Castle Landscape Prints

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...

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...

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.

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...

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...

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...

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...

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...

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...

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...

Gate in Algeria is an original Hand-colored lithograph on paper realized in 1846 by an Anonymous artist of the XIX century. Titled in Italian on the lower center "Porta Bab-Azoun i...

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...

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...

Paris is an original etching on paper, realized by the French artist Auguste Brouet. Passepartout dimension: 35 x 32 cm In very good condition. This artwork represents the river...

Porta Angelica 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 margins...

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...

Tomb of Caecilia Metella is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is good with some foxing on the upper ...

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...

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 ...

Image dimensions: 34.6 x 35 cm. Editions of 120 examples and many Artist's proofs (111/120). Published in the Portafoglio "Tunisiaca3 1996: d'aprés Auguste Lumière". Signed and nu...

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...

Londonderry is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: Londonderry....

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...

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...

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...

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...

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...

Fontainebleau is an original lithograph artwork realized by an anonymous engraver of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in France...

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...

View of Rome is an offset print artwork on paper, realized by G. Engelmann. The artwork is signed on the plate. In very good condition. The artwork represents the roman landscape ...

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 ...

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...

Image dimensions: 15 x 22 cm. This splendid lithograph Interieur de Geneve. Porte Neuve is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the ...

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...

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 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...

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...

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

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...

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...

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)

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...

Vue du Capitole is a print realized after Godefroy Engelmann in the 1970s. Signed on the plate Offset on paper Good condition with slight foxing.

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.

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...

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...

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 - 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 - 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 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 - 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 - Trezzo Castle 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 go...

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...

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...

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

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...

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...