Watercolor Prints and Multiples

Joseph FELON (1818 - 1897) The Bath of Venus Original stone lithograph, enhanced with watercolor Printed signature in the plate On vellum 28 x 44 cm (c. 11 x 18 inch) Excellent con...

A rare early 19th century view of the Great Fire of London over Ludgate, enhanced with hand coloring. London: Robert Wilkinson, 1811. Copperplat...

An 18th century view of the first permanent water fountain in London. London: J.Boydell, 1753. Engraving with hand coloring in watercolor on white laid paper, laid down to a modern...

Engraving with hand coloring and heightening in watercolor on two leaves of expertly conjoined handmade laid paper, one leaf with a large watermark a feathered dragon, 7 1/4 x 11 1/4...

Metamorphosis Insectorum Surinamensium, Plate No. 26; Cocoa plant, caterpillar, pupa, and butterflies. The Netherlands: 1705. En...

This is an exclusive handprinted limited edition cyanotype. "Black Sea Rhythms" shows the peaceful, abstract, subtle ripples of ocean waters in movement. Details: + Title: Black Se...

Howard Hodgkin based this print on a trip he took to visit his good friend and fellow Petersburg Press collaborator David Hockney in Los Angeles. The mid-eighties saw new levels of abstraction in Hodgkin’s work, building exuberantly off the ambiguous spaces of his earlier work. The artist used six colors of paint, producing a unique depth and texture to each print in this edition. Howard Hodgkin was introduced to the etching technique used in DH in Hollywood at Petersburg Press, where he was a long-time collaborator. Soft-ground etching allowed him to work fluidly and spontaneously, giving his prints the characteristic black brushstrokes seen in this print. Paper 8.4 x 11 in. / 21.3 × 27.9 cm Soft-ground etching (from one plate) with hand coloring in watercolor (orange-red, brown, and green) and oil pastel (red and...

View of Paris is an artwork realized by an anonymous artist in the 1950s.   Watercolor drawing on paper.   Good conditions. The artwork is created through deft brushstokes and har...

A Sandstorm on the Little Colorado River, Arizona. 1920. Soft-ground etching. Seeber 189. 6 7/8 x 9 3/4 (sheet 9 5/8 x 13). Edition 40, #6. Series: Desert Set. Illustrated: American ...

This is an exclusive handprinted limited edition cyanotype. "Greek Beach Bliss" is a cyanotype of a woman's feet in the fresh water of a sandy beach shore...

Eight 18th century-era fashion plates from the portfolio Modes, by Madeleine Connat. Paris: Paris Etching Society, 1951. Each an engraving with hand coloring in watercolor on cream ...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows one of the mountains in beautiful Yosemite National park in California. Details: + Title: Yosemite Blue Mountain + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

This artwork titled "Interior" is an original watercolor on paper by Israeli artist Itzchac Tarkay 1935-2012. It is signed at the lower right corner. The image size is 11.5 x 9 inc...

Artist: Dali, Salvador Title: Transfiguration Date: 1973 Medium: Drypoint with Added Watercolor Unframed Dimensions: 30" x 22" Signature: Pencil signed Edition: 100/100 Litera...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-light. Details: + Title: Blue Beaded Bracelet...

"Dark Cloudy Shapes" is a blue tones stunning handmade monotype that features an intricate interplay of mid-century modern shapes, all rendered in shades of blue. These shapes are ex...

Artist: (after) Pancrace Bessa (French, 1772-1846) Title: "Lantana aculeata (Common Lantana)" (T.6. No. 38) Portfolio: Traité des Arbres et Arbustes que l'on Cultive en France en Ple...

Artist: (after) Pancrace Bessa (French, 1772-1846) Title: "Cassia corymbosa (Argentine senna)" (T.6. No. 32) Portfolio: Traité des Arbres et Arbustes que l'on Cultive en France en Pl...

Étienne DENISSE (1785-1861) Gombeau Edible and Trompette. Collection of the most remarkable Flowers and Fruits, natural size. Two lithographs enhanced with watercolor. Around 1830. F...

Metamorphosis Insectorum Surinamensium, Plate No. 58; Ice Cream Bean Plant, Cloudless Sulphur Butterfly and Caterpillar with Mot...

This is an exclusive handprinted limited edition cyanotype. "Dark Beach Sunrise" is a handmade cyanotype print portraying beautiful sunrise reflection on the beach. Details: + Titl...

Patty deGrandpre’s “Landlocked (Palm Trees)” is an 11 x 16.5 inch unique abstract mixed media print represented on Awagami Bamboo Japanese paper utilizing both printmaking and creati...

Artist: Saverio Manetti (Italian, 1723-1785) Title: "Eagle" (Plate V - 5) Portfolio: Storia Naturale Degli Uccelli (The Natural History of Birds) Year: 1767-1776 Medium: Original Hand-Colored Engraving on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: heirs of Francesco Mouck (Vols. I-III), Gaetano Cambiagi (Vol. IV), Giuseppe Vanni (Vol. V), Florence, Italy Reference: Ayer/Zimmer page 241; Fine Bird Books page 120; McGill/Wood, page 450; Nissen IVB No. 588 Sheet size: 16.75" x 14.5" Platemark size: 13.63" x 10.88" Condition: Some minor surface marks mainly in margins. In excellent condition with strong colors Rare Notes: Provenance: private collection - Haarlem, Netherlands. Engraved and hand-colored by Italian artists Lorenzo Lorenzi (Active: 1750-1780) and Violante Vanni (1732-1776). Latin and Italian texts by Saverio Manetti. Comes from Manetti's monumental five volume "Storia Naturale Degli Uccelli (The Natural History of Birds)", (1767-1776), which consists of 600 hand-colored engravings. Unidentified watermark in very center of sheet. Comes with its accompanying information sheet. Eagle is the common name for many large birds of prey of the family Accipitridae. Eagles belong to several groups of genera, some of which are closely related. Most of the 60 species of eagle are from Eurasia and Africa. Manetti's extraordinary "Storia Naturale Degli Uccelli (The Natural History of Birds)", 1767-1776 was commissioned by Maria Luisa, the Grand Duchess of Tuscany. It is a massive 5 book volume set...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

Abstract black and white hand painted print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary space...

Artist: Manuel Robbe (French, 1872-1936) Title: "Le Bouquet de Violettes (The Bouquet of Violets)" *Signed by Robbe in pencil lower right Year: 1903 Medium: Original Hand-Colored Etc...

18th-century celestial FLAMSTEED, John. Hydra Crater Corvus Sextans Virgo London, C. Nourse, 1753. A fine star chart from the Atlas Coelestis, the largest and most accurate star a...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

This is an exclusive handprinted limited edition cyanotype. "Pacific Sunset Waves" is an original cyanotype that abstractly shows the sunset reflections on the sea. Details: + Titl...

Artist: John James Audubon (American, 1785-1851) Title: "Florida Cormorant" (Plate 417, No. 84) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 1,200 Printer: John T. Bowen, Philadelphia, PA Publisher: John James Audubon and J.B. Chevalier, New York, NY and Philadelphia, PA Sheet size: 6.5" x 10.44" Image size: 3.75" x 6.25" Condition: Some minor discoloration upper center in margin. In excellent condition with strong colors Notes: Provenance: private collection - Cleveland, OH. Lithography and hand-coloring by American artist John T. Bowen (1801-c.1856). Comes from Audubon's famous seven volume portfolio "The Birds of America", First Royal Octavo Edition (1840-1844), which consists of 500 hand-colored lithographs. Based on a composition painted in the Florida Keys on April 26, 1832, Audubon's forty-seventh birthday. The double-crested cormorant (Nannopterum auritum) is a member of the cormorant family of water birds. It is found near rivers and lakes and in coastal areas and is widely distributed across North America, from the Aleutian Islands in Alaska down to Florida and Mexico. Measuring 70–90 cm (28–35 in) in length, it is entirely black except for a bare patch of orange-yellow facial skin and some extra plumage that it exhibits in the breeding season when it grows a double crest in which black feathers are mingled with white. Five subspecies are recognized. It mainly eats fish and hunts by swimming and diving. Its feathers, like all cormorants, are not waterproof, and it must dry them out after spending time in the water. Once threatened by the use of DDT, the numbers of this bird have increased markedly in recent years. To make 'The Birds of America' more affordable and widely available, in 1839 John James Audubon began the first octavo edition, a smaller version of the folio which was printed and hand-colored by J. T. Bowen in Philadelphia. Employing a new invention, the camera lucida, the images were reduced in size, rendered in intermediate drawings by John James Audubon and his son John Woodhouse, and then drawn onto lithographic stones. These miniatures exhibit a remarkable amount of attention to quality and detail, as well as a meticulous fidelity to the larger works. Some compositional changes were made in order to accommodate the smaller format. Like the Havell edition, John James Audubon’s first...

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº2 + Year: 2022 + Edition Size: 24 + Stamped and...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

This radiant purple pink poster was designed by Jim Dine for a production of Gilbert and Sullivan at New York City Center in 1968. The stripe down...

Over 200 year old engraved map of Americas by Robert de Vaugondy from 1783. Original hand color. Shows North, Central and South Americas. Note the po...

Artist: Peter Max (1937) Title: Superbly Free Year: 2015 Medium: Watercolor and silkscreen on Fabriano paper Size: 11 x 15 inches Inscription: Signed in ink Notes: Published, printed...

This is an exclusive handprinted limited edition cyanotype. "Lake Tahoe Panorama" shows a sequence of abstracted ripples of the calm Tahoe waters. Details: + Title: Lake Tahoe Panor...

A complete set of four hand-coloured mezzotint engravings of sunflowers from: "Phytanthoza Iconographia", c1739, presented in hand-made, parcel-gilt, ebonised and decalcomania frame...

Maurice UTRILLO Montmartre : Sacre Coeur Church and Moulin de la Galette under the Snow Lithograph enhanced with gouache and watercolor pochoir Printed signature in the plate On Ar...

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, 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...

"Juan Sebastian Barbera (Mexico, 1964) 'Personaje', 1991 Silkscreen and Watercolor on paper Velin Arches 300 g. 15.8 x 11.9 in. (40 x 30 cm.) ID...

Complete book comprising of 20 offset lithographs and cardboard cover, all hand-colored with watercolor. From the edition of unknown size. All 20 sheets bound (as issued). Minor ti...

Luis Miguel Valdes (Cuba, 1949) 'Vecindario I' (Neighborhood I), 2020 woodcut and watercolor on paper 44.5 x 80.4 in. (113 x 204 cm.) Edition of 10 ID: VAL-599 Unframed Luis Miguel ...

Abstract composition is an original modern artwork realized by Artist of the mid-20th century. Mixed colored drawing on paper. Hand signed on the lower margin. Includes frame.

Artist: James Sowerby (English, 1757-1822) Title: "Glaucium Violaccum (Violet Horned-Poppy)" (Vol. 3, Plate 201) Portfolio: English Botany; or, Coloured Figures of British Plants Year: 1794 (First edition) Medium: Original Hand-Colored Engraving on cream wove paper Limited edition: Unknown Printer: J. Davis...

A couple seen in the hills of Greenwich with the Thames and London in the distrance. London: 1835. Lithograph with hand coloring in watercolor on heavy wove paper, 13 x 18 1/4 inch...

Artist: John James Audubon (American, 1785-1851) Title: "Whooping Crane" (Plate 313, No. 63) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Origi...

Artist: Samuel Rush Meyrick (English, 1783-1848) Title: "John Duke of Somerset" (Vol. 2, Plate XLIX) Portfolio: A Critical Inquiry into Antient Armour Year: 1824 (First edition) Medi...

George Edwards: "A History of Uncommon Birds", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural Histo...

The Christ was a recurring image in Salvador Aulestia's artistic path. This is a particular two color litograph in a vertical format that was attached to a bigger red cardboard to fi...

Historical mid-19th century hand tinted lithograph and a lively scene of men and women engaging in a light hearted game of the era by artist Joseph Nash (British, 1808-1878). Signed ...

18th-century celestial FLAMSTEED, John. Andromeda Perseus Triangulum London, C. Nourse, 1753. A fine star chart from the Atlas Coelestis, the largest and most accurate star atlas ...

18th-century celestial FLAMSTEED, John. Camelopardal & Auriga London, C. Nourse, 1753. Hand coloured star chart heightened with gold and silver, engraved by John Mynde, from the s...

Beautifully executed original hand colored lithograph using gouache and watercolor. Scene in Surrey, England. Signedxwith monogram in plate lower left, Myles Birket Foster. Published by M. H. Long. Condition is very good. In original 2 inch wide birdseye maple antique frame with thick museum mat with gold innner edge. Overall 22 by 26 inches. Biography Myles Birket Foster (4 February 1825 – 27 March 1899) was a popular English illustrator, watercolour artist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster. Life and work Foster was born in North Shields, England of a primarily Quaker family, but his family moved south to London in 1830, where his father founded M. B. Foster & sons — a successful beer-bottling company. He was schooled at Hitchin, Hertfordshire and on leaving initially went into his father's business. However, noticing his talent for art, his father secured an apprenticeship with the notable wood engraver, Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. On leaving Landells' employ, he continued to produce work for the Illustrated London News and the Illustrated London Almanack. He also found work as a book illustrator and, during the 1850s, trained himself to paint in watercolours. His illustrations of Longfellow’s Evangeline and books of poetry by other contemporaries were a great success, and he quickly became a successful artist in watercolours. Birket Foster became an Associate of the "Old" Watercolour Society (Later the Royal Watercolour Society) in 1860 and exhibited some 400 of his paintings at the Royal Academy over more than 2 decades. Birket Foster travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice. In 1863 he moved to Witley, near Godalming in Surrey where he had a house ("The Hill") built. Being friendly with Edward Burne-Jones and William Morris, he had the house decorated and furnished in contemporary style, with tiles and paintings by Burne-Jones and Morris' firm, Morris and Company. The same year he published a volume of "English Landscapes," with text by Tom Taylor...

"Femme Des Aït MGuild" translated to "Woman of the Aït MGuild" is plate number 19 in Jean Besancenot's stunning portraits and depictions of the people ...

The Capitol is a beautiful lot of two hand-watercolored lithographs realized by an Italian artist of the XIX century. It represents the incredible landscape of the communal site of t...

Artist: John Gould (English, 1804-1881) Title: "Phalacrocorax Graculus (Spectacled Cormorant)" (Vol. 5, Plate 53) Portfolio: The Birds of Great Britain Year: 1862-1873 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 750 Printer: Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Reference: Sauer No. 23; Ayer/Zimmer page 261; Wood page 365; Nissen No. IVB 372; Sitwell page 78 Sheet size: 21.63" x 14.75" Image size: 17.25" x 12.25" Condition: Has been professionally stored away for decades. In excellent condition with strong colors Notes: Provenance: private collection - Aspen, CO. Lithography and hand-coloring by John Gould and English artist Henry Constantine Richter (1821-1902). Comes from Gould's five volume "The Birds of Great Britain", (1862-1873) (First edition), which consists of 367 hand-colored lithographs. Other contributing lithographers were German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). "The Birds of Great Britain" is recognized as Gould's greatest work. Gold gilded edges as issued. The spectacled cormorant or Pallas's cormorant is an extinct marine bird of the cormorant family of seabirds that inhabited Bering Island and possibly other places in the Commander Islands and the nearby coast of Kamchatka in the far northeast of Russia. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

Lyonel Feininger (after) Insel, 1933 Collotype, watercolor Size: 11.5x17in on 17.5x22in Esther Gentle, Reproduction, 1952 Signed, titled and dated in the stone Stamped and numbered b...

A group of mezzotint engravings of flowers from: "Phytanthoza Iconographia", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-174...

Salvador Dali (1904-1989) - Sainte Lucie Etching and watercolour from 1974. The edition 219/450. Dimensions of work: 90 x 63.5 cm. Hand signed. Reference: Field, 73-3; Michler, ...

Davis Francis Schwartz "Historic First Theater, Monterey County" Original PRINT C.1950 PRINT dimensions 20" wide x 16" high The distressed per...