Realist Prints and Multiples

This is an exclusive handprinted limited edition of a cyanotype print. This beautiful image shows the subtle afternoon light going through the woods during the summer. Details: + T...

Paris: 1862. Cliché-verre on lightweight photosensitive wove paper, 8 3/4 x 7 1/8 inches (220 x 180 mm) (sheet), full margins. Signed in the plate, lower right. Because this impressi...

Winter--in all its delicate beauty-- in this lithograph by artist named Berger who pencil signed it and titled it also. It is beautifully framed in a gold wooden frame.

This artwork titled "Bremen Markt Vor Dem Rathaus" 1936, is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed by the estate in pencil at the lower center. The plate mark (image) size is 21.5 x 16.15 inches, framed size is 33 x 27 inches. Custom framed in a wooden silver frame, with fabric matting and and dark brown and red fillets. It is in excellent condition. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

Artist: Norman Rockwell, American (1894 - 1978) Title: The Four Seasons: SPRING, SUMMER, AUTUMN, WINTER Medium: Lithograph on Arches paper, 100% acid free Paper Size: 20.5 x 19.25 in...

J. R. Hutchinson, 'Broadway from the Bowling Green, 1828', hand-colored etching, 1828. Signed and dated in the plate, beneath the image, lower right. Ann...

This artwork "Frankfurt, Germany" c.1930 is an original color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil at the lower center. The plate mark (ima...

This is an original 19th century duotone lithograph entitled "A Colossal Statue at the Entrance to the Temple of Luxor" by David Roberts, from his Egypt and Nubia volumes of the larg...

A Man of Kamtschatka (Russia) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. John Webber (1752-1793) was t...

The poster features David Hockney's 1972 drawing Celia in a Black Dress. Viewed through elegantly drooping tulip stems, Celia Birtwell stares dreamily ahead. With one hand paused in ...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) LE PETIT CAVALIER SUR BOIS. 1854 (1921) (Delteil 42) Cliché-verre on thin vellum. Signed in plate at bottom. 8 1/4 x 6 5/16” (sheet size)....

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

An Inland View in Atooi ( Hawaii ) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. This engraving depicts ...

Brad Davis’s "State Ave. Stretch" is an oil painting executed on wood panel, measuring 30 x 30 inches unframed and 32 x 32 inches framed. It is framed and ready to hang. This visuall...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Medium: original etching. Printed in 1906 at the Alfred Porcabeuf atelier and published in Paris by Gazette des Beaux-Arts. Image size: 6 1/2 x 5 7/8 inches (165 x 149 mm). Signed in...

This is a hand-colored engraving depicting the natural history of moths and a lady bug, which is plate 22 from Moses Harris' publication "The Aurelian: or Natural History of English Insects; Namely Moths & Butterflies", first published in London in 1766 and this from an 1840 edition. The engraving depicts the natural history developmental stages of the Burnished Brass Moth, the Dark Gothic...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Unframed. 2023. Signed on the back. Narrower than "The Journey's End." This photograph was taken a year after the artist's husband died, revisiting the same path but photographing ...

This artwork titled "Hanover Schmiedestrasse" 1920 is an original color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil by the artist at the lower cen...

This is a hand-colored antique engraving depicting the natural history of the Tortoise-shell Butterfly and Privet Hawk Moth, which is plate 2 from Moses Harris' publication "The Aure...

Charles Meryon 1821-1868), La Morgue, etching, 1854, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. In very goo...

The Courtesan Kashiwagi and the Kamuro Wakano - Japanese Woodblock Print Original Toyokuni III/Kunisada (Japanese, 1786 - 1864) Japanese Woodblock Print "The Courtesan Kashiwagi and...

This artwork titled "Danzig" c.1920, is a color etching on paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the artist's estate at the lower center. The plate mark (image) size is 16 x 20 inches, framed size is 26.5 x 30 inches. Custom framed in a wooden silver frame, with light brown matting and dark brown fillets . It is in Excellent condition. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

Peter Handel - "Karina In Front Of Porsche". Giclée on Hahnemühle Velvet, handsigned. High-quality art print after the original painting: Peter Handel transforms nude photographs painterly into highly realistic, subjective images. Light and shadow, plasticity and form are modulated with several layers as well as glazing application: The compositions refer to the person depicted and give her an individual presence, so that the person and not the object is accentuated here. A beautiful artwork that looks good in every room and especially in the living room or bedroom. About Peter Handel: Peter Handel is an artist of international format and was born in 1949 in Anklam, East Germany. 1968 - 1971 studied art and sports, 1977 - 1982 teaching position at the GHS Duisburg, since 1979 freelance artist. Handels' art developed out of the American photorealism movement of the 1970s, in which the visual reality of everyday life is depicted realistically, without the intervention of emotion. He transforms his nude photographs into hyper-realistic paintings and graphics that play with the mutual conditionality of reality-representing or reality-simulating images and media art. Through meticulous imitation, Handel thus reflects on the photographic image and its sign-like quality, often on an additional level of reality when there are apparently pasted or hung photographs next to the painted level. The encounter with the painter Peter Handel reveals an old-masterly skill. In the creative process of the highly realistic nudes, light and shadow, plasticity and form are modulated with several layers as well as by glazing application. Handel slowly approaches his painting and in a subjective way arrives at an independent result. Fascinated by the possibilities of painting, Handel confronts and discusses different levels of reality - realistic and idealistic - leaving behind the objective level of pure depiction. Peter Handel's works are represented in numerous exhibitions: 1972 - 1975 Wilhelm Lehmbruck...

This artwork titled "The Windmill" 1641 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Signatu...

Engraving by Albert Emil Kirchner Dutch artist born in 1813 and died on 1885 He have 176 registered auctions. The oldest was in 1989 and the most recent in 2022 The theme of the engraving is one of the most famous castle in Switzerland "le chateau...

Dame Laura Knight "The Circus Dressing Room" 1925 Etching Ed. 20 Signed Lower Right Image Size: approx. 14 x 10 inches Framed Size: approx. 23.5 x 17.75 inches An English impressio...

This artwork titled Jan Uytenbogaert" 1639 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Sign...

This vintage exhibition poster reproduces The Boy Hidden in an Egg by David Hockney from his Six Fairy Tales from the Brothers Grimm, 1969. A shirtless young man curls up inside a d...

La Lidia, the oldest and most popular bullfighting magazine was founded by Julian Palacios the owner of a prestigious lithograph and engraving workshop in Madrid. These colorful...

Satirical French Illustration of Man and Woman Comical illustration by Gaston Hoffmann (French, 1883-1967) titled "un bon tien vant amieux que deux tu l'auras" in French, "one real ...

Mr. Mazur’s restless artistic temperament led him to explore a variety of styles and media, shuttling between realism and abstraction. He produced narrative paintings like “Incident ...

Shading in bright turquoise above a Southwestern style thunderbird Kilim rug adorns this original exhibition poster for David Hockney's 1969 show at Andre Emmerich, New York. This po...

Spaniel With Duck is an original signed etching by Leon Danchin in very good condition. paper size 22.25 x 30 image size 16.50 x 24 Leon Danchin, born in Lille, Fra...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Burgundy Iris Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 30 x 20 inches Size: 36...

Medium: original etching. Printed in 1919 and published in Berlin by Paul Cassirer. Plate size: 6 1/2 x 4 1/4 inches (165 x 110 mm). Not signed.

This is an original 19th century hand-colored lithograph entitled "Petra, Shewing the Upper or Eastern End of the Valley" by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is one of Roberts' most famous and collectible works. The scene captures a view of the magnificent ruins of Petra in what is Jordan today, as it appeared on March 8, 1839, on the day of Roberts' visit. Multiple Arab men are approaching Petra; some on foot and others riding camels. They are dressed in their colorful local costumes. Roberts' signature and hand written date are reproduced in the plate on the left. This hand-colored lithograph is printed on wove paper with wide margins. There is some loss of color in the text in the title and a faint dark curvilinear area in the upper right. The print is otherwise in very good condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV protected conservation glass. All framing materials used are archival museum quality. The frame measures 23.63" high and 29" wide. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Approach of Simoon, Desert of Gizeh and the Petra. They can be viewed by typing their reference #'s, LU1173211955452 and LU1173211969422, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

Artist: Beth van Hoesen – American (1926- 2010) Title: Grapes Date: 1973 Medium: Color aquatint etching, drypoint on BFK Rives paper Image Size: 6 x 4.5 inches Sheet size: 15 x 11 in...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Adam and Eve, 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 113’, 44...

This artwork titled "Ulm on the Blau, Germany" c.1950 is a color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed n pencil by the artist, inscribed "T...

Edgar DEGAS (after) Dance class Woodcut print after a painting of Degas Egraved by G. Regnier On vellum 65 x 50 cm (c. 26 x 20in) Edited by Chalcographie du Louvre, authenticated with the blind stamp of Museum workshop This woodcut print is very rare as it's no longer printed...

Artist: Norman Rockwell, American (1894 - 1978) Title: Ye Pipe and Bowl Year: 1976 Medium: Hand Drawn Lithograph on Arches paper, 100% acid free, hand signed in pencil by Norman Rock...

DAVID ROBERTS RA 1796 - 1864 Bazaar of The Coppersmiths, Cairo First Edition lithograph Full plate: 230 Presented in a acid free mount We pride ourselves in the hand colouring of our antique David Roberts lithographs...

Annual Events for Young Murasaki (July) - Tales of Genji - Japanese Woodblock Rightmost panel a triptych, depicting monthly events for Wakamurasaki (Young Murasaki). This is the month of July. There appears to be a lesson taking place, possibly for writing or poetry. Artist: Toyokuni III/Kunisada (1786 - 1864) Publisher: Ebisu-ya Shoshichist Presented in a new blue mat. Mat size: 19"H x 13"W Paper size: 14.5"H x 10"W Commentary on the triptych: In the Edo period, Tanabata was designated as one of the five seasonal festivals, and became an annual event for the imperial court, aristocrats, and samurai families, and gradually came to be celebrated by the general public. Its origins are said to be a combination of the Kikoden festival, which originated from the Chinese legend of Altair and the Weaver Girl, and Japan's ancient Tanabata women's faith. Ink is ground with dew that has accumulated on potato leaves, poems and wishes are written on five colored strips of paper, which are then hung on bamboo branches to celebrate the two stars that meet once a year. Although the illustration is a Genji painting...

Wonderfully preserved hand-colored 1830's lithograph "Ground Squirrel" by Thomas Doughty (American, 1793 - 1856), circa 1830. From "The Cabinet of Natural History and American Rural Sports." Phila: J.&T. Doughty, 1830-32. Sold previously by Bland Gallery, Early 20th century East Side gallery specializing in miniatures. Presented in frame with new acid-free mat under plexiglass. Image size: 7.25"H x 8.75"W. Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume lacked Thomas’ touch. Printed by Childs & Inman, the partnership between Philadelphia engraver and lithographer Cephas G. Childs and New York portrait...

A Dance in Otaheite ( Tahiti ) is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. John Webber (1752-1793) who...

Limited Edition Print of Westminster from Trafalgar Square with Big Ben, London, by leading British urban landscape artist, Angela Wakefield. Print measures 12.5 x 10.5 inches Pape...

This artwork titled " Retour de la Jungle, Tondano: Celebes" (Return from the Jungle, Tondano: Celebes) 1948 is an original color woodcut by French artist Paul Jacoulet, 1896-1960. I...

Medium: original etching. François Nicolas Augustin Feyen was known as Auguste Feyen-Perrin. This impression on laid paper was printed in 1872 by A. Salmon and published in Paris by ...

Mily POSSOZ (1888-1967) Portugal : The Market, 1930 Original etching Handsigned in pencil by the artist Numbered / 60 copies Blind stamp of the editor Marcel Guiot (Paris) On vellum...

A set of three hand-colored engravings from "Metropolitan Improvements; or London in the Nineteenth Century", published in London, England in 1828. The scenes were drawn by Thomas Ho...

Fisherman- Peter Doig, Contemporary, 21st Century, Pigment Print, Magic Realism Edition of 500 Signed and numbered, accompanied by Certificate of Authenticity In excellent condition ...

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 ...

Paper Size: 45 x 29.5 inches ( 114.3 x 74.93 cm ) Image Size: 41.75 x 26.75 inches ( 106.045 x 67.945 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...

Antique Advertising Signs Image Size: 20 x 40 Frame Size: 25 x 45 Medium: Lithograph Date: 1907 "Rock Island RR Lines" Rocky Mountain Limited Vintage Sign Railroad