Arch Prints and Multiples

Rudolph Ruzicka, 'Brooklyn Bridge, N. Y.', 1915, wood engraving, edition 35. Signed and annotated 'd. Sc. imp.' (designed, engraved, printed by the artist) in pencil. Numbered 14/35 ...

Coal Pockets and Viaduct, New York (Viaduct at 130th Street, NYC) Etching & Drypoint, 1911 Unsigned Provenance: Estate of the Artist New York Financial Institut...

This is a signed woodcut engraving entitled "Mine Shaft" created by Albert Abramovitz in 1935, after a trip to the Soviet Union. It depicts two Russian workers constructing a mine sh...

Tony Bennett Title: Lovers in Monet's Garden Lithograph Signed and Marked PP  1/10 ( Printers Proof ) Paper Size: 30" x 24" inches Image Size : 25" x 20" inches Anthony...

A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...

Patrick Hughes "Golden" Multiple. A hand painted three dimensional, Reverspective print, inspired by Venice. Produced in 2022. This print comes housed in a bespoke perspex display ca...

This Woodblock Print is the celebrated "Fujimigahara in Owari Province" (尾州不二見原 Bishū Fujimigahara), by the master Japanese ukiyo-e artist Katsushika Hokusai. It is a work from his f...

'London Bridge' Aquatint by JC Stadler after J Farmington. Published c1795 for Boydell's 'History of the River Thames'. Joseph Constantine Stadler (fl London, 1780-1822) was an eng...

Offset lithograph postcard Boldly signed in black marker Christo et Jeanne-Claude Provenance: gifted by the artist to Jacob and Aviva Bal Teshuva, friends, authors, collectors This w...

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

This is an original 19th century duotone lithograph entitled "Tombs of the Memlooks, Cairo, with an Arab Funeral" by David Roberts, from his Egypt and Nubia volumes of the large foli...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...

Medium: lithograph (after the cinétisation). This is one of Pol Bury's "cinétisations" which he created using a combination of techniques (including photography and collage) to show ...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

M.C. ESCHER (1898-1972) Ascendant and Descendant, 2008 Facsimile after the original woodcut from 1938 Signed in the plate Numbered / 450 copies (the number you can see can be differ...

CASCADE is a rarely seen, hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on arch...

'Cortile del Palazzo di Venezia, Colla Chiesa di San Marco' Tinted lithograph by Eugene Ciceri after Felix Benoist. Figures by Bayot. From a French series titled 'Rome dans Sa Gran...

Decorative Motifs - Arab Styles is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithograph. ...

Andy Warhol's Koln Cathedral in blue is part of his later works from the 1980s and early 1990s, reflecting his fascination with iconic imagery and commercial aesthetics. Warhol creat...

Uses and Customs -  Square and Temple of Augustus in Assisi is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the un...

"Casa Marquez" Original Woodblock Print, Signed and Numbered 93/100 Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a closeup on a large stone building, with a landscape reflected in the windows. The building has carved ornamentation in a classical style. There is a bright red sunset in the background behind the building. The title refers to the author Gabriel García Márquez. Signed "Carol Summers" in the lower right corner. Numbered and titled "93/100 Casa Marquez" in the upper right corner. Presented in a silver colored aluminum frame. Frame size: 19.25"H x 23.25"W Paper size: 16"H x 20"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

Roman Arch (Arch of Settimo Severo) is an original screen print on paper realized by Italian artist Marco Orsi (1926 - 1999). Hand-signed on the lower righ...

Roman Arch (Arch of Janus) is an original screen print on paper realized by Italian artist Marco Orsi (1926 - 1999). Hand-signed on the lower right in penc...

Screen print on paper. Hand signed, titled and numbered. Edition of 299. Excellent condition. A striking large-format colour screen print by Italian artist Franco Costa, depictin...

Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Medium: original lithograph. This lithograph was printed in 1955 for the "Improvisations" portfolio, and published by the Artists Equity Association of New York in an edition of 2000...

Fernand Léger The Viaduct, 1959 Original lithograph (Atelier Mourlot) Signed with the artist's stamp Limited to 180 copies (Here numbered 160) On Arches vellum 66 x 50.5 cm (c. 25....

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Richard Diebenkorn Poems of W.B. Yeats (with 6 Etchings by Richard Diebenkorn) Year: 1990 Size: 10.5 x 8.25 (26.67 x 20.95 cm) (each) Edition: 314 of 400 Signed in pencil “R Diebenko...

Richard Haas Puck Corner, SOHO, New York, 1971 Etching and Aquatint (affixed to white matting) Hand signed and numbered 10/100 by the artist on the lower front Elegantly matted and f...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Original exhibition poster created for a special tribute to architect Frank Lloyd Wright on the 125th anniversary of his birth. Sponsored by the Guggenheim Museum in 1992, the poster...

"L'Arc de Triomphe, Wrapped Project for Paris I" is one of the last projects realized by Christo before his passing. This limited edition piece is a testament to Christo's enduring v...

Etching on extremely delicate antique Japon laid paper, 12 x 5 (305 x 127 mm); sheet 15 3/4 x 7 1/8 inches (400 x 178 mm), full margins. In very good condition. A magnificently detai...

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

'Prosp. horti Auraicorum Pomorum a Ruel' Copper-line engraving by Matthaeus Merian. From 'Topographia Galliae', a fine series of engravings of 17th-century French landscapes, gard...

'Durham Cathedral' Wood-engraving after Samuel Read. From 'The Illustrated London News'. Samuel Read was an English illustrator who provided many illust...

This artwork titled "Arch of Titus" created 1923 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil at the lower center by the artist's estat...

Listing includes framing with UV plexi ($1,700 value), free shipping to the continental USA, and a 14-day return policy. Also available for local pick up from our New York gallery. A Faithful...

Etching on cream wove paper, 5 1/2 x 7 inches (138 x 176 mm), full margins. Signed in pencil in the lower margin. With minor mat tone, and two pin-point spots...

The 1949 original travel poster by Jean Carlu for Pan American World Airways offers a captivating invitation to explore the stunning beauty and sophistication of the French Riviera. Jean Carlu, a renowned French graphic designer and poster artist, was celebrated for his distinctive style characterized by bold geometric forms and dynamic compositions. In this poster, Carlu skillfully captures the allure of the French Riviera as a premier destination for leisure and luxury travel. The poster features a stylized depiction of a glamorous couple disembarking from a Pan American airplane against the backdrop of the Mediterranean coastline. The azure waters, palm trees, and iconic architecture evoke the sun-kissed ambiance and cosmopolitan charm for which the Riviera is renowned. Carlu's use of vibrant colors, sleek lines, and streamlined shapes imbues the poster with a sense of modernity and sophistication, reflecting the glamour and excitement of jet-set travel in the mid-20th century. The bold typography and Pan Am logo...

Screen print on paper. Hand signed, titled and numbered. Edition of 299. Excellent condition. A striking large-format colour screen print by Italian artist Franco Costa, depictin...

Original 1929 Bruxelles 10th Foire Commerciale Poster – Linen Backed & Ready to Wow! Art by Armand Massonet. Grade A condition poster almost 100 years old. No restoration but resi...

Lithograph in colors on card stock (as issued), 15 x 10 5/8 inches (380 x 268 mm), full margins. In good condition with some minor toning and some extremely minor and unobtrusive edg...

'Elevation Geometralle d'Un Buffet D'Orgue d'Une Nouvelle Decoration' Copper-line engraving. C1770. 380mm by 420mm (platemark) 460mm by 560mm (sheet) From Roubo's 'L'Art du Menui...

Paper Size: 26 x 48 inches ( 66.04 x 121.92 cm ) Image Size: 23.5 x 46 inches ( 59.69 x 116.84 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

Urbain HUCHET Notre Dame de Paris Original lithograph, 1960 Handsigned in pencil by the artist Numbered / 295 copies On velllum 19 x 28 cm (c. 8 x 11 inch) Excellent condition

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

Western Hills Viaduct Under Construction Drypoint, June 1931 Signed in pencil lower right (see photo) Initialed and dated in the plate lower right above pencil signature (see photo) From: Cincinnati Series, 1930-1931, 8 plates, this No. 5 Small edition, not specified From Greenfield Hill Condition: Excellent Image/Plate size: 8 1/2 x 15 1/4 inches Sheet size: 11 1/4 x 18 1/2 inches Louis Conrad Rosenberg 1890-1983 An American architectural etcher...

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), the full...

Etching, c. 19th century This finely executed etching by Léon Desbuissons presents the cloister of St. Papoul Abbey, a Benedictine site in southern France renowned for its Romanesqu...

This striking original circa 1970 Lufthansa travel poster captures the bold visual identity of postwar international tourism. Framed by the iconic red steel arches of the Golden Gate...

This listing includes framing ($1,750 value) and a 14-day return policy. Shipping will be charged at cost with a white glove delivery service. Also available for local pick up at our New York City gallery. The Way of Ishq (2019) by Karen Knorr. Archival pigment print Image size: 48 x 60 inches Frame Size: 52 x 64 inches framed Edition 2 of 5 Signed, with certificate of authenticity Artist Biography - While Knorr’s images take some of their inspiration from the Indian tradition of personifying animals in literature and art, there is another almost subconscious strain to her work. Going back to the time of cave painting we see that these early visual artists not only recorded their lives and surroundings, but used art to express themselves. The depiction of animals in symbolic and powerful ways and the urge to create these images with the best tools at hand is a line stretching from these unnamed cave painters to Karen Knorr. Playfully combining technologies and genres, Knorr mixes digital...

Hiroshi Sugimoto Photogenic Drawings (Hand Signed), 2012 Offset Lithograph Poster. (Hand signed by Hiroshi Sugimoto) Unframed This offset lithograph poster was hand-signed by photogr...

Veduta di Tivoli mista d'Antico, e moderno (...) From the collection: “Le antichità de' contorni di Roma ossia le più famose città del Lazio. Tivoli, Albano...

Listing includes framing with UV plexi ($1,000 value), free shipping for the continental US and a 14 day return policy. Also available for local pick up at our New York City galler...

'Durham' Engraving by F Chesham after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select Views in England, Scotland, and Ireland', published by G...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...