Drawing Landscape Prints

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

Artist: Thomas McKnight (American, 1941-) Title: "Westhampton" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white Somerset paper Limited edition: 143/175, (there were also 40 artist's proofs) Printer: Willco Fine Art, New York, NY Publisher: Chalk & Vermilion, New York, NY Sheet size: 21" x 23" Image size: 16" x 18.13" Condition: Never framed, has been professionally stored away in its original green silk boxed portfolio for decades. In mint condition Notes: Numbered by McKnight in pencil lower left. Comes from McKnight's 1987 "The Hamptons" portfolio of twelve screenprints. Artist's copyright stamp lower right on verso. Biography: Thomas McKnight (born 1941) is a U.S. artist. He was born in 1941 in Lawrence, Kansas. He attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. He spent his junior year in Paris. After a year of graduate work in art history at Columbia University, in 1964 McKnight found a job at Time Magazine where he would work for eight years, interrupted by a two-year stint in the U. S. Army in South Korea. In 1972 McKnight left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. In 1979 in Mykonos, McKnight met Renate, a vacationing Austrian student, and married the following year. Throughout the 1980s McKnight’s art, mainly limited edition serigraph prints, became increasingly popular. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc, ...

Etching and drypoint on watermarked Hudelist laid paper, 9 5/8 x 5 inches (245 x 129mm) full margins. Second state (of five) after lettering. A superb condition with a pencil inscrip...

Lithograph on vélin paper. Paper Size: 12.48 x 8.82 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonne references: Picasso, Pablo, et al. Pablo Picasso Litho...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Mourlot, Fernand, and Marc Chagall. Chagall...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Moore, Henry, et al. Henry Moore...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 9.84 x 12.8 inches. Inscription: Unsigned and unnumbered...

This lithograph is a part of my private collection from the early 1970's. It is artist pencil signed in the lower right corner, and numbered in the lower left. Published : Guild de l...

Printer’s ink from rubber stamp on vélin Kromekote paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published b...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Michl...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

1641. Etching on cream wove paper, 5 1/16 x 7 11/16 inches (128 x 195 mm), narrow margins. Printed 19th century on a remainder which has a partially trimmed, printed image of a Virgi...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 5.91 inches Inscription...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Earl Horter, 'The Woolworth Building Under Construction', etching, c. 1912, edition not stated. Signed in pencil. A fine, richly-inked impression, in warm black ink, with selectively...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 6.3 inches Inscription:...

'New York, Central Park', etching, edition 40, c. 1930. Signed in pencil. Titled and numbered '14/40' on the bottom sheet edge, in pencil. Signed in the plate, lower left. A superb, ...

JAMES McNEILL WHISTLER (American 1834–1903 London) THAMES WAREHOUSES, 1859 (K 38 ii/ii; Glascow 46 iv/v; Mansfield 37) Etching and drypoint on fine thin laid paper. Plate: 3 × 8 i...

'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Original off set lithograph in black and white with hand colored tinting by the artist. Artist signed, titled and numbered by the artist 47/250. Condition is excellent. Under glass...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Urbain HUCHET Notre Dame de Paris Original lithograph, 1960 Handsigned in pencil by the artist Numbered / 295 copies On velllum 19 x 28 cm (c. 8 x 11 inch) Excellent condition

Bernard Buffet French Riviera : Saint Tropez Village, 1977 Original lithograph (Mourlot workshop) Unsigned On vellum 76 x 65 cm (c. 30 x 26 in) Authenticated with the blind stamp o...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Medium: Lithograph on vélin paper Year: 1972 Paper Size: 20.5 X 26.4 inches Catalogue raisonné reference: Cramer, illustration 155 Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Pablo Picasso, La Chute D'Icare, Décoration du Foyer des Délégués Palais de l'UNESCO à Paris, Suite d'études préparatoires en noir et en couleurs réalisées du 6 décembre 1957 au 29 janvier 1958, 1972. Published by Albert Skira, Éditeur, Genève; printed by Roto-Sadag S.A. Genève, December 20, 1972. Excerpted from the folio (translated from French), This album contains the series of preparatory tests in black and VII color studies, reproduced, made by Pablo Picasso for the decoration of the home of the delegates at the Palais de l'UNESCO in Paris, was completed to print on December 20, 1972 on the presses of Imprimeries Roto-Sadag S.A. and Atar S.A. in Genève. The edition of this album is as follows: CXXV examples numbered from I to CXXV, XXV examples, out of commerce, numbered H.C. I to XXV, reserved for the artist and the publisher. Each of these albums contains an etching by Pablo Picasso, signed and numbered...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Otto Eglau (1917 Berlin - 1988 Kampen), Wadden spirits, 1982. Aquatint etching, 14.5 cm x 18 cm (plate size), 32 cm x 33.8 cm (frame), signed “Eglau” and dated “[19]82” in pencil lower right, inscribed “Wattgeister” in the center and identified as no. 232 / 250 on the right. Attractively framed. - Three minimal foxing spots in the white margin, otherwise in very good condition - The imagination of the beach - In this puzzle, ghostly faces intertwine with the mudflat landscape, which is interwoven with rivulets of water that enliven the entire sandy surface. Other faces emerge from these faces, creating a puzzle within a puzzle. These ghosts, each with their own character, transform the floor into a turbulent image, and the work also reflects on the art of "looking" into linear structures. About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin - 1988 Kampen), Wattgeister, 1982. Aquatintaradierung, 14,5 cm x 18 cm (Plattengröße), 32 cm x 33,8 cm (Rahmen), unten rechts in Blei mit „Eglau“ signiert und auf „[19]82“ datiert, mittig als „Wattgeister“ bezeichnet und rechts als Nr. 232 / 250 ausgewiesen. Ansprechend gerahmt. - drei minimale Stockflecke im weißen Rand, ansonsten in sehr gutem Zustand - Die Imagination des Strandes - Auf diesem Vexierbild formen sich aus der von Wasserrinnsalen durchflossenen Wattlandschaft ineinander verschlungene Geistergesichter, die die gesamte Sandfläche beleben. Dabei gehen aus den Gesichtern weitere Gesichter hervor, so dass die Gesichter ihrerseits zu Vexierbildern werden. Die Geister, die ganz unterschiedliche Charaktere aufweisen, verwandeln die Standfläche in ein turbulentes Flächenbild, womit das Werk zugleich eine Reflexion auf die Kunst ist, etwas in Liniengefüge ‚hineinzusehen‘. zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

An indigenous teacher, surrounded by her multi-generational students, sits at the edge of a field, open book in hand. In the distance, we see campesinos working the fields with their horses. A lone, armed horseman watches over the class, locating the lithograph in its historical setting, the aftermath of the Mexican Revolution...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Art in America, New York in an edition of CDVII/D. From the folio, The Four Se...

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Arnulf Rainer (1929) Paris : Tribute to Louvre Museum with Orange Scratch Original etching On vellum 40 x 50 cm (c. 16 x 20 in) Authenticated with the blind stamp of the editor Cha...

Lithograph and stencil on vélin papier a la cuve du Moulin Richard de Bas spécialement filigrané pour cette édition paper. Signed in the plate and unnumbered, as issued. Good conditi...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph, silkscreen, drypoint, and collage on vélin de Rives BFK paper. Inscription: hand signed and numbered, I-70/250, as issued. Good condition. Notes: From the folio, Imaginat...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 10.24 x 7.48 inches Inscription: Signed in th...

Medium: original etching. Published in 1912 by Gazette des Beaux Arts. Plate size: 5 x 9 1/4 inches (128 x 232 mm) on cream laid paper. Signed in the plate, not by hand. The Gazett...