grass overlooking a body of water. Several sailboats can be...

This coastal Limited Edition print by Daniel Pollera features a white row boat with two ores resting on either side of the boat's edge. It is tied to a wooden post in the water with ...

This coastal Limited Edition print by Daniel Pollera features a white row boat with two ores resting on either side of the boat's edge. It is tied to a wooden post in the water with ...

This coastal Limited Edition print by Daniel Pollera features a white row boat with two ores resting on either side of the boat's edge. It is tied to a wooden post in the water with ...

La Rentrée des Bateaux des Pêcheurs is an artwork realized by Léon Gaucherel in the 19th Century . Etching. Signed on Plate.

Ships is an etching realized by Charles-François Lacroix de Marseille in the 18th Century. Good conditions with slight foxing. The artwork is realized through deft expressive strokes.

Camille BELTRAND (1877-1951) Seascape : the Sailboats, 1926 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the...

Artist: David Rosenthal (American 1876-1949) Title: Bay Harbor Year: c.1930 Medium: Etching Image (Plate mark) size: 6 x 8.25 inches Sheet size: 8.25 x 10.5 inches Signature: Hand signed in pencil by the artist Condition: Very good About the artist. David Rosenthal (1876-1949) was a Cincinnati artist...

Medium: Lithograph on vélin d'Arches paper Year: 1970 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, André Derain entre ...

Egyptians along the Nile  is a modern artwork realized d'après Karl Werner. Mixed colored cromolithograph.  The artwork is after the watercolors realized by the artist during a tri...

Sunderland is an etching realized in 1845 by E. Finden. Signed on plate. The artwork is realized in a well-balanced composition.

Isola Bella on Lake Maggiore is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Sailing on the Nile is a modern artwork realized d'apres Karl Werner. Mixed colored cromolithograph.  The artwork is after the watercolors realized by the artist during a trip to E...

ITALIAN VILLAGE by the South American artist Jorge Dumas, is an original hand drawn lithograph hand proofed and printed using traditional lithography techniques on archival printmaki...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Buda and Pest - Landscape 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 governmen...

Greenock is an etching realized in 1845 by F. W. Topham. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" Good conditions with slight ...

Country is an original etching on paper realized by Edmond Henri Zeiger de Baugy Valley (1895-1994). Hand-signed and dated on the lower right in pencil. Numbered, edition of 3/4 pri...

The Beach Aldeburgh, limited edition giclee print. These stunning prints are created using fine art archival quality inks and canvas with three layers of UV varnish to protect the a...

1983 New York Graphic Society Ltd. Printed in Italy. Measures 22.25 x 30 inches and is unframed. The piece is in Good Condition-minor discoloration/wrinkling consistent with age and ...

Ari Gradus, Israeli (1943 - ) - On The Lomac, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Size: 22 x 30 in. (55.88 x 76.2 cm), Description: Ari...

Ari Gradus, Israeli (1943 - ) - Bringing In the Catch, Year: 1980, Medium: Lithograph. Signed and Numbered in Pencil, Edition: AP, Image Size: 18 x 26 inches, Size: 22 in. x 30 ...

Kay Ameche, American (1904 - 2005) - Big Sur, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 200, AP 40, Image Size: 17 x 21.5 inches, Size: 22.5 in. x...

Japanese born, Fugi Nakamizo came to New York City in 1910. He studied at the Art Students League and Cooper Union, NYC, and also printmaking with Joseph Pennell. He worked on the Federal Public Works of Art Project in the 1930s and in the 40s, during WWII, was interned at the Japanese-American internment camp in Topaz, Utah. His work is in the permanent collections of the Metropolitan Museum of Art and the Brooklyn Museum of Art, NYC, and the Library of Congress and Smithsonian Institution, Washington, DC. This etching of New York...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Original woodcut. Pencil signed, titled and dated in German to the lower right. On Japanese paper.

The Menai Bridge, Bangor is an etching realized in 1845 by J.Rogers. Signed in plate. The artwork is realized in a well-balanced composition.

Uses and Customs - Ischia 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 governmen...

Seascape With Monument and Figures is an Etching realized by Luigi Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “...

Allonby is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully realized...