Monastery Prints and Multiples

Ancient Roman Architectural Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Oraty after Vanni in the 18th century. Signed on...

Royal Palace of Naples is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Uses and Customs - Saint Carlo Theatre in Naples is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " H...

Chromolithograph from 'Constructions Modernes & Economiques', a French folio of architectural designs, published by Monrocq in Paris. 320mm by 250mm (sheet)

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) King's College, Cambridge Engraving 12 x 16 cm An eighteenth-century view King's College, Cambridge, engraved by Pi...

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

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

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...

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...

Lithograph on Magnani-Pescia paper. Paper size 70cm x 50cm, work size 60cm x 39cm. Excellent condition, no defects. Hand colored. Sigfrido Oliva was born in Messina in 1942 and grew ...

Image dimensions: 21 x 16 cm. The Church is an original modern artwork realized in 1980 by the Italian artist Bellosti. Original etching on paper. Edition of 95 prints. Numbered...

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, foll...

Mimasu Daigoro IV is an original modern artwork realized by Utagawa Hirosada (Japanese, active 1825–75) in 1851. Original Woodcut Chuban Dyptich, 1851. Mimasu Daigoro IV in the rol...

Val Doone The Crooked Spire, Chesterfield 76 x 51 cm Lithograph Published by the Travel Association of Great Britain and N.Ireland this beautiful photographic image encouraged t...

John Dixon Scott Norwich, Elm Hill 76 x 51 cm Lithograph Published by the Travel Association of Great Britain and N.Ireland this beautiful photographic image encouraged travel to No...

James Basire & John Carter Architectural view of Exeter Cathedral Engraving 61 x 95 cm This engraving was originally published by the Society of Antiquaries of London, an organisa...

Original collotype created from Gustav Klimt’s Church in Cassone, painted in 1913. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

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...

Original poster: Pointe de Penmarch (Finistere). Circuit Automobile au Depart de Quimper. Artist: ALO, (Charles Hallo) 1884-1969. Archival linen backed and ready to frame. Stone lithograph printed in 1926. Rare travel poster. The poster is in very good shape. The right-hand border does have a mark on the outside edge as shown in the images. Minimal wear for a used poster...

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 this Seller" - or send us a message if you cannot find the view you want. Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Trinity Library...

Casino di Villa Mattei is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corleone,1710 -...

An original print of a church signed in pencil by artist Mr. H. Dewitt Welsh, Artist of Philadelphia, acting secretary of the Division of Pictorial Publicity Committee on Public Inf...

The Cathedral of Tarragona is a beautiful lithograph realized by Ossi Czinner in the 1970s.  Hand signed. Artist's proof. Good conditions!

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....

This amazing bird's-eye-view of an ancient European town is a wonder to behold. There is such detail and interesting perspective. Maybe the artist (unknown...

This splendid lithograph L'hopital is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Fontanesi in 1854. The lithogra...

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

Ted Jeremenko, Yugoslavian/American (1938 - ) - Church at Sunset. Medium: Screenprint on Arches, signed and numbered in pencil, Edition: 175, Image Size: 20 x 25 inches, Size: 27 in....

Colosseum is a modern artwork realized by Antonio Carbonati in 1947. Black and white etching Includes passepartout Hand signed and dated on the lower margin Original title: Colosseo Palatino Celio Via dei Trionfi dai balconi di casa Carcano sul Colle Aventino Good conditions except for yellowing of paper. Antonio Carbonati (1893 - 1956).  He published a series of engravings of Rome...

Inkjet on Rag Photographique Paper Edition 17 of 50 Signed, dated and numbered on the reverse Pristine, no apparent condition issues Presented in a portfolio with text by Thomas Ruff...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Valerie Thornton (1931-1991) Bodleian Quadrangle, Oxford (1983) Etching 24 x 35 cm Numbered 13/75 lower left, titled below, and signed and dated lower right, all in pencil. A very good example of Thornton's recognisable and unusual etching style. Her work is deeply concerned with material, and many of her etchings focus on eroded stone, emotive landscapes, and weathered architecture. Here, Thornton draws out the exceptional texture of the Bodleian Library's local stone. Valerie Thornton was a British etcher and printmaker. She was born in London, but was evacuated to Canada with her two brothers during World War II. She returned to London in 1944 and studied at the Byam Shaw School of Art in 1949. From 1950 to 1953 Thornton studied under P.F. Millard at the Regent Street Polytechnic, then spent eight months at Atelier 17 in Paris. In the early 1960s, she moved to New York and worked at Pratt Graphic Art Center. In 1955, she succeeded Howard Hodgkin as assistant art teacher at Charterhouse School and in 1965 she became a founding member of the Print Makers Council. In 1970 she became a Fellow of the Royal Society of Painters-Etchers and Engravers. Thornton was a member of The Regent Street Group (a group of nine artists who studied together at the Regent Street Polytechnic in the early 1950s). The group also included Susan Horsfield, Renate Meyer, Michael Lewis...

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 ...

Tunisian is a photolithograph realized in 1996 by the Italian politician Bettino Craxi. Hand-signed in on the lower right "Craxi d'après Lumieère", Numbered, edition of 170 prints. ...

First edition lithograph softcover in four colors, by Peter Paul especially for this catalogue. Profusely illustrated in black and white with over 500 images of posters and prints,...

Brenda Cripps Oxford Spires Lithograph 20 x 29 cm Titled, signed and dated to lower right hand corner. This lithograph depicts a view over the Oxford skyline. The Old Tom Tower ...

Royal Palace in Genoa is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

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

Hélène Besnard-Giraudias is a vintage Poster realized for the exhibition of Hélène Besnard-Giraudias in 1966. In Paris from November to December 1966 to the Galerie Des Orfèvres . ...

Altar of the Fatherland  is a modern artwork realized by Antonio Carbonati in 1947. Black and white etching Includes passepartout Hand signed and dated on the lower margin Original title: Altare della Patria Campidoglio - Palatino dai balconi di casa Carcano sul Colle Aventino Good conditions except for yellowing of paper. Antonio Carbonati (1893 - 1956).  He published a series of engravings of...

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

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

To see our other views of London and our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Julian Trevelyan (1910-19...

Uses and Customs - Architecture is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the gov...

Olympic Temple is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the l...

To see our other Modern British Art and views of London, 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 ...

Kasumigaseki Nokei is a polychrome woodblock print (nishiki-e, ink and colour on paper) by Utagawa Hiroshige (Japanese, 1797-1858). This plate is from the print suite Famous Places o...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Walter Hoyle (1922 - 2000) King's College Chapel, Cambridge (Cambridge Series 1956 - 66) Linocut 72 x 41 cm Signed and inscribed A/P in pencil. Hoyle depicts King's College Chapel as both indomitable and delicate. The bold composition sees the chapel's spires surrounded by a fiery orange light against the black night of the background; at the same time, the western facade looks like it could have been cut from paper, or crafted from lace. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from 1951-60, the Central School of Arts and Crafts from 1960-64, and the Cambridge School of Art from 1964...

Saint Micheal Temple, Pavia is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the governm...

Uses and Customs - Arches of the Basilica of Constantine is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the unive...

Uses and Customs - Nuns is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government,...

Roman temple is an offset print artwork on paper, realized by G. Engelmann. The artwork is signed on the plate. In very good condition. The artwork represents a roman temple with ...

Lecce is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Ducal Palace in Genoa is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Dante's Tomb in Ravenna is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Uses and Customs - Cathedral of Monza is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of t...

Uses and Customs - Tomb of Petrarch in Arquà is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " Histo...

Roman Castels is a beautiful offset realized realized after a photograph by Franco Fontana . Excellent conditions. Colored poster from a photograph by Franco Fontana (Modena, 1933...

Uses and Customs - Santa Maria delle Grazie in Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe:...

Uses and Customs - Great Hospital of Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History...

English Title (short version): Antique marble vase in the Gallery of the Palazzo Barberini Artist proof, printed on contemporary paper, large marg...