Bride Landscape Prints

Flag Raising in Leroy Street. This masterfully designed work featuring a complex arrangement of figures with multiple light sources that depicts a celebra...

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. Margaret Souttar...

Frank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (s...

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...

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...

Color monotype based on the edition print of "Travels of Fortune": The artist describes this work as follows: “I wanted to focus on the positive cultural heritage these refugees bri...

Claude Lorrain landscape. Richard Earlom aquatint c1810 by Lorrain, Claude le/Earlom, Richard Countryside with hunters and a deer , by Richard Earlom after Claude Lorrain. Richard ...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This expansive photo mural transforms a space with the grandeur of an 18th-century-style ink-wash drawing, depicting an epic mountainscape. The large-scale composition immerses viewers in a majestic panorama, where towering peaks and sweeping valleys unfold with breathtaking detail. The ink wash technique lends a timeless quality to the landscape, evoking the spirit of classical artistry. Each stroke captures the essence of a bygone era, inviting onlookers to be enveloped in the awe-inspiring beauty of this monumental mountainscape. Fidel Santos...

Gussie and Connor 1 17" x 12" (HxW) Original Signed Monoprint A simple color palette of blue and white is reminiscent of blue and white china. The use of natural elements and the bl...

"Double Landscape" is an original two-plate landscape etching by Joseph Rozman. This artwork features two surreal landscape scenes in black and white. 2 1/2" x 3 1/4" art 11 5/8" x...

Antarctica #29 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pa...

Edge of the Woods Susan Hall, American (1943) Date: Circa 1980 Lithograph, signed and numbered in pencil Edition of 195 Image Size: 30 x 22 inches Size: 30 in. x 22 in. (76.2 cm x 55...

Chas Laborde - Paris - Capucine's Boulevard - Original Etching Dimensions : 13 x 10". Paper : Rives vellum. Edition : 225 copies. 1927 From Tableaux de Paris, Emile-Paul Freres, Paris Chas LABORDE Charles Laborde was born in Buenos Aires on August 8, 1886. He was the youngest of the five sons of Adolphe-Sylvestre Laborde-Pinou, a Basque-Bearne millionaire who had made a fortune selling spirits to the Indians and luxury goods imported from France to wealthy Argentines. The family returned to France when Charles was six months old. His mother died when he was two. He spent his childhood at their family château d’Escout outside Oloron-Sainte-Marie in the Pyrenees. His brothers went to a boarding-school, his father was often in Paris on business, and little Charles was left to his devices. Though it was a lonely childhood, he was a darling of his generous and magnanimous father. Charles got his early drawing skills from a village artist and found support in his brother Jean-Felix. Charles frequently accompanied his father visiting artisans and helped him choose de luxe objects to be sold in Argentine. He first attended the Rollin college in Paris, then a lyceum in Pau, where he lived with full board and lodging after his father’s death in 1901. From childhood Charles wanted to be an artist and tried several pseudonyms for himself: Ch. Laborde, Carlos Laborde,Carlos Edrobal and Carl Lab. He started wearing a velvet suit and a large hat. At 17, the timid shortsighted teenager wearing big glasses was expelled from college for smoking and drinking alcohol and went to Paris into the custody of his elder brother Jean-Felix, who carried on his father’s business. Charles enrolled in the prestigious l’Académie Julian, studying under Henri Royer and Marcel Baschet. Simultaneously he was a pupil of William Bouguereau and Luc-Olivier Merson at l’École des Beaux-Arts. The latter was famous for being the designer of the 50 and 100 franc banknotes, and he believed that he was teaching a “little Daumier”. In England, where he went every year from 1905 to 1914 with the family of his friend Cooper, a classmate at l’Académie Julian, he found not only his pseudonym Chas (short for Charley), but also the land of his dreams. Peculiarities of London and its inhabitants were reflected in drawings of William Hogarth and Thomas Rowlandson, whose album The Microcosm of London (1808) prompted Charles to make his London Streets Scenes (1928). Owing to those trips Charles took a liking to the atmosphere of England and its reserved and terse humor. In 1905 the château d’Escout and the Buenos Aires Commercial Fund were sold. After coming into inheritance, Laborde became financially independent and obtained an atelier in Montmartre at 11 bis Rue des Saules. His neighbors were de la Butte, Francis Carco and Pierre Mac Orlan, who sympathized with the easy-going young man with a positive attitude to life. His friend Pierre Falke...

Three Nightshades Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

This advertising poster from the 1930s melds the meticulous detail of traditional Chinese painting with the craft of color lithography that was popularized in China during the econom...

PAUL DELVAUX 1897-1995 Antheit, Huy 1897-1995 Veurne (Belgian) Title: The Sea is Near La Mer est Proche, 1966 Technique: Original Hand Signed and Inscribed Lithograph on Arc...

Etching on paper. Hand signed, titled and numbered by the artist. Sheet size 10 x 14.75 inches. Image size 6 x 7.75 inches. Edition of 300. Artwork is in excellent condition. Cer...

A natural landscape painting is beautiful because it connects us to the innate tranquility and majesty of the natural world. The harmonious colors, such as the greens of forests, the...

Antarctica #29is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pap...

CHAREWICZ Gochka (XXe) Michel Butor's Herbarium Signed and numbered 2/29 Dimensions: 42 x 32 cm. Toutes marges.

A Glimpse of St Paul’s by Karen Keogh [2012] limited_edition Etching on Paper Edition number 75 Image size: H:40 cm x W:30 cm Complete Size of Unframed Wo...

A Glimpse of Albert Bridge by Karen Keogh [2015] limited_edition Etching on Paper Edition number 75 Image size: H:16 cm x W:20 cm Complete Size of Un...

Caught on a Breeze #2 – Sepia by Charlie Davies [2021] limited_edition Soft ground etching Edition number 100 Image size: H:22 cm x W:30 cm Complete Size of Unframed Work: H:36 cm x...

A Piece of Swiss Cheese Clare Halifax Artist a 3 colour interpretation of a swiss cheese plant found in the the Barbican conservatory, its pink with the p...

Butterfly Days by Rob Barnes [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.02cm S...

Artist: Samuel and Nathaniel Buck (English, 1696-1779) and (?-1759/1774) Title: "St. Martin's Abbey" (Plate 333) and "Lady's Chappel" (Plate 331) Portfolio: Buck's Antiquities or Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales Year: 1726-1739 Medium: Set of Two Original Engravings on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: Robert Sayer, London, UK Reference: Lowndes page 303-304; Upcott page 33 Sheet size (each): approx. 11.13" x 18.25" Image size (platemark) (each): approx. 7.5" x 14.5" Condition: "St. Martin's Abbey" has a minor crease to upper left corner and repaired edge wear to lower right corner. "Lady's Chappel" has faint toning to sheet and minor soiling in margins. They are both otherwise strong impressions in excellent condition Notes: Comes from Samuel and Nathaniel Buck's three volume portfolio "Buck's Antiquities" or "Venerable Remains of Above 400 Castles, Monasteries, Palaces in England and Wales" (1726-1739), which consists of 428 engravings. Both "St. Martin's Abbey" and "Lady's Chappel" have unidentified watermarks in the center of their sheets. They both also have "Liverpool Free Public Library" chop mark/blind stamps at bottom center of their sheets. Old price pencil inscribed in margins. Saint Martin's Abbey is a community of Roman Catholic Benedictine monks who follow the Rule of St Benedict...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 1/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 3/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

Screenprint on paper. Hand signed and numbered by the artist. From the main edition of 300. Image size 30.5 x 23 inches. Artwork is in excellent condition. Certificate of Authenti...

Araquém is a strong supporter of Brazil's natural heritage, particularly the Amazon Rainforest and the Atlantic Forest. It is also pointed out by critics as...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

c1939 map of Newport's famous 'Ten Mile Drive' along the ocean front showing the locations of the beautiful summer residences of many prominent people Map Sz: 12 1/2"H x 17 1/4" Fr...

Unique and large print titled CAN NOT BE PICTURED – OH NO OH NO! (The Sequoias) Digital collage from digital photography [2011]. Diptych, toner print on 90 g pink paper, mounted on...

Andy Warhol's Flash (November 22, 1963) (1968) is a complete portfolio of color screen prints, consisting of 11 prints (21 x 21 inches each) and part of a limited edition of 200, fea...

Kenny Scharf Worldz End (Night) 2023
 1 color silkscreen with enamel ink, flocking on Rising 4-ply museum board 54 x 70 inches (137 x 178 cm) Signed and numbered edition of 33 Color...

Kenny Scharf Worldz End (Day) 2023
 1 color silkscreen with enamel ink, flocking on Rising 4-ply museum board 54 x 70 inches (137 x 178 cm) Signed and numbered edition of 33 Colorfu...

Cake Shop, woodblock print by Clifton Karhu, red, yellow, black, framed, Japan hand signed and numbered

Other sizes and high-end frame on request. ,,In building the story, my instincts were to play on the vibe of a Paris Catwalk - after all, we had access not just to any cat to strut down our catwalk, but the King of Africa; a magnificent adult male...

The images in Wayne Thiebaud's drypoints fill the space around them, carving into it. They are images of mountains. In one, only the mountaintop shows and a gigantic cloud is in the ...

Waterfall Photography, Texture Photography, Landscape Prints-Torrent 815 ABOUT THIS PIECE: "Torrent 815" was part of a Black and White Photogra...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 45.7 x 54.3 inches (Edition of 6) This artwork is offered by ClampArt, located in New...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 4) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 6) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 6) 58.7 x 70.9 inches (Edition of 3) 72.1 x 88.2 inch...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Sigmar Polke Preisvergliech (Price Comparison), 2001 offset lithograph/silkscreen on card stock 39 1/2 x 27 inches Edition of 75 signed, dated and numbered recto in ink; printer...

Jim Stoker was born in Nash, Texas, in 1935, and grew up in Atlanta, Texas. He graduated from The University of Texas at Austin with a BFA in Applied Art in 1957. His teaching career...