Monastery Prints and Multiples

Cityscape - France Pittoresque is an original etching realized in the 19th Century. Belongs to the Series of "France Pittoresque" at the top center. Titled in France on the lower c...

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...

Temple d'Antonine et de Faustine is an original modern artwork realized in Germany in theMid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lowet margin i...

Cityscape (Genova) is an original etching print on paper realized by an Anonymous artist of the XVIII century. Titled on the lower. Included a Passepartout: 34 x 49 cm. The State ...

The Cathedral is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwork is exce...

Baths of Caracalla is an original Lithograph artwork realized by the Italian artist Fabio Failla (1917-1987) hand-signed by the artist on the lower right...

Country House is a splendid print in etching technique engraved by the Fr. Zach, perhaps an Austrian Artist, around the early 1900s. The state of preservation of the artwork is very...

This artwork titled "The Governor Palace, Williamsburg Series" 1940 is an original etching on paper by noted American artist Samuel V. Chamberlain, 1895-1...

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...

This splendid lithograph Interieur de Geneve. Cour Du Collège is part of the series of 20 prints dedicated to views of the city of Geneva, engraved by the Italian artist Antonio Font...

Image dimensions: 30 x 30 cm. Zitouna Mosque - D'Aprés Lumière is a wonderful black and white photolithograph on parchment, realized in 1996 by the Italian politician Bettino Craxi....

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"Prosit!" is an original artwork realized by Leopold Schmid in 1960. Xilograph on laid blue paper. Hand signed with white pencil on the lower right margin; "Prosit1960!" is written o...

Zitouna Mosque - Tunisiaca is a wonderful black and white photolithograph on parchment, realized in 1994 by the Italian politician Bettino Craxi. A rare and precious specimen, an (u...

This original serigraph is hand signed, numbered and dated by the artist Costantino Persiani. This original print is from an edition of 230 prints. Very good conditions.

Chiesa di Sant'Athanagio e Collegio della Natione de' Greci is a wonderful black and white etching on cream-colored paper realized in the second half of the XVII century by Giovanni Battista Falda. Signed on plate on the lower left margin "Giò Batta Falda dis. et fece". Title etched on plate at the center, with a urbanistic caption and a dedication to "Gio. Iacomo Rossi" on plate on the right corner of the lower margin. In excellent conditions, except for the wavy paper. An ivory-colored cardboard passepartout is included (34 x 49 cm). A beautiful urban landscape of Rome with full blacks and precise lines, to admire a disappeared view of the eternal city. Giovanni Battista Falda (Valduggia, 1643 - Rome, 1678) was an Italian engraver, who documented architectures and urban planning in Rome in the second half of the seventeenth century. Born in the province of Vercelli, he soon showed a passion for drawing. He was thus placed in the workshop of a local painter, and then, at the age of 14, sent to Rome to stay at his uncle's, who spoke about him to Gian Lorenzo Bernini. He also studied with Giovanni Giacomo De Rossi. From De Rossi, the adolescent...

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) Gate of Honour, Caius College Cambridge (1965-6) Linocut 56x43cm Full sheet size 96x68cm 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 of whom in the post war era probably Bawden and Kenneth Rowntree are the most famous. Diverse in style, they created figurative work – in stark contrast to the abstract work of the St Ives artists at the opposite end of the country. (If he had not died whilst on active service as a war artist, off Iceland in an air-sea rescue, Eric Ravilious would have had this accolade.) The Fry Art Gallery in Saffron Walden was established to celebrate the works of the Great Bardfield group. Hoyle taught at St Martin’s School of Art from 1951-60, Central School of Arts and Crafts from 1960-64, and Cambridge School of Art from 1964...

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. William Nicholson (1872-1949) All Souls College, Oxford Signed, and numbered 98, published by Stafford Gallery with blindstamp Lithograph 35x28cm Probably best known through his graphic works, as a book designer and illustrator, Nicholson was greatly encouraged in his landscapes by Whistler from about 1900. In 1902-03 he produced a series of watercolour, chalk and pen drawings of Oxford which were published in 1905 by the Stafford Gallery as two portfolios of lithographs, with descriptions by Arthur Waugh – father of Evelyn Waugh...

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....

Linda Plotkin, American (1938 - ) - Purple Cow, Year: circa 1965, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 6/75, Image Size: 7.5 x 9.5 inches, Size: ...

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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 ...

Ernest Laborde, French (1870 - 1935) - Au Petit Dunkerque, Year: 1913, Medium: Etching, signed and dated in the plate, Image Size: 9 x 5.5 inches, Size: 11 x 7.5 in. (27.94 x 19.05...

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. Paul Hogarth St Peter's College, Oxford (1982) Lithograph 33 x 46 cm A lithograph of St Peter's, from a line and wash...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Le Paysage a la Tour Carree Bartsch (B218), Year: 1878 (of original 1650), Medium: Heliogravure, Size: 3.5 x 6.25 i...

Anonymous (19th century) Eton College Courtyard Lithograph 29 x 38 cm Mounted to board.

Branko Bahunek, Croatian (1935 - ) - Tkalciceva St.. Year: circa 1980, Medium: Offset Lithograph, signed l.r., Edition: EA, Size: 23 x 19 in. (58.42 x 48.26 cm)

The Cardinal is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the right margin...

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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) Chapel Court, Sidney Sussex...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) The Divinity School, University of Oxford Engraving 12 x 16 cm An eighteenth-centur...

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. David Loggan (1634-1692) King's College Cambridge Engraving 1690 40x51cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and it is thought largely no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery Walker...

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David Loggan (1634-1692) Engraving of the interior of New College, Oxford Engraving, 1674 48.5 x 27.2cm To see our other views of Oxford and Cambridge, sc...

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 ...

David Loggan (1634-1692) Engraving of Oriel College, Oxford Engraving, 1674 30 x 41cm To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and belo...

To see our other views of Public Schools, 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. A J Meyer (British, fl 1900-1930) Dulwich College Etching 22x30cm Sadly little is known of Meyer, an accomplished artist and particularly producer of etchings. He was one of many artists to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street...

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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 ...

To see our other architectural drawings and engravings, 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 ...

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Adams, Clinton (American 1918-2002). TWO SCREENPRINTS OF ITALIAN TOWNS. Signed in the matrix. Edition sizes not known. Each 16 x 12 inches (image), 20 x 13 inches (sheet). One with a...

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. William Nicholson Canterbury Gate, Christ Church, Oxford College Published by Stafford Gallery...

To see our other views and maps of England - including London, 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) Kings College...

Cascina Riazzolo, Ref. 401 Original etching, signed and numbered. Limited edition of 90. Federica Galli was one of Italy's leading contemporary etchers. She achieved this fame bec...

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 ...

Childe Hassam American 1859-1935 Father of American Impressionism Original etching inscribed by him in lower right in graphite 1916 same copy is in the museum of modern art New York...

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 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...

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

'St Alban Hall' Engraving by John Le Keux after Frederick Mackenzie, 1837. From James Ingram's 'Memorials of Oxford'. 135mm by 175mm (platemark) 200mm ...

Artist: Sir William Dugdale (English, 1605-1686) Title: "Monastery of St. Augustine, Canterbury" Portfolio: Monasticon Anglicanum: A History of the Abbies and Other Monasteries, Hosp...

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

Walther Koch (1875-1915) Zug Berg und Strassenbahn Original lithographic poster (1914) 40x30" Printed in Zurich by Anstalt Gebr Fretz

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...

Original 1931 collotype created from Gustav Kilmt’s Houses at Unterach on the Attersee, oil on canvas, c. 1916. Published by Max Eisler and printed by Österreichischer Staatsdruckerei (Austrian State Printing Office), Vienna, in an edition of 500. In 1931, Max Eisler published the most notable posthumous collection of Gustav Klimt works to date. Using a complex gravure process, Klimt’s original...

Paris Daybreak is a lithograph on paper with an image size of 3 x 2 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and ribbon' moul...

Lillebonne en 1848 is a black and White etching realized by George Snell in the 1860s.  Titled in the lower. Image size: 25x37. Very good impression with wide margins and a very f...