Castle Landscape Prints

Uses and Customs - Otranto in Lucca 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...

Porta S.Sebastiano is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corleone,1...

ZDZISŁAW WIATR (born 1960) He graduated from the Academy of Fine Arts in Cracow, at the Faculty of Graphic Arts in Katowice, where in 1986 he received a diploma with the honourable m...

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. David Loggan (1634 - 1692) Christ's College, Cambridge (1690) Engraving 39 x 48 cm Loggan's view of College, Cambridge from the 'Cantabrigia Illustrate', with later hand colouring. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman...

Pau - France Pittoresque is an original lithograph realized by an Anonymous artist of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in Franc...

Conway Quay is an etching realized in 1845 by J.C. Armytage. Signed in plate. The artwork is realized in a well-balanced composition.

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...

Sepolcro della Famiglia Plauzia, Presso il Ponte Lucano is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower ma...

View of Castel Sant'Angelo and the Vatican is a vintage offset print realized after Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corle...

View of Rome is an original Etching and Drypoint realized by Carlo Alberto Petrucci in 1964. Good condition included a white cardboard passpartout (37x52 cm). Hand signed by the artist with pencil. Carlo Alberto Petrucci (4 August 1881 - 11 February 1963) was an Italian engraver, painter and museologist. The son of Luigi, owner of an antique library, and Beatrice del Nero of an old Roman family, after graduating from the Leonardo da Vinci Institute he worked as an accountant. Between 1902 and 1903 he attended the evening classes of the nude school at the International Artistic Association and there he met Umberto Prencipe and Antonio Mancini...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Valerie Thornton (1931-1991) Bodleian Quadrangle, Oxford (1983) Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Center. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis...

Roman Temple is an offset print artwork on paper, realized by Godefroy Engelmann. the artwork is signed on the plate. In very good condition. The artwork represents a roman temple....

Ancient View of Pozzuolo is an original modern artwork realized in Italy in the half of the 19th Century. Original Colored Lithograph on Ivory Paper. Inscripted on the lower marg...

Temple à Boro Boudor is an original modern artwork realized in Germany in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the central mar...

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...

Melun - France Pittoresque is an original lithograph realized by an Anonymous artist of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in Fra...

Ruins of Erenfels is an original print on paper realized by an Anonymous. titled on the lower of image. In very good conditions. Sheet dimension: 16 x23 cm The artwork represents ...

Ancient View of St. Gebhardsberg is an original modern artwork realized in the mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital...

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...

Ancient View of Schloss Ambras is an original modern artwork realized in the mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin: Schloss Amb...

French castle is an original etching artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Included two images...

This splendid lithograph Lac De la Geneve is part of the series of prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi. The state of pr...

Ponte Lucano is an original etching realized by L.Cavalieri in the XIX century. signed on the plate on the lower right corner. Tav.123 Good conditions except for margins that are a...

Scilla 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. Numbere...

The Mausoleum of Theodore is an original print on paper realized by an Anonymous. titled on the lower of image. In very good conditions. Sheet dimension: 16.5x 24.5 cm The artwork...

Image dimensions: 12.5x17.5 cm. Die Festung Coburg is a beautiful black and white lithograph on paper, realized at the end of XIX century by the German landscapist artist, Georg Mic...

Veduta degli Avanzi della Villa di Domiziano da altri chiamata le Terme di Pompeo Magno Image dimensions: 46x60 cm. From the collection “Le antichità de’ contorni di Roma (...)” an a...

Monotype Ms. Murray is notable for capturing the crystalline quality of northern light. She has an extensive exhibition history and she is represented in both private and public co...

Color lithograph, on Magnani-Pescia paper. Paper size 22.5cmx33cm, work size 22.5cmx33cm. Excellent condition, no defects. Pedro Cano (Blanca, 1944), one of the greatest contempor...

Cities 19 – Castle Rock, Edinburgh by Susan Brown. Hand signed by the artist Limited edition giclée print. The print edition is 150 The image size is 40 x 40 cm, overall size is 50 x 50 cm. Each print is signed and numbered by Susan Brown Sold unframed. Discover limited edition giclée prints online with Wychwood Art and in their Oxfordshire art gallery. Susan Brown (BAHons HonDArts. MCSD) is an interior architect and a painter,and has been involved in both disciplines for many years. The paintings are held in many collections including, The Royal Bank of Canada, HBOS, Universities of York and Sheffield, and the National Trust. The work has been represented and shown by many galleries throughout the UK, has been represented internationally in New York, Hong Kong and Singapore, the paintings have been included in many open exhibitions including the Royal Academy Summer Exhibition, and the Scottish...

Vue du Temple de Mars-Vengeur is a vintage offset print artwork on paper, realized after G. Engelmann (1788-1839), in the 1970s. The artwork is signed on the plate. In very good con...

'The Quadrangle of Jesus College' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 175mm (...

View of Reggio is a print realized by Ascani in the 19th century. Etching Hand-watercolored on paper. titled on the plate. Good conditions with foxing

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 ...

Work on paper

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

Artist: Sir William Dugdale (English, 1605-1686) Title: "Monastery of St. Augustine, Canterbury" Portfolio: Monasticon Anglicanum: A History of the Abbies and Other Monasteries, Hosp...

Linda Plotkin, American (1938 - ) - Window, Year: circa 1965, Medium: Etching on BFK Rives, signed, titled and numbered in pencil, Edition: AP, Image Size: 11.75 x 8.75 inches, S...

Dufza - Paris - Conciergerie - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm

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 original vintage posters, 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 poste...

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...

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Vue de Rome Prise de Mont Palatin is a print realized after Godefroy Engelmann in the 1970s. Signed on the plate Offset on paper Good condition with slight foxing.

Affleck, Andrew. ISOLA BELLA. Etching, not dated. Signed in pencil. Edition size not known. 9 3/4 x 17 3/8 inches (image), 13 5/8 x 22 1/4 inches (shee...

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...

Pont de la Tournelle is a lithograph on paper with an image size of 2 x 4.75 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and rib...

Uses and Customs - Porta Palatino in Turin 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...

Uses and Customs - Julia Basilica and Tabularium is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " H...

Uses and Customs 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 the...

Uses and Customs - Roman Portico in Verona 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...

Uses and Customs - Sermione Fortress on Lake Garda is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: "...

Uses and Customs - Bridge of Vaprio 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...

Uses and Customs - Piazza d'Armi and Amphitheater of the Arena of Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peopl...

Uses and Customs - Castel of Lavenza 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 th...

Gate - Tunis is a photolithograph realized in 1996 by the Italian politician Bettino Craxi. Hand-signed in on the lower right "Craxi d'après Lumieère", Numbered, edition of 120 prin...

Roman Temple is an offset print artwork on paper, realized after G. Engelmann(1788-1839), in the late 20th century. The artwork is signed on the plate. I...

"Engagez-Vous Dans La Marine (Battleship)" is an original color lithograph poster signed and dated in print, A. Theunissen. It depicts a battleship on the ocean with a call for engag...

Porta S. Pancrazio is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions and aged mar...