Arch Prints and Multiples

Paper Size: 9.75 x 17 inches ( 24.765 x 43.18 cm ) Image Size: 9.75 x 17 inches ( 24.765 x 43.18 cm ) Framed: Yes Frame Size: H: 10.75 x W: 18 x D: .75 in. Condition: A: Mint ...

Medium: lithograph. From the "In Memory of My Feelings" portfolio, printed in 1967 on Mohawk Superfine Smooth paper in a limited edition of 25...

'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...

Lithograph on Magnani-Pescia paper 310 gr/m2, paper size 64cm x 50cm, 50cmx41,5cm . Excellent condition, no defects. Artist proof. Remo Brindisi (Rome 1918 – Lido di Spina 1996) ha...

'Chertsey Bridge, Surrey' Aquatint published by Samuel Ireland. From his 'Picturesque Views on the River Thames'. Ireland was an author and engraver who published several series of ...

Portico d'Ottavia , Tempio di Giove, Tempio di Giunione, Rome is an artwork realized in Mid 19th Century . Black and white etching. Good conditions.

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Antique French print of an archway with a seascape in the background by Emilie Richard Haumont (early 20th cent). Beautifully rendered piece of an idyll...

'View of Greenwich from Deptford Yard, Thames, London' Aquatint by JC Stadler after J Farmington. Published c1795 for Boydell's 'History of the River Thames'. Joseph Constantine St...

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...

A lovely dark and inky impression, signed by the artist. Drypoint etching on cream laid paper, 10 7/8 x 8 5/8 inches (275 x 218 mm), full margins. Signed in pencil, lower center marg...

Underground Chapel in Messina Cathedral is a lithograph realized in 1862. Good conditions. The artwork belongs to the Suite Uses and customs of all the peoples of the universe, or ...

Lithograph on paper realized by Auguste Raffet in 1838. It is part of the suite "Crimée". The scene shows an Islamic funerary monument (türbe), partially in ruins, in the Crimea or...

'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...

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

Landscape is an original modern artwork realized the 1950s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original zincography on Ivory paper. Image Dimensions: 16 x...

**Framing Included in Listing Price, Free Shipping, and 14-Day Return Policy** Wild Garlic Bridge (2013) by Susan Derges. 30 x 17 inches unframed 34 x 21 inches framed Digital C-P...

French etching of arched bridge by artist E. Roux-Fabre, circa 1930. Original artwork on paper displayed on a white mat with a gold border. Mat fits a ...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Edward Bawden (1903 - 1989) Westminster Abbey (1966) Linocut print 52 x 68 cm ...

Color lithograph, on Magnani-Pescia paper. Paper size 35cmx50cm, work size 27cmx42cm. Excellent condition, no defects. Born in Rome in 1946, Franco Fortunato is an autodidact, follo...

John Taylor Arms, 'Limoges (French Church Series #32)', etching, 1932, edition 142, third (final) state impressions, Fletcher 244. Signed, dated, and annotated 'Ed 100 III' in pencil. A superb, finely detailed impression, in warm black ink, on antique, pale gray laid paper, with full margins (1 1/16 to 1 1/2 inches); adhesive stains in the bottom left and right sheet corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. A view of Limoges, France and the Saint-Martial Bridge from the far side of the Vienne river. According to Fletcher, author of the catalogue raisonné on the artist's graphic work, this etching is among the artist’s preferred plates. Published references: "An Appreciation to John Taylor Arms 1887-1953", in PRINT, Vol. VIII #5 P. viii, Feb.-March 1954. Impressions of this print are in the permanent collections of the Davis Museum at Wellesley College, National Gallery of Art, Saint John’s University, Smithsonian Institution, and Wake Forest University. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

'Queen's Gate, at Caernarvon' Engraving by William Watts (1752-1851) and William Angus after Paul Sandby (1731-1809). From Paul Sandby's 'The Virtuosi's Museum, Containing Select ...

Braunschweig is a beautiful color lithograph on paper, printed by von Led Kempner and published by von Schaffstein and C. Koln, Rhein. This modern artwork represents a urban and historical view of the German city of Braunschweig,in Lower Saxony, Germany, was a powerful and influential center of commerce in medieval Germany...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...

Whistler, James A. M. SAN BIAGIO. Etching and Drypoint, 1880. Glascow 237, K.197; M.194; W.163. State 8 of 17. With the printed butterfly at left, and with the butterfly signature in...

1958 original travel poster by Des Asmussen Wonderful Copenhagen – Tivoli. This striking mid-century poster captures the festive spirit ...

Strasburg Cathedral is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: Strasburg Cathe...

LOVIS CORINTH (1858-1925) AUS DEM TIERGARTEN 1920 (Schwartz 397) Drypoint, signed and numbered 47/50. BEAUTIFUL IMPRESSION with RICH DRYPOINT. Plate 9 ½ x 12 ½ inches. Full margins...

The Gate is an original artwork realized by the French artist Paul Adrien Bouroux in the first half of the XX Century. Original Etching on paper. Passepartout included (cm 43 x 32)...

Paper Size: 38 x 24 inches ( 96.52 x 60.96 cm ) Image Size: 32 x 20 inches ( 81.28 x 50.8 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

Uses and Customs - Tombs of the Scaligeri in Verona is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: ...

The reference number on this work is Kraeft 88. It's from an edition of 100 and is signed, dated, and numbered, in pencil. Always an intaglio printmaker, Landeck switched from a mor...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

Fly Aeroflot to Bukhara, one of the most ancient and storied cities in Central Asia. Nestled deep in the desert, Bukhara has been a center of trade, learning, and culture for over tw...

Sepulcher of Carlo di Angiò is an original etching, realized by Piroli written below the image down in the XIX century, the table is XII is written at the top of the image on the rig...

Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...

'The Quadrangle of Jesus College' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 175mm (...

'Ecuries et Remises.' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lacroux, 1878. A series of fine illustrations of French designs for brick buildings. ...

'Quadrangle of Corpus Christi College' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 17...

'College Ste Barbe. Facade sur la rue Valette a Paris, par Mr L Heureux, Archte' French architectural chromolithograph. From 'La Brique Ordinaire', by J Lacroux, 1878. A series of ...

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 ...

'Chateau Valeri' Copper-line engraving by Matthaeus Merian. From 'Topographia Galliae', a fine series of engravings of 17th-century French landscapes, gardens, buildings and citie...

'The Hall & Chapel, Oriel College' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 175mm ...

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. Mabel Oliver Rae (1868 - 1956) Queens' Bridge, Cambridge Etching 13 x 9 cm Titled lower left and signed lower right in plate, and again in pencil outside plate. The college's famed Mathematical Bridge, which reflects in the ruffled waters of the River Cam. Kate Hillman of the Cambridge University Engineering Department notes that: "One of the most recognisable structures on the Cam, Queens' College bridge was originally built in 1749 by James Essex the Younger. Since then it has been rebuilt twice to the original design of William Etheridge, once in 1866 and again in 1905. In 1866 the bridge deck...

Original Italian poster from 1926. ENIT was founded in 1919 with the mission of promoting Italy as a tourist destination. ENIT's Italian travel posters were printed in collaboration with Ferrovie dello Stato (the Italian railway...

Vue du châteaux de Chenonceaux Lithograph, 1843 Letterpress signature lower left corner Signature of the printer lower right corner After Pierre Justin Ouvrié (1806-1879) Published b...

This artwork titled "Paysage de Normandie" c.1910 Is an original color aquatint by noted French artist Maurice Levis, 1860-1940. It is hand signed and numbered 245/350 in pencil by the artist. The plate mark (image) size is 17.5 x 24.85 inches, sheet size is 19.75 x 26.75 inches. It is in excellent condition, especially considering the age of the piece. About the artist: Born in Paris on 11 November1860, Maurice Levis was an accomplished landscape and genre painter for nearly sixty years. His career spanned not only the early years of modernism, but also the twentieth century developments of cubism and surrealism. Levis' artistic education began in the late 1870s at the Académie Julian where he studied with Jules Lefebvre. He also studied with Henri Harpignies and with Pierre Billet...

Small but finely detailed drypoint etching of a lovely scene from the Rialto Bridge in Venice, circa 1930. Titled lower right. Blind stamp lower left. ...

Byzantine architecture and sculpture is an artwork realized in 1898, by the artist Karl Schaupert. Lithograph on paper. The artwork represents decorative patterns of Byzantine and ...

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 -Interior  of St. Peter's Basilica is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: ...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

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...

"José Manuel Ballester (Spain, 1960) 'Aeropuerto', 1993 lithograph on paper 14.6 x 20.9 in. (37 x 53 cm.) Edition of 50 ID: BAL1266-004-050 Hand-signed by author in pencil"

Lucio Muñoz Martinez (Spain, 1929-1998) 'Sin título', 1996 silkscreen and collage on canvas 28.8 x 21.3 in. (73 x 54 cm.) Edition of 75 Unframed ID: MUÑ1114-001-075 Hand-signed by au...

Anish Kapoor Poster for Svayambh at the Royal Academy, London (hand signed by Anish Kapoor), 2009 Offset lithograph poster Boldly signed by Anish Kapoor on the lower right front 21 ×...

FEOLI, Vincenzo. Vedute del Museo Pio-Clementino. Rome, 1790. A double-page engraved plate after Miccinelli and Costa. Sheet size: 70.5cm by 99cm. Mounted size: 81cm by 101cm. Magnificent series of extra-large plates illustrating the Vatican Museum...

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks for handles. Fletcher 284. Ed...

Aliosky Garcia (Cuba, 1979) 'Talanquera', 2010 engraving on paper 38 x 27.8 in. (96.5 x 70.5 cm.) Edition of 10 ID: GAK-301 Hand-signed by author