Urban Landscape Prints

From a series of large and impressive prints of St George's Chapel, the location for the Royal Wedding of Prince Harry and Megan Markle; to see some others, scroll down to "More from this Seller" and below it click on "See all from this Seller." Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis North East View of St George's Chapel, Windsor To the Right Reverend the Lord Bishop of Norwich and Dean of Windsor London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x40cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Richard Estes Roma (from Urban Landscapes III), 1981 Signed and numbered "33/250" in pencil, lower margin Color screenprint on white wove paper 14 x 20 inches Edition 33/250 Richar...

Anton Ignaz Melling 1763-1831 Constantinople Etching, hand coloured Image size: 26 x13 inches (66 x 33cm) Acid free mount This etching of Constantinople offers a captivating panoram...

London: Fine Art Trade Guild, c1900. Etching with drypoint on cream laid paper with a deckle edge 11 1/2 x 8 1/4 inches (290 x 208 mm); sheet 15 x 11 5/8 inches (380 x 294 mm), full...

Hand embellished serigraph on canvas. Hand signed and numbered on front by the artist. Stretched. Edition AP of 75. Artwork is in excellen...

Paris, houses and walls is a beautiful artwork realized by Orfeo Tamburi during the 1980s. Mixed colored lithograph. Edited and printed by Graphics Arte, Livorno Original title: P...

'Basilica di St Maria Maggiore. Veduta della facciata principale' Tinted lithograph by Philippe Benoist (1813-1881). From a French series titled 'Rome dans Sa Grandeur', circa 1870...

ABOUT THIS PIECE: Ludwig Favre photographed California's most iconic mid-century architecture. The Saguaro Hotel in Palm Springs is a perfect example of California's mid-century move...

'Magdalen Hall' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 175mm (platemark) 200mm ...

Signed on plate with the Monogram of the artist “CM”. Original Prints. State III/III Passepartout included : 60 x 40 cm Image Dimensions : 24.5 x 18.5 cm This artwork is shipped fro...

Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...

Artist Name: Richard Estes Year: 1983 Size-Width Size-Height: 22¾" x 20"  Natalie Knight Gallery David Krut Fine Art 8 Oct 83 Unframed in Very Good Condition. Richard Estes is an ...

Louis SOULAS (1905-1954) Roman Church near Bordeaux, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the e...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

Etching hand watercolored realized by Giuseppe Malandrino in 1970s. Edition of VII/XXX. Excellent condition.

The Castle is an artwork realized by Antonio de Totero (1936) in 1980. Hand-signed and numbered by artist with pencil. Numbered, Edition of V/XXV prints Good condition.

Ruga, Pietro (after Luigi Magozza). Veduta della Piazza del Popolo. Rome: Giacomo Antonelli, 1825. Engraving with hand coloring in watercolor on cream wove paper with a "PM" watermar...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Vienna: Robert Kasimir, 1935. Color etching and aquatint on Robert Kasimir watermarked white wove paper, 11 3/8 x 13 3/4 inches (288 x 350 mm); sheet 19 x 21 inches (483 x 534 mm), f...

Lithograph with hand tinting on heavy wove paper, full margins. Significant condition issues in the margins which include adhesive residue, edge tears and minor edge losses. The image area is clean with minor mat tone, however, colors are slightly attenuated. The verso shows moderate uneven toning. Issues primarily exist outside of the image area. This large and lively work was printed by Charles Hullmandel. _______ The images in Boys's 1842 portfolio, Original Views of London...

'Petits Hotels. Boulevard Berthier 45 et 47, a Paris. Elevations, Coupe et Plans, par Mr Boland, Archte.' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lac...

Vienna: Chez Artaria. Engraving with hand coloring in watercolor on cream laid Van Gelder Zonen paper with a large heraldic watermark with a fleur-de-lys and a crown, 10 3/4 x 16 1/...

Maurice UTRILLO (1883 - 1955) Street of Montmartre Lithograph Printed signature in the plate On vellum Arches This edition is autentified by the blind stamp S.P.A.D.E.M and the blin...

Andreas FEININGER New York : Empire State Building, 2008 Quadrichromie original vintage poster On paper 92 x 68 cm (c. 36 x 27 in) Original poster for artist's exhibition in Fundati...

Louis Lozowick, 'Mural Study: Lower Manhattan', lithograph, edition 10 or fewer, 1936. Flint 135. Signed and dated in pencil. Signed in the stone, lower right. A fine, richly-inked...

Frank Lloyd Wright's Ennis House, Los Angeles - Lithograph on Paper Clean, modern lithograph of the Ennis House in Los Angeles by Frances Myers (American, 1936-2014). The Ennis House sits at the top of a small hill, cutting a strong line against a soft peach-colored sky. Wright's strong sense of balance is highlighted in this composition, with patterns and lines guiding the viewers eye in various directions around the piece. Numbered, titled, signed and dated along the bottom edge: 7/50 Ennis House - Los Angeles Frances Myers 1980 Paper size: 29.5"H x 38"W Print size: 24"H x 32"W Shipped rolled in a tube. Myers was born on April 16, 1936, in Racine, Wisconsin. She began her studies at the San Francisco Art Institute, but soon transferred to the University of Wisconsin–Madison where she earned a BS in 1962, and an MFA in 1965. Myers employed a variety of printmaking techniques in her career including "relief, photo-etching, and mixed media processes." Myers is best known for her prints depicting various buildings. She once said, “I don’t want to invent a building, I want to bring new life to a building.” Growing up in Racine, Myers was exposed to many of Frank Lloyd Wright's architectural works, and she paid tribute to this in her 1980 work The Frank Lloyd Wright Print...

Gottfried Salzmann Place de Victoires, Paris, France (Collage, Cityscape, Iconic) Screen Print over Photograph Year: Circa 2010 Size: 11.22 × 7.87 inches (28.5 x 20 cm) Edition: 50 S...

The Hague: circa 1799. Engraving with burin on cream laid paper, 7 7/8 x 13 inches (198 x 330 mm) full margins. Octavo fold with additional hard creases with an associated loss in t...

A fine prospect image of gardens at Lincoln's Inn, London. A Prospect of Lincoln's Inn; A Survey of the Cities of London and Westminster; The Fountain and Gardens in New Square, Lin...

Times Square I is a montage of large neon signs that dominate Manhattan's Times Square. This impression is pencil signed, titled and dated and is #40 ...

MAURICE de VLAMINCK (1876 - 1958) BOISSY LES-PERCHES, 1951 (W148) Drypoint and etching. Unsigned but initialed in drypoint lower right in image, MV. 10 1/4 x 12 3/8 inches. Full sh...

Antonio Peticov, Brazilian (1946 - ) - Amsterdam Rainbow, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 200, Size: 27.5 x 35 in. (69.85 x 88.9 cm)

Suite of five prints including Gordon House "A Still Life at Millbank", R. B. Kitaj "Chris", John Piper "Eye and Camera, Red Blue and Yellow", Joe Tilson "Delphic Oracle", Gerd Winner...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Etching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...

Waiting for my Train is #55 from edition of 100. "Waiting for my train" is the stop right before the tracks cross, and create Chicago's famous "Loop", on the above ground EL. The M...

Two Color Offset Lithograph on Wove Paper by photo realist star Robert Cottingham Pencil signed, titled and numbered from the edition of 150 on the front This hand signed, titled and...

One of eight prints completed for this set based on Henry James Aspern Papers. Signed and numbered digital print from the editon of 75. Peter Milton is one of the most honored and respected printmakers in the world today. His work is in most major museums, and he continues to produce stunning and masterful prints in his 6th decade of printmaking. Since 2008 he has been a major proponent for digital printmaking. THE ASPERN PAPERS is a classic tale by Henry James of duplicity foiled and love denied. Taking place in Venice, this is one print from a portfolio set of eight prints...

Moody, mysterious, majestic – these are some of the ways to describe the mezzotints of Frederick Mershimer. His images travel through the serenity of a Brooklyn neighborhood on a sti...

London: Gebbie & Husson Co., 1879. Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor margin...

John Taylor Arms, 'Downtown, New York', etching with aquatint, 1921, edition 75, Fletcher 108. Signed, dated, and numbered 14/75 in pencil. A superb, finely nuanced impression, in d...

By Giuseppe Vasi after Giovanni Piranesi: Etching and engraving with hand coloring in watercolor on laid paper with an E and R watermark, full margins. Minor...

ECLIPSE was born out of Milton's interest in the photographer Eugene Atget. Work on the image went through many transformations and reversals, until finally settling on Atget's Pari...

London: Charles Joseph Hullmandel, 1842. Lithograph with hand coloring in watercolor on cream wove paper, 17 5/16 x 12 3/16 inches (440 x 309 mm), full margins. Scattered foxing thro...

Alex Katz was born in 1924 to a Jewish family in Brooklyn, New York, as the son of an émigré who had lost a factory he owned in Russia to the Soviet revolution. In 1928 the family moved to St. Albans, Queens, where Katz grew up. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan's plein air painting gave him "a reason to devote my life to painting." Every year from early June to mid-September, Katz moves from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. A summer resident of Lincolnville since 1954, he has developed a close relationship with local Colby College. From 1954 to 1960, he made a number of small collages of still lifes, Maine landscapes, and small figures. He met Ada Del...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....

'Westminster School' Signed and titled by the artist in pencil lower edge. Monogrammed inside the plate lower left corner. Mabel Oliver Rae was an ea...

tching on green-hued antique laid Japon paper, 9 7/16 x 4 1/16 (240 x 104 mm), full margins. Signed, dated and inscribed "Ed. 100 II." One of a total edition on 124 impressions, prin...

Aquatint printed in brownish ink with extensive hand coloring in watercolor on buff paper, 10 1/4 x 12 1/2 inches (260 x 317 mm) (sheet), uneven narrow to full margins. Laid down to a contemporary wove paper support. Scattered condition issues on the sheet (excluding the mount) include surface soiling, creasing, a significant vertical repaired tear, and toning, despite these issues, the hand coloring remains good. Suitable for framing. From A Picturesque Tour Through the Cities of London and Westminster, Illustrated With the most interesting Views, accurately delineated And executed in Aquatinta By Thomas Malton, published by Thomas Malton, London 1796. The work was published serially, in twenty-five numbers. The plates in Volume I carry the dates 1792, 1793, 1794, 1795, 1796 or 1797; those in Volume II, the dates 1797, 1798, 1799, 1800 or 1801. In most copies the title page of Volume I carries the publisher's later address, of 103 Long Acre...

Landscapes and seascapes are a specialty for McMillan, but capturing the night-time lights of the Grand Canal in Venice is an unusual subject for this artist who usually specializes ...

An extremely scarce impression from the artist's own collection. Etching on watermarked antique laid J Whatman Japon paper, 14 1/2 x 7 5/8 inches ( 368 x 195 mm), full margins. Signe...

Drypoint on cream wove paper, 4 1/2 x 6 7/8 inches (114 x 174 mm), full margins. Signed in pencil, lower right margin. In very good condition with no visible defects; inking is exce...

Ed Ruscha Some Los Angeles Apartments (Unsigned), 1965 True First Edition Artist Book: Stated Limited Edition of only 700 7 × 5 1/2 inches Unframed A rare and elusive 1960s Artist Book. Makes a terrific gift. This is a TRUE 1965 1st Edition of only 700 stated copies. (NOT to be confused with the second edition in 1970 which was published in a much larger edition of 3000 and NOT to be confused with an eponymous 1990 Whitney Museum publication.) A must have for Ruscha Fans. SOME LOS ANGELES APARTMENTS. Los Angeles: Self-Published, 1965. True First Edition Printed Wrappers with Glassine. Original Artist's Book. This marvelous vintage 1965 48 page book features 34 black and white illustrations and is in surprisingly fine condition. "Some Los Angeles Apartments" is Ed Ruscha's third artist book - a wry yet heartfelt photographic survey of the subtle beauty of the post-war Southern California rental property construction boom. A spectacularly bright, most handsome example of the uncommon 1965 first edition (entry B3 in Siri Engberg's "Edward Ruscha: Editions 1959-1999" which is also cited on page 141 of Martin Parr and Gerry Badger's "The Photobook: A History Volume II", pages 198-201 of The Hasselblad Center's "The Open Book", page 105 of "From Fair to Fine 2", and page 226 of "From Fair to Fine 3") limited to seven hundred unnumbered copies. This is an exceptional example of this important little gem that is often confused with the 1990 Whitney Museum exhibition catalogue of virtually the same title. "In the 1960s, Ed Ruscha more or less reinvented the artist’s book. By turning away from the craftsmanship and luxury status that typified the livre d’artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. Some Los Angeles Apartments, with its straightforward presentation of modern California domestic buildings, celebrated the vernacular architecture of Southern California." The Getty Museum "....It's perhaps fitting that Ed Ruscha - one of the central figures in late 20th century photography - does not consider himself a photographer. "I think photography is dead as a fine art," he told John Coplans...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Based in New York, Caitlin McGauley is an artist and illustrator with...

London: J. Taylor, 1820. Etching and aquatint with engraving on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full margins. Small spots of adhesive residue from a former mount at each edge on the recto. Light ghost impression in the area of the sky. Scattered minor areas of light brown discoloration, with a 3 3/4 inch horizontal edge loss along the lower left sheet edge, outside of the platemark. Colors remain fresh. Plate No. 3 from Wonders: Images of the Ancient World. Likely printed 1828. A view of the Temple of Hercules Victor...

Richard Haas View of Munich (Szoke, 80), 1978 Offset Lithograph with Graphite Stencil on BFK Rives Paper 17 1/2 × 43 1/2 inches Edition 52/150 Signed, titled and numbered 52/150 in graphite pencil on the front Published by Brooke Alexander, New York and Galerie Biedermann, Munich, Germany; Printer: Deli Sacilotto...

Maurice UTRILLO (1883 - 1955) Paris, Sacré-Coeur of Montmartre Lithograph Printed signature in the plate On vellum Arches This edition is autentified by the blind stamp S.P.A.D.E.M ...

This exquisite woodcut after Maurice Utrillo (1883–1955), titled Montmartre, sous la neige (Montmartre, Under the Snow), from the folio Les Peintres mes amis (The Painters My Friends), originates from the 1965 edition published by Editions d'art Les Heures Claires, Paris, and printed by Atelier Raymond Jacquet, Paris, May 20, 1965. Montmartre, sous la neige (Montmartre, Under the Snow) captures Utrillo’s quiet poetry and emotional depth, translating his painterly vision of Paris into the medium of woodcut. The serene winter streets, rendered with rhythmic precision and tonal restraint, evoke the contemplative stillness that defines Utrillo’s deeply personal view of urban solitude and beauty. Executed as a woodcut on grand velin d'Arches paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the exceptional standards of Editions d'art Les Heures Claires, Paris, and the master craftsmanship of Atelier Raymond Jacquet, Paris. Artwork Details: Artist: After Maurice Utrillo (1883–1955) Title: Montmartre, sous la neige (Montmartre, Under the Snow), from the folio Les Peintres mes amis (The Painters My Friends), 1965 Medium: Woodcut on grand velin d'Arches paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1965 Publisher: Editions d'art Les Heures Claires, Paris Printer: Atelier Raymond Jacquet, Paris Catalogue raisonne reference: Monod, Luc. Manuel de l’amateur de livres illustrés modernes, 1875–1975. Ides et Calendes, 1992, illustration 11485. Condition: Well preserved, consistent with age and medium Provenance: From the folio Les Peintres mes amis (The Painters My Friends), published by Editions d'art Les Heures Claires, Paris; printed by Atelier Raymond Jacquet, Paris, May 20, 1965 Notes: Excerpted from the folio (translated from the folio), The lithographs by Derain and Van Dongen were printed by Lucien Detruit. Those by Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavailles, Terechkovitch, and Carzou were printed by Mourlot Freres. Those by Picasso and Buffet were printed by P.-J. Ballon. The lithograph by Miro was printed in the workshop Arte, which also printed, in phototype, the frontispiece. The etchings by Villon and Zadkine were printed by Manuel Robbe. That by Braque was printed by A. and P. Crommelynck. The wood engravings and printing of the illustrations by Vlaminck, Rouault, Pascin, and Utrillo were done by Raymond Jacquet. The texts by Andre Warnod, collected by his daughter Jeanine Warnod, were hand-set in De Roos type, size 24, and printed in Paris on the presses of Daragnes. Printing completed on May 20, 1965. Justification of the edition, III examples on large velin d'Arches containing the original copper plates inked for one intaglio illustration; a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered I to III. XVI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered IV to XIX. XXI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; and a complete suite of the illustrations on Arches—numbered XX to XL. XL examples on large velin d'Arches containing a complete suite of the illustrations on Arches—numbered XLI to LXXX. CLXX examples on large velin d'Arches—numbered LXXXI to CCL. About the Publication: The folio Les Peintres mes amis (The Painters My Friends), published in Paris in 1965 by Editions d'art Les Heures Claires, stands among the most ambitious postwar French printmaking collaborations. Conceived as a celebration of modern art’s greatest masters, the volume unites original graphic works by Utrillo, Vlaminck, Matisse, Picasso, Chagall, Braque, Villon, Derain, Zadkine, Miro, and others, alongside critical essays by Andre Warnod. Each plate was executed under the supervision of Paris’s foremost ateliers—Mourlot Freres, Lucien Detruit, P.-J. Ballon, Manuel Robbe, and Raymond Jacquet—representing the finest techniques of lithography, etching, and woodcut. This luxurious folio exemplifies the artistry and craftsmanship of mid-20th-century French printing, merging text, image, and handcraft into a unified artistic statement. A triumph of the livre d’artiste tradition, it remains a vital record of the enduring creative dialogue between the painters, printers, and publishers who defined the visual culture of their time. About the Artist: Maurice Utrillo (1883–1955) was a French painter whose poetic depictions of Montmartre and Paris transformed the city’s quiet streets, cathedrals, and cafes into enduring symbols of nostalgia and modern beauty. Born in Paris to the artist Suzanne Valadon—model and muse to Pierre-Auguste Renoir and Henri de Toulouse-Lautrec—Utrillo was immersed in art from an early age but led a turbulent life that found solace in painting. Entirely self-taught, he became one of the most distinctive figures of the Paris School, celebrated for his lyrical “White Period” (1909–1914), during which he employed thick impasto and a restrained palette of whites, grays, and ochres to capture the worn facades and atmospheric stillness of Montmartre. Influenced by Paul Cezanne’s structural precision, Vincent van Gogh’s emotional color, and Camille Pissarro’s realism, Utrillo forged a style that blended Impressionist light with Post-Impressionist solidity, expressing solitude, longing, and spiritual calm. He worked amidst the revolutionary ferment of early 20th-century Paris, alongside Pablo Picasso, Amedeo Modigliani, Georges Braque, and Chaim Soutine, yet his art stood apart from their Cubist and Expressionist experiments, focusing instead on evoking emotional truth through representation. Though he shared his generation’s stage with avant-garde icons such as Joan Miro, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, Alexander Calder, Alberto Giacometti, and Man Ray, Utrillo’s paintings offered a poetic counterpoint—a meditative realism that captured the enduring soul of modern life. His mastery of perspective and tonal harmony imbued works like Rue Norvins and Place du Tertre with quiet majesty, transforming ordinary streets into sanctuaries of memory and light. Utrillo’s profound sensitivity influenced later artists including Balthus, Jean Dubuffet, Nicolas de Stael, and Giorgio Morandi, as well as Edward Hopper and Wayne Thiebaud, who echoed his stillness and emotional clarity in their own depictions of urban solitude. His art, now housed in major museums such as the Musee d’Orsay, Centre Pompidou, Metropolitan Museum of Art, and Tate, remains a cornerstone of modern French painting, bridging the lyricism of Impressionism with the introspection of modernism. Revered for his sincerity and mastery of mood, Utrillo stands alongside Picasso, Miro, Dali, Kandinsky, Duchamp, Calder, Giacometti, and Man Ray as a pillar of 20th-century art, his work capturing the eternal poetry of Paris. The highest auction record for Maurice Utrillo was achieved by his masterpiece Rue Norvins a Montmartre (circa 1910), which sold for $4,882,500 USD at Sotheby’s, New York, on November 6, 2011, affirming his enduring legacy as one of the most beloved and collectible painters of his era. Maurice Utrillo Montmartre...

Etching on thin, bluish-green cream laid paper, 9 1/4 x 4 3/4 inches (233 x 120 mm), full margins. Signed and dated in pencil, lower margin. First and only state. Printed by Frederi...