Realist Prints and Multiples

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 ...

David Loggan (1634-1692) Hart Hall - now Hertford College - Oxford - Aula Cervina Engraving 28x39cm Loggan was born to English and Scottish parents, a...

We have the full series of 52 prints from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below it click on "See all fro...

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...

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...

Canoe - Peter Doig, Contemporary, 21st Century, Etching, Magic Realism, Limited Edition Edition of 500 Signed and numbered, accompanied by Certificate of Authenticity In mint conditi...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from...

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. William Nicholson Canterbury Gate, Christ Church, Oxford College Published by Stafford Gallery...

From a series of paintings by Clifford and Rosemary Ellis. To see them or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from thi...

To see our other Architectural Prints and Drawings including other views of Windsor, scroll down to "More from this Seller" and below it click on "See all from this Seller." James Fittler (1758-1835) after George Robertson...

In a tavern. engraver Jan De Visscher (1933-1692) Paper, engraving, 21x25 cm

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...

Bad Gastein Church, Austria Soft ground etching & aquatint, c. 1930 Signed in pencil by the artist (see photo) Image: 18 1/2 x 13 3/4" Condition: Very good...

Robert Morden (1650-1703) Nottingham Shire (or Nottinghamshire) Engraving with recent hand colouring 34x42cm First published in 1695 for Camden's Britannica (1695-1772) and reprinte...

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...

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 it click on "See all from this Seller" and search for 'Collaert' - or message us as they may not all have been uploaded yet. Theodoor Galle...

David Loggan (1634-1692) St Peter's College Oxford - New Inn Hall, Aula Novi Hospitii Engraving 1675 25x36cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery...

Work on paper Dimensions of the "passe-partout" frame 19.9 x 14.8 cm

"The Fern Gatherers" After a painting by George Morland. 1763-1804. - Mezzotint engraving by John Raphael Smith. 1752-1812. Print: 20.75" x 26" - With Frame: 28" x 33.5" Published:...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), At the pond, 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 148’, 23....

To see our other original vintage travel posters including more pre-war London Transport posters, scroll down to "More from this Seller" and below it ...

David Loggan (1634-1692) Winchester College Engraving 1675 40x46cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studyin...

James Abbot McNeill Whistler (1834-1903), The Unsafe Tenement, etching, 1858. [signed in the plate lower right]. References: Kennedy 17. Glasgow 18, fourth state (of four). In very good condition, printed on a very thin (two ply?) Japan paper, with margins, 6 1/8 x 8 3/4, the sheet 8 1/4 x 11, archival mounting. A brilliant, black impression printed with astonishing clarity and exquisite detailing, on an ivory Japan paper. Presumably this is a proof impression before the relatively large edition published in this state (the edition was not on this paper). Provenance: Inscribed “To Otto J. Schneider from his friend Frederick Keppel”. Schneider (1875-1946) was an American artist, noted for his realism, influenced by Whistler. Keppel was of course the well-known American dealer, one of whose specialties was Whistler prints. Keppel had a good relationship with Whistler until, as in most of his relationships, Whistler became inordinately troublesome – at which point Keppel wrote Whistler a longish, mocking poem, with lines such as these: “Like cackling hens or cocks a-crowing Your tireless trumpet keeps a-blowing. ” After this, Keppel wrote “at this point all my intercourse with this extraordinary man came to an end.” (In the lower right is the ghost of another inscription, now erased, apparently to another friend from Edna (?) Schneider who presumably owned this print after Otto Schneider...

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. William Williams...

To see our other original vintage propaganda posters and other items, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message 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 ...

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) The Bishop's Hostal, Trinity College Cambridge...

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) Clare College Cambridge...

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...

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) Sidney Sussex...

Artist: François-Nicolas Martinet (French, 1731-1800) Title: "Le Millouinan" (Plate 1002) Portfolio: Histoire Naturelle Des Oiseaux *Signed by Martinet in the plate (printed signatur...

Jane Carpanini RWS RWA RCA (1949-) Gonville and Caius College, Cambridge 30x45cm Digital Limited Edition Print 77/350 Born in Bedfordshire, Carpani...

The Road From the Mill, paper, etching, 10x14.5 cm Piotr Petrovich Belousov (1912-1989) was a Soviet, Russian painter, graphic artist, art teacher, professor of the Leningrad Instit...

Honore Daumier (1808-1879), [Saved from Drowning], lithograph, plate 7 from the series Les Canotiers Parisiens, a sur blanc impression from the album, with...

Jean-Emile Laboureur (1877-1943), Orage en Briere, etching and drypoint, 1932, signed in pencil lower left, numbered lower right and annotated “imp” (impressit, printed by the artist...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Two figures are arranged into one solid piece. The colour red supports the impression of massiveness and therefore I chose it. There is no background needed - the piece should stand ...

Diptych 1980. paper, linocut, each artwork 24,5х15 cm The diptych created in 1980 consists of two linocut prints on paper. Each artwork measures 24.5x15 cm. The subject of the dipt...

"Botanical Rhapsody" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted. Highly intricate and lavishly depicted...

James Basire & William Turner Davey A chimney piece in the Bishop's Palace at Exeter Engraving 45 x 60 cm This engraving was originally published by the Society of Antiquaries of...

James Basire & John Carter Architectural Fragments of St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an...

James Basire & John Carter The Abbey Church of St Albans Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an organisation dedi...

James Basire & John Carter Architectural details of St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an ...

James Basire & John Carter Specimens of the Architecture and Ornaments of the Abbey Church at St Albans Engraving 62 x 46 cm This engraving was originally published by the Societ...

James Basire & Henry Emlyn Plan and Elevation of the Rood Loft in St George's Chapel at Windsor Engraving 47 x 55 cm This engraving was originally published by the Society of Ant...

James Basire & John Carter Architectural fragments of St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an...

James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral Engraving 50 x 32 cm This engraving was originally published by the Society ...

Max Pollak (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine coll...

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...

Latvian folk songs, volume VII, 1994. Paper, linocut, 23,5x33 cm imprint size 9x26 cm total page size 23,5x33cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of...

"Horse Wrangler" is an original lithograph by the artist Lawrence Barrett signed in the lower right hand corner. Four beautifully drawn horses use a moment of commotion to escape a corral. Low hills and an expansive sky serve as a background. Image: 8.75" x 12.25" Framed: 11.9" x 16.5" Lawrence Barrett was an etcher, lithographer, teacher, illustrator, sculptor, writer, and painter. Born in Guthrie, Oklahoma, Barrett was a student at the Broadmoor Academy...

From an edition of 25. Photography and digital print of a dramatic orchid in a stone vase. Based in San Francisco, Mark Jenkins has spent the majority of his career working as a com...

Franz Edmund Weirotter (1730-1771), Paysages (Landscapes), 1759, complete set of 6 (5 are illustrated on this site), [signed in the plates lower right Weirotter sc, and also signed a...

From an edition of 25. Photography and digital print. Based in San Francisco, Mark Jenkins has spent the majority of his career working as a commercial photographer and graphic desi...

Trees. 2016. Paper, etching, 2/5, 29x40 cm

Barns are very suitable for decorating in almost every room. An option for this small limited edition lithograph: it can be matted to fit a larger space. We offer many different fra...

Jean- Louis Forain (1852-1931), Similitudes, etching and drypoint, not signed [signed in the plate upper right], 1880, from the total edition of 545, on wove paper, in generally good...

Niccolo dell'Abbate Victory Angel, 1962 Lithograph after a drawing On vellum 32 x 24 cm (c. 13 x 10 in) Excellent condition

Mily POSSOZ (1888-1967) Little Girl With Her Toy, 1930 Original etching Handsigned in pencil by the artist Numbered / 30 copies Blind stamp of the editor Marcel Guiot (Paris) On vel...