Men Landscape Prints

Foot Hunters is an original lithograph realized by Jules Renard in 19th Century. It is part of the collection "Soldiers of the Republic". Good condition. Draner, actually Jules Joseph Georges Renard (12 November 1833 in Liège – 1926 in Paris), was a Belgian painter, Illustrator and cartoonist. Living from 1861 in Paris, Draner worked as an illustrator for numerous famous newspapers and sketched late costumes for different famous theatrical houses and opera-houses. He is also considered to be an early Belgian comics artist.

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

Artillery 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, actual...

Walking Hunter 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, a...

Dragons 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...

Staff Officer 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, ac...

Waitress 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, actuall...

African Hunter is an original lithograph realized by Jules Renard in 19th century. It is part of the collection "Soldiers of the Republic". Hand-signed...

Admiral 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...

Chasseur à Cheval 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...

Cyriens 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...

Zouaves 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...

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

Lee Wells End of the World Party #9 2023 Archival pigment print Edition of 5 Caption: Final Epoch Elegance: As the chapters of time gently close, Laila, Gertrude, and Mustafa immers...

Lee Wells End of the World Party #6 2023 Archival pigment print Edition of 5 Caption: Resplendent Reverie: In the embrace of a verdant utopia, ...

Ex Libris Vlasaka is an original Artwork realized in the Second half of the 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. To...

Ex Libris Pokomski is an original Contemporary Artwork realized in the half of the 20th Century. Original B/W woodcut print on ivory-colored paper. Sigled in pencil on the lower...

Ex Libris Florian Spychalski is an original Artwork realized in the half of the 20 Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. ...

Ex Libris Okolskich is an original Contemporary Artwork realized in 1955. Original woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 21 x...

Ancient Roman Drawing, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Filippo de Grado in the 18th century. Signed on the plate. Good con...

Tour de l'Eglise St. Nicolas is an original modern artwork realized in France in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the low...

Jean-Emile Laboureur (1877-1943), L’Auberge du Bord de L’Eau (Petite Planche), engraving, 1924, signed in pencil lower left, numbered lower right ((41/60), and titled in pencil by th...

The Boat is an original etching on paper realized by Gian Paolo Berto. Good conditions except for a rip on the lower margin that does not affect the image. Hand-signed on the lower...

Studies is an original lithograph by an anonymous artist of the mid-20th Century. Hand-signed but illegible. Good conditions except for being aged. The artwork represents the stud...

The Birth of Henri IV is an original lithograph realized by an Anonymous artist of the 19th Century. Printed in series of "France Pittoresque". Titled in Fr...

Tomb of Tippoo Sacb is an original lithograph artwork realized by an Anonymous engraver of the 19 century. Printed as part of the Series of "France Pittoresque" at the top center. ...

Windmillis an original etchingartwork realized in 19th Century. Belongs to the series of "France Pittoresque", as indicated at the top center. Titled in French on the lower center....

Portrait and Cityscape 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 ...

Portrait and Cityscape is a lithograph realized by an Anonymous engraver of the 19th Century. Printed in the series "France Pittoresque", as indicated at the top center. Titled in ...

Turtle Fountain - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Image Dimensions: 24.5 x 32 cm Ha...

Battle of Neuwe Chapelle is an original woodcut on paper realized by Frank Brangwyn. Passepartout including: cm 40 x 30. Very good conditions. On the bottom center, an inscription ...

Navona Square is an original etching realized in the 1960s by Giuseppe Malandrino. Original hand-colored etching. Hand-signed by the artist in pencil on the lower right corner. Nu...

Navona Square is an original etching realized in the 1960s by Giuseppe Malandrino. Original hand-colored print. Image Dimensions: 11.5 x 9 cm Hand-signed by the artist in pencil o...

Navona Square is an original etching realized in the 1960s by Giuseppe Malandrino. Original hand-colored print. Hand-signed by the artist in pencil on the lower right corner. Imag...

Saint Peter is an original lithograph on paper realized by Denis Auguste Marie Raffet in 1851. Signed on the plate on the lower left. Good conditions. Titled in French on the lowe...

Costume of Civita Castellana is original Hand-colored etching artwork realized by Bartolomeo Pinelli in 1819. Good conditions. Included a white Passepartout: 34 x 49 The artwork r...

Trebbia Battle is an original print on paper realized by an Anonymous artist. titled on the lower center of the image. In very good conditions. Sheet dimension: 17 x 22.5 cm The a...

Italian Landscape is an original print on paper, includes two images in one sheet, realized by an Anonymous. titled on the lower of each image. In very good conditions. Sheet dimen...

The Road is an original zincography artwork realized by Mino Maccari. Included a white Passepartout: 49 x 34 The state of preservation is very good with a small stain on the white ...

Wilson, Edward A. (American, born Scotland, 1886 - 1970). UNTITLED - SHIPPING YARD. Lithograph, 1945. Edition of 25, signed and numbered 23/25. 11 x 13 inches (image), 13 1/2 x 15 in...

Sleeping Dog is an original drawing on paper, realized by an Anonymous artist of the XIX century. There is The state of preservation of the artwork is ver...

Image dimensions: 23.5 x 15.8 cm. La rue Saint-Louis is a wonderful black and white xilograph on paper, realized in 1880 by Bertrand, after Valnay. Signed on plate on sides. Title ...

Moy, Seong. NETS. Woodcut, 1963. A.A.A. edition of 250. Titled, signed and numbered 224/250 in pencil. 9 1/2 x 13 inches. In very good condition, in an original AAA frame with the de...

Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 32...

Image dimensions: 15.3 x 20.8 cm. This splendid lithograph Interieur de Geneve. Un Coin De La Treille is part of the series of 20 prints dedicated to views of the city of Geneva, en...

Desert is a beautiful black and white xylograph on ivory colored paper, by the French landscapist Marcel Gaillard (1886 -1947). This original print, representing an oriental buildin...

Jean-Emile Laboureur (1877-1943), Le 14-Juillet au Village, engraving and roulette, 1925, signed in pencil lower left and numbered lower right (30/100) [also initialed and dated in t...

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

"Evolution Of A Fall" Photography 20"x16" inch Ed. 2/36 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 ABOUT Rob Woodcox Rob Woodcox is a fine art and fas...

"Jamais Bredouille (Never Empty-Handed)" is a color lithograph after Jules Denneulin. It depicts a hunter showing his day's work to a farmer on a path at dusk. 20" x 26" art 40 1/4...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded 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...

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...

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 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 ...

Eduardo Arroyo - Sphinx - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel

Reward for Hard Work Vic Herman, American (1919–1999) Date: 1979 Lithograph, signed and numbered in pencil Edition of 200, AP 45 Image Size: 13 x 25 inches ...

This striking photograph captures the timeless essence of a Roman marble bust, portraying a handsome male leader with thoughtful details. The subject, seemingly untouched by the passage of centuries, emerges from the stone with a head of naturally falling curly hair. The face, in profile, emanates strength and resilience as the leader gazes steadfastly into the distance. Symbolic of the Roman Empire's grandeur, the bust stands as a testament to the strength and authority that characterized that ancient civilization. As the Roman Empire eventually faced the challenges leading to its fall, this marble bust endures as a silent witness to the ebb and flow of history. Marble, known for its enduring nature, further enhances the longevity of this artistic documentation. The photograph captures not just a static representation of a bygone era but a dynamic convergence of time, where the resilience of the stone mirrors the enduring legacy of the Roman Empire. This work is a photographic digital print on plexiglass cut to the form of the bust. Fidel Santos...

"Synchronicity (part 3)" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2021 ABOUT Rob Woodcox Rob Woo...