Boat Prints and Multiples

Sail on by By Gordon Hunt [2022] limited_edition Original painted in acrylic Edition number 3 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:...

Artist: Gordon Grant, American (1875 - 1962) Title: Old Coaster Year: circa 1940 Medium: Lithograph, signed in pencil Image Size: 9 x 11 inches Size: 11 in. x 16 in. (27.94 cm x 40.6...

Spires is a contemporary landscape print by Phil Greenwood. The strong outline of the spires is softened by blue haze. A green river bank splits the work into three planes and allows...

Cloud II by Simon Tozer [2021] Cloud 2 is a limited edition screenprint by artist Simon Tozer. This is one of an ongoing series of seascapes and sky images that have clouds as their...

Westminster Palace Etching, Drypoint, Aquatint, roulette and salt ground lift 1884 Depicts the Houses of Parliament, Big Ben Clock and Tower and the...

Artist: Wayne Ensrud, American (1934 - ) Title: New York Year: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300, AP 45 Image Size: 24.5 x 28 inches Siz...

Hergé (1907-1983) The Black Island (L'Ile Noire), 2024 Official poster On thick glossy paper 70 x 50 cm (c. 27.5 x 19.6 in) INFORMATION : Official and authorized edition of the He...

Le Diable en Enfer from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 1...

Original Windsor See Britain by Train vintage railroad poster. Linen backed in very fine condition, ready to frame. No restoration to t...

Artist: Ron Kleemann, American (1937 - ) Title: Texas Tug Year: 1980 Medium: Serigraph on Somerset Paper, signed and numbered in pencil Edition: 250 Paper Size: 22 x 30 inches

To see our other original vintage travel posters, 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 th...

These museum quality Giclée prints are luxurious and will last a life time. They are printed on 320gsm 100% cotton rag archival paper using the highest quality UV resistant archival ...

Coming Into St Tropez by John Scott Martin [2021] Original Linocut print Image size: H:37 cm x W:37 cm Complete Size of Unframed Work: H:49.5 cm x W:49 cm x D:0.1cm Sold Unframed Ple...

Memories of Padstow and Sailing at Dusk diptych Overall size cm : H90 x W140 Memories of Padstow by Lisa Takahashi [2018] limited_edition Linocut Edition number 13/70 Image size: H...

Kites by John Scott Martin [2021] Original Linocut print Image size: H:11 cm x W:30 cm Complete Size of Unframed Work: H:22 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insi...

Greta 3 by Simon Tozer Limited edition print and hand signed by the artist Edition of 40 Screen Print on Fabriano Rosaspina paper Image size: H:71cm x W:4...

Kate Heiss Brancaster Sails Whelk Blue Series Limited Edition Linocut Print Edition of 50 Printed with oil based relief inks on 300gsm soft white Somerset velvet paper. Signed and da...

Artist: Wayne Ensrud, American (1934 - ) Title: Leaving Port Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300, AP 45 Image Size: 23.5 x 31 inches Size:...

Arms, John Taylor (American 1887-1953). SHADOWS OF VENICE - IL PONTE DI RIALTO, VENEZIA. Etching, 1930. Edition of 140 + 14 Artist's Proofs. 10 x 12 inches (Plate), 11 3/8 x 157/8 in...

Original poster: Text is in Russian and perhaps Romanian. Archival linen backed in very good condition, ready to frame. The text refers to exercise and to enjoy and participate in various sports in the water. The artist is presumed to be K. Dimitrov, but the poster is not signed nor dated. The image has a swimmer in the foreground with sailboats, speed boats, and rowing crews in the background. An all-encompassing original water sports lithograph...

Harry Bunce July The Happy Year Limited Edition Print Edition of 365 (one for each day of the year) Image Size: H 31.5cm x W 28cm Signed Sold Unframed Please note that in situ image...

Tim Southall Man and Dog Limited Edition Etching Edition of 75 Image Size: H 10cm x W 15cm Sheet Size: H 20cm x W 25cm x D 0.1cm Sold Unframed Please note that in situ images are pur...

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 original vintage posters, 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 poste...

Morning Tide Rob Barnes [2021] limited_edition Linocut Edition number 50 Image size: H:35 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm ...

Reflections, New York [2021] limited_edition Etching on Paper Edition number 75 Image size: H:16 cm x W:20 cm Complete Size of Unframed Work: H:16 cm x W:20 cm x D:0.1cm Sold Unfram...

Turquoise Bay and Lantic Lunch (small) Diptych by Gordon Hunt [2019] original Limited Edition Print Image size: H:20 cm x W:20 cm Complete Size of Unframed Work: H:30 cm x W:30 cm x...

John Scott Martin Mariette Sails By Moonlight Unique Linocut Prints Linocut on Collage Image Size: H 20cm x W 20cm x D 0.3cm Mounted Size: H 34.5cm x W 34cm x D 0.3cm Sold Unframed ...

Following Shamrock by John Scott Martin [2021] original Linocut and mixed media on paper Image size: H:37 cm x W:37 cm Complete Size of Unframed Work: H:50.5 cm x W:49 cm x D:0.1c...

Arch by Monica Denevan Photography, Archival Giclee Print, Burma 2008 Monica Denevan studied photography at San Francisco State University. She has travelled extensively in Burma...

This original circa 1970 travel poster, produced by Intourist, the official Soviet state travel agency, offers a captivating glimpse into the golden age of Cold War-era tourism. Prom...

Gordon Hunt Sail on by Cornwall coast Limited Edition Giclée Print Edition of 120 Image Size: H 60cm x W 60cm Sheet Size: H 70cm x W 70cm Signed Sold Unframed Please note that in sit...

Meryon, Charles. LE PONT AU CHANGE. S.40(v), DW.34. Etching with drypoint, 1854. Fifth State of twelve, with the inscriptions in cursive, "C. Meryon del. sculp. mdcccliiii," lower l...

To see our other original vintage travel posters including more London Transport posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or...

This captivating original vintage poster invites viewers to the serene beauty of Carry-le-Rouet, a beloved seaside destination along the Mediterranean coast in the Bouches-du-Rhône r...

ARTIST: Salvador Dali TITLE: Departure of The Fisherman MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: 32/150 MEASUREMENTS: 25.75" x 38" YEAR: 1965 FRAMED: No CONDIT...

Lithograph on Magnani-Pescia paper. Paper size 60cmx80cm, work size 47cmx68cm. Excellent condition, no defects. Gino Guida - Born in Naples in 1932, died in Zagarolo 2017, He moved ...

signed in plate

Brendan Neiland (b.1941) R.A. (Expelled) Hampton Court (1984) Screenprint 74 x 51 cm Signed, dated, titled, and numbered 152/250 in pencil. A print of one of Hampton Court's magnificent facades, reflected in its fountain. Reflected architecture is one of Neiland's most recurring themes. The Fountain Court was designed by Sir Christopher Wren; he began remodelled the palace in the baroque style for William III and Mary II...

Lithograph on Magnani-Pescia paper. Paper size cm.24,5x cm.17,25 work size cm. 22 x cm. 14,5 Excellent condition, no defects. Aldo Riso was born in 1927 in Santa Maria di Leuca, in t...

Lithograph on Magnani-Pescia paper. Paper size 24,5 cm x 17,5 cm work size 22 cm x14,5 cm .Excellent condition, no defects. Aldo Riso was born in 1927 in Santa Maria di Leuca, in the...

Lithograph on Magnani-Pescia paper. Paper size 17,5 cm x 24,5 cm work size 14,5 cm x 22 cm. Excellent condition, no defects. Aldo Riso was born in 1927 in Santa Maria di Leuca, in th...

Lithograph on Magnani-Pescia paper. Paper size 17,5 cm x 24,5 cm work size 14,5 cm x22cm. Excellent condition, no defects.   Aldo Riso was born in 1927 in Santa Maria di Leuca, in th...

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream...

Harry Schaare, American (1922 - 2008) - Coast Guard Clipper, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP-50, Size: 32.5 x 42 in. (82.55 x 1...

To see our other original vintage posters, 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 poster you want. War Savings are Warships / The Signal is Save Original vintage poster 41 x 37 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. An original vintage WW2 poster...

Clarence Gagnon, Canadian, 1881-1942 Carénage d'un terre-neuvas, Saint-Malo, 1907 Etching Etching 5 x 7 in signed and dated lower right, Clarence A. Gagnon 07 Titled lower left For...

Artist: John James Audubon (American, 1785-1851) Title: "Booby Gannet" (Plate 426, No. 86) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 1,200 Printer: John T. Bowen, Philadelphia, PA Publisher: John James Audubon and J.B. Chevalier, New York, NY and Philadelphia, PA Sheet size: 10.38" x 6.75" Image size: 5.94" x 5.5" Condition: Two small tears at top edge. In otherwise excellent condition with strong colors Notes: Provenance: private collection - Seattle, WA. Lithography and hand-coloring by American artist John T. Bowen (1801-c.1856). Comes from Audubon's famous seven volume portfolio "The Birds of America", First Royal Octavo Edition (1840-1844), which consists of 500 hand-colored lithographs. Based on a composition painted May 14, 1832. Audubon wrote: "I am unable to find a good reason for those who have chosen to call these birds 'boobies'. Authors, it is true, generally represent them as extremely stupid; but to me the word is utterly inapplicable to any bird with which I am acquainted". The view of the Florida Keys is based on a drawing by George Lehman. The bird family Sulidae comprises the gannets and boobies. Collectively called sulids, they are medium-large coastal seabirds that plunge-dive for fish and similar prey. The 10 species in this family are often considered congeneric in older sources, placing all in the genus Sula. To make 'The Birds of America' more affordable and widely available, in 1839 John James Audubon began the first octavo edition, a smaller version of the folio which was printed and hand-colored by J. T. Bowen in Philadelphia. Employing a new invention, the camera lucida, the images were reduced in size, rendered in intermediate drawings by John James Audubon and his son John Woodhouse, and then drawn onto lithographic stones. These miniatures exhibit a remarkable amount of attention to quality and detail, as well as a meticulous fidelity to the larger works. Some compositional changes were made in order to accommodate the smaller format. Like the Havell edition, John James Audubon’s first...

Sailboat and Gull Ferol K. Sibley Warthen (American, 1890-1986) Color Woodblock Print Edition 31/31 7 x 7 inches 14 x 14 inches with frame Signed Lower Right Titled and Numbered Lower Left Born 1890, Died 1986...

Roger Chapalet created this vintage travel poster for the Messageries Maritimes, which was a French merchant shipping company. It was the largest French fleet to carry passengers in ...

Artist: Francis Drake (English, 1696-1771) Title: "York, from near the Confluence of the Rivers Ouse and Foss" (Plate 20) Portfolio: Eboracum: or The History and Antiquities of the City of York Year: 1736 (First edition) Medium: Original Engraving on light laid paper Limited edition: Unknown Printer: William Bowyer...

'A' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Batterie de New-York is an artwork realized by Anatole De Bonsonge in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Original Vintage Airline Poster commissioned by the British Overseas Airways Corporation promoting its service to the British Territory in the Atlantic ...

Paper Size: 19 x 25 inches ( 48.26 x 63.5 cm ) Image Size: 14.5 x 22 inches ( 36.83 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: From a series of paintings ti...

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Michele Zalopany was born in Detroit, Michigan. She attended the Columbus College of Art and Design from 1973 to 1974 and the Cleveland Institute of Art from 1976 to 1978. She earned her Bachelor of Fine Arts degree from the School of Visual Arts in 1981. Through her labor-intensive mezzotints, Zalopany employs realism to depict fictitious scenes, bearing witness to the disintegration of what was once the fulcrum of the American economy in Detroit. Zalopany’s work is widely represented in many public and private collections in the United States and in Europe including The National Gallery of Art, The Yokohama Museum of Art, The Whitney Museum of American Art, The Walker Art Center, The Museum of Fine Art in Boston, The Cleveland Museum of Art, The Royal College of Art in London, and numerous others. Her work has been exhibited in galleries that include P.P.O.W., John Good...

Honfleur by Alistair Grant, 1956 Additional information: Medium: lithograph 61 x 48 cm 24 x 18 7/8 in signed and dated in pencil Alistair Grant was a printmaker, painter and illust...

Salvador Dali - The Drawers - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)