Horse Landscape Prints

Medium: Lithograph on vélin paper Year: 1952 Paper Size: 12.125 x 9.25 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the album, The Circus by Toulouse...

City Park, Winter Lithograph, c. 1947 Signed in pencil lower right (see photo) Published by Associated American Artists Printed by George C. Miller, New York Edition: c. 250 In the Bohrod papers at Syracuse University, the artist states that it is a view of Pittsburgh. It depicts the George Washington Monument in Allegheny Commons Park, dedicated in 1891. The sculptor f the monument is Edward Ludwig Albert Pausch (1856-1931). Condition: Excellent Image size: 9 1/4 x 13 7/16 inches Frame size: 19 x 23 inches Provenance: Estate of Adolf Dehn Reference: AAA Index No. 848 Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings. Education Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. Career He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...

Ostend Horse. 1926-27. Drypoint. Appleby 125. 7 x 815/16 (sheet 9 1/8x 12 1/5). Proof B, apart from the edition 100. A rich impression with tonal wiping and drypoint burr, printed on...

Signed in pencil below the image. Signed and dated in the plate. The number '327' inscribed in pencil in lower margin. Mortimer Menpes was an artist and engraver, author, printmake...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Beaufort...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Summer Gold Medium: Lithograph, signed and numbered in pencil Edition: 250, 5 HC Image S...

'Veduta Generale del Palazzo de Cesari sul Palatino, presa del Monte Aventino' Tinted lithograph by Eugene Ciceri after Felix Benoist. Figures by Bayot. From a French series titled...

To see our other original vintage travel posters, many of which are from Switzerland, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or sen...

Les  Etrennes du Bebe is a black and White etching realized by Armand Queyroy in the 1860s.  Titled in the lower. Image size:21x28. Very good impression with wide margins and a ve...

Village de Tremereuc is a black and White etching realized by Michel-Amédée Besnus in the 1860s.  Titled in the lower. Image size: 23x32. Very good impression with wide margins an...

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...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

Claude Tabet, French (1924 - 1979) - Rue de Castiglione. Medium: Lithograph, signed and numbered in pencil, Edition: 250, EA, Size: 22 x 30 in. (55.88 x 76.2 cm), Description: Either...

Frank Algernon Stewart (1877-1945) The Heythrop at Stow on the Wold Lithograph 24x63cm Signed in pencil A typical hunting print by Stewart, showing o...

Policeman is an original lithograph realized by Jules Renard in the 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, ac...

La Montée is an artwork realized by Christian Johannes Nieuwenhuys in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of...

Pozzolo Battle is a lithograph print on paper realized After Louis Martinet in the 1850s. Titled, signed on the plate. The artwork is in good conditions with aged margins and diffu...

Yves Brayer (1907-1990) Before the Trotting Race Original lithograph, c.1973 Handsigned in pencil by the artist Numbered /250 copies Size 50 x 65 cm, on Arches Vellum Information: ...

Duane Bryers, American (1911 - 2012) - Lonesome Train Whistle, Year: Circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22 in., Siz...

Etching and drypoint. Hand signed. Very good condition.

Winter - Eight Scenic Spots in Suburban Edo is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Uta...

Uses and Customs - Paladins and Knights 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...

Uses and Customs - Sempione Arch called of Peace in Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the univ...

Le Cheval Blanc is an artwok realized in early-20th century, by the French Artist Paul Emile Colin . Black and white etching on paper. Hand Signed on the right corner. Limited editi...

Claude Tabet, French (1924 - 1979) - Tree Lined Path. Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 20 x 24.5 inches, Size: 22 in. x ...

India. Jodpoor - Mach 2nd, 1893 - is an original vintage black and white photo realized during a journey throughout the world performed by prince Franz Ferdinand von Osterreich Este ...

A Fierce Battle at Seoul by Kokunimasa ( also known as Ryukel ) is a woodblock tryptich from 1904 in good condition. Utagawa Kokunimasa (1874-1944) was a woodblock artist fro...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Quorn Hu...

Shepherd With Cattle On A Wooden Bridge is an etching on ivory-colored paper realized by Antonie Waterloo in the late 17th century. Good conditions with slight foxing. The artwork ...

Image dimensions: 7.2 x 12.7 cm. New Orleans is a black and white xylograph on paper, realized in 1890 by anonymous artist, of incredible fineness. Of little dimensions but high meticulousness of sign, this original print presents us a lost and historical view on the New Orleans port...

The Old Pier at Littlehampton is an original modern artwork realized by John Cousen in the middle of the XIX Century. Original colored print on paper. Inscripted on the lower margi...

"Castel" is an original lithograph on paper, realized by Francesco Gonin in 1880. Good conditions. The artwork represents a magnificent castel, through harmonious hatchings by delica...

Spahis is an original lithograph realized by Jules Renard in 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, actually ...

Innspruck is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Letters:...

Horse in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

This map of Kampen (the ancient Campensis) is an original etching realized by George Braun and Franz Hogenberg as part of the famous Series "Civitates Orbis Terrarum". The “Civita...

Roman Landscape is an original etching artwork realized by the Italian artist Giuseppe Malandrino. hand-signed by the artist on the lower right in pencil. Numbered in Roman numeral...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 191 is a beautiful black and white etching and aquatint on paper realized by the Italian artist ...

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) University College, Oxford (1675) Engraving 29 x 40 cm Loggan's view of Univ from the 'Oxonia Illustrata'. 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...

Medium: mezzotint (engraved by David Lucas after the John Constable painting). Printed in 1855 on cream wove paper for the "English Landscape S...

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) St Edmund Hall...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

The Hunt Susan Hall, American (1943) Date: 1980 Lithograph, signed and numbered in pencil Edition of 175 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Roman Forum is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbere...

'Dept. du Calvados', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area of France is known for its production of Cal...

THEODORE CASIMIR ROUSSEL, RBA (1847-1926) The Street, Chelsea Embankment Etching, signed in the plate, signed on the artist’s tab, trimmed to the platemark by the artist, framed 15...

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.

Artist: Richard Haas Title: Chisholm Trail Mural Year: 1985 Medium: Silkscreen, Signed in pencil Edition: Exhibition Proof Paper Size: 29.5 x 40.75 in....

Katie Edwards -Created in 2014 for a competition on the theme of Joy, which the concept of escaping on a carousel horse conveyed perfectly. This illustration was the winner of the 20...

Joanna Padfield One Winter’s Day Limited Edition print on paper Edition of 50 Image Size: H 30cm x W 40 Paper Size: H 38cm x W 53 cm Sold Unframed (Please note that in situ images ar...

Propylaea 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 laws, ...

Uses and Customs - Temple of S Maria 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...

Uses and Customs - Soldiers 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 governm...

James Pollard 1892-1867, was an English painter, watercolourist and engraver whose artistic talents were the depiction of coaching, hunting, fishing and horse racing scenes. He is fa...

Yarmouth is an etching realized in the Early-20th Century by E. Finden. Signed in plate. The artwork is realized in a well-balanced composition.

Roman Forum is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbere...

Roman Forum is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbere...

Roman Forum is an artwork realized by Giuseppe Malandrino. Print in etching technique and hand watercolored. Hand-signed by the artist in pencil on the lower right corner. Numbere...