Nature Prints and Multiples

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

A beautiful soft landscape Giclee of a glowing meadow in the Sonoma Mountains by Donna McGinnis (American, 20th century). Signed "Donna McGinnis", titled "Sonoma Mountains", and numbered "5/195", lower edge. Limited edition Giclee, high resolution long life inkjet print, Edition 5/195, printed on Epson Somerset velvet cotton rag paper. Displayed in a custom mat and wood Italian classical frame. Image size 29"H x 39"W. Paper size, 32.5"H x 42.5"W. Donna McGinnis was born in Spokane, Washington. McGinnis grew up in an artistic family. Her mother was an artist, her grandmother a musician and her father a photographer. Drawing came naturally to her as she had very vivid memories of admiring her father’s black and white photography. These silvery prints inspired McGinnis. Through his love affair with the still image, McGinnis learned composition, chiaroscuro (light and dark tonality), form and line, in essence the basics of formal art theory. McGinnis had a childhood babysitter and mentor who taught her and her two sisters art...

Agapanthus are also known as "The Lily of the Nile". The crisp silhouettes of the giant agapanthus blooms were hand-printed using living fresh cut agapanthus flowers from the artist'...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Whirlpool - Eye of the Storm Year: 1978 Medium: Lithograph on Johannot Wove Paper, signed and ...

The Spring is a very brightly colored serigraph realized by the contemporary Italian artist Maddalena Striglio in the late 20th Century. Hand-sign...

Christo (1935 - 2020) and Jeanne-Claude (1935 - 2009) Over the River (From Underneath) Project for the Arkansas River, Colorado Offset lithograph in colors on smooth paper Signed by ...

Unframed. New from 2023. This is an original, hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 10 prints were made. Four have sold. Only six...

Signed and numbered from the edition of 88. This tranquil scene of the moon at night by the waters' edge shows Schwaberow's technicque at its best. The grain of each piece of wood plays into the image perfectly. Micah Schwaberow was born in Eugene, Oregon and currently resides In Santa Rosa, California. The rolling hillsides, cloudscapes and coastline of Sonoma County are a major motif in his woodcuts. Seascape with light reflecting on the water just after sunset. Micah learned the art of Japanese woodblock art...

Harold Altman (1924 - 2003) Title: "Luxembourg, November" Edition: 172 of 185 Medium: Limited Edition Lithograph Dimensions: 17.5" x 26" (image) 26" x 34.25" Ma...

Monotype on three sheets of paper Unframed Rachel Burgess is a visual artist based in New York. Originally from Boston, she received a B.A. in Literature from Yale University and a...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on paper condition: very good provenance: from...

Unframed. 2022. Signed on the back. This photograph was taken just weeks after the artist's husband died, thus the title, "The Journey's End." Paths that disappear into the mist, p...

BUCK RUN BRIDGE is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by Peter Sculthorpe(b.1948 Ontario, Canada) printed in 1990 at JK Fine Art Editions Co. NYC, using hand lithography techniques on archival Arches paper, 100% acid free. Buck Run Bridge depicts a finely detailed drawing of a historic covered bridge in Chester County, Pennsylvania. BUCK RUN BRIDGE is an elongated horizontal composition, image measures 11.5 in. H x 36.75 in. W; a very appealing scenic Pennsylvania winter landscape with subtle details exhibiting fine line drawing and watercolor-like washes blending to form a wintry blue sky. The landscape captivating the viewer's eye with its delicate branches on bare trees, stone walls, split rail...

Metropolis by Richard Florsheim, American (1916–1979) Date: circa 1975 Lithograph, signed and numbered in pencil Edition of 300 Size: 34.5 in. x 44.5 in. (87.63 cm x 113.03 cm)

Champ de Blé & Sapins Bleus Daniel Riberzani, French (1942) Date: circa 1980 Screenprint on Arches, signed and numbered in pencil Edition of 300, AP 45 Image Size: 28.5 x 19 inches S...

LEONOR FINI Performing Cats 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Numbered: 193/300 Color lithograph after the 1959 oil on canvas by René Magritte, printed signature of Magritte and numbered from the edition of 300. The lithograph features the dry...

Ancel Nunn (1928-1999) Austin, Tyler, Palestine Artist Image Size: 12 x 17.5 Frame Size: 18 x 24 Medium: Lithograph "Water Stop" Texas Biography Ancel Nunn (1928-1999) Born in Sey...

Image dimensions: 31.2 x 21 cm. Diagonal Landscape is a superb original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly r...

After Gustav Klimt, Max Eisler Plate #8, Litzlberg on Lake Attersee; blue monochrome collotype after the 1915 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN ...

limited_edition etching and aquatint Edition number 28 Image size: H:21 cm x W:20 cm Complete Size of Unframed Work: H:43 cm x W:37 cm x D:1cm Sold Unframed Please note that insitu i...

Natural Oasis is a very colorful artwork realized by Giuseppe Giannini in 1980. Colored lithograph on silver paper. The print is hand-signed and dated in pencil on the lower right....

Artist: Vahe Yeremyan Work: Print on Satin Paper, Subject: Summer Field, Framed Size: 17.5" x 24.5" x 0.8''inch, 44x62x2cm, Ready to Hang, Wooden Frame. All works are copyrighted...

Wengenroth, Stow. QUIET POND MONHEGAN, MAINE. BPL 154. Lithograph, 1946. Edition of 85. Inscribed "Ed/85" and signed in pencil. 10 3/16 x 15 7/16 inches (image). Handsomely framed by...

Diana Kan Fantasy 1990 Mixed Media Lithograph with Mineral Color and hand-applied crimson foil and embossing Silk Embossed Opalescent Paper size 18" x 38" in...

Linoleum block print with ink additions on orange laid paper Framed 18.88 x 15.88 in Signed in plate

I Castelli Romani is a splendid poster realized after Neal Slavin, in 1983, in occasion of the exhibition held in Rondanini Gallery in Rome. Vintage o...

Signed to the lower right. Presented in a part gilt frame. On canvas.

The Spring is a very brightly colored screen print realized by the contemporary Italian artist Maddalena Striglio in the late 20th Century. Hand-s...

This original vintage color aquatint etching captures the breathtaking beauty of Longs Peak and Mount Meeker, as seen from Rocky Mountain National Park near Estes Park, Colorado. Cre...

Baigneuses is an original artwork realized by the French artist Lionel Lecouteux in 1899. Original etching on paper. The original dry hallmark on the lower right corner is present....

LEONOR FINI Hatted Cats 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Original Close Encounters of the Third Kind ORIGINAL 1977 Movie Poster 27x41”, Linen-Backed - Investment Grade Sci-Fi Cinema History Vintage Poster. Own a piece of cinematic history...

Artist: Roy Ahlgren, American (1927 - 2011) Title: South Shore Year: 1986 Medium: Serigraph, signed and numbered in pencil Edition: 66/100 Image Size: 18 x...

To see our other original vintage travel posters, many of which are from Switzerland, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or sen...

9.25 x 12 inches (sheet), 8.75 x 12 inches (block) Linoleum block print on laid paper Framed 16 x 18.88 in Signed to lower margin

The School of Hard Knocks is a lithograph on paper, 7.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 129/275 (there were also 100 Roman a...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Berkeley Hunt...

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...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Details: + Title: Serene Cove Ripples + Year: 2022 + Edition Size: 100 + Medium: Handmade Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided + Measurements : 100x140 cm (40 x 55.2 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

Joan Miró Untitled from Derriere le Miroir, 1961 Original lithograph. Unsigned Size 37.7 x 27.6 cm Published by Maeght Editeur, Paris Reference: 924802-1976 FREE SHIPPING

Artist: MGM Studios Title: Pink Panther, Supporting Characters Year: 1993-1995 Medium: Original, hand-painted production animation cel with laser color background, plus pencil drawin...

Takashi Murakami Flowers Skateboard Decks (set of 2 works): The black & white deck marks a collaboration between Takashi Murakami and his friend, the rising Japanese artist 'Madsaki' (bio below). The impression is an urban twist on Takashi Murakami’s otherwise highly polished flowers motif - a beautiful juxtaposition between two very different styles from two masters of their craft. This limited work was published by Murakami’s Kaikai Kiki Gallery Japan in 2017. The blue was published circa 2017 in conjunction with the Murakami exhibit: The Octopus Eats Its Own Leg, MCA Chicago. A brilliant set that makes for vibrant, one of a kind wall-art that hangs with ease. Medium: Silkscreen on 2 individual Maple Wood skateboard decks. Crisp colors. Dimensions: 8.0 x 31 inches (20.5 x 79 cm) Condition: each housed in its original packaging; excellent overall condition. Each from a sold out limited edition of unknown; stamped by the artist on the reverse of each. Perhaps Murakami's most iconic motif, these candy-colored, smiling flowers came into the artist's work when he was preparing for his entrance exams for the Tokyo National University of Fine Arts, and he embraced the form over nine years teaching prep-school students to draw flowers. One of the most acclaimed artists to emerge from postwar Asia, Takashi Murakami—“the Warhol of Japan”—is known for his contemporary Pop synthesis of fine art and popular culture, particularly his use of a boldly graphic and colorful anime and manga cartoon style. MADSAKI (b. Japan 1974) Joining Murakami has led to a rapid evolution of Madsaki. Now with three Kaikai exhibitions under his belt––Hickory Dickory Dock; Here Today, Gone Tomorrow; and MADSAKI Says “Yo! snipe1 & UFO907, Get Your Asses Over Here!” Madsaki has made a firm imprint on the Murakami canon. In his introduction to Madsaki’s second solo exhibit, Here Today, Gone Tomorrow from 2017, Murakami jokingly points out how his direction and guidance successfully shaped Madsaki’s work. While the debt Madsaki owes to Murakami is patently clear, in an abrupt turnabout it appears that the apprentice guides the master in some ways as well...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - Rocky French Countryside. Year: circa 1985, Medium: Lithograph on Arches Paper, signed in pencil, Edition: EA, Image Size: 16...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper wi...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Death Ramp Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 100 Size: 39 in. x 27 in. (99.06 cm x 68.58 cm)

Robert Longo Rippling Water 2016 Archival pigment print 71.1 × 55.8 cm (28 × 22 in) Signed and numbered Edition of 30 In excellent condition PLEASE NOTE: Edition numbers could vary ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Cities 4 – Brussels’ Theatrical Centrepiece by Susan Brown. Hand signed by the artist “Walking through La Grand Place in Brussels, is taking a journey t...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additio...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additio...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Pilgrimage #4 Year: 1977 Medium: Screenprint, signed and numbered in pencil Edition: 200, 30 AP Size: 26 in. x 34 in. ...

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

- hand-pulled screen print - - Naturalis Absolute White Matt paper 250 gsm  - 19.7 x 19.7 in (50 x 50 cm) -edition of 125 -Signed and comes with COA

Giclee on canvas. Hand signed lower left by Robert Wyland. Hand numbered 181/750 lower right. Canvas size 39.25 x 29.5 inches. Frame size: approx 43.5 x 33.5 inches. Artwork is in excellent condition. Frame has some random scratches from storage. Certificate of Authenticity included.. All reasonable offers will be considered. About the Artist: The marine wildlife artist Robert Wyland, was born in 1956 in Detroit Michigan. He attended the Center for Creative Studies in Detroit majoring in painting and sculpture. Upon graduation, Wylands' professors, Jay Holland...

Winter Moon 4 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed Work: ...

Original collotype created from Gustav Klimt’s Schloss Kammer on Lake Attersee II (Das Werk Gustav Klimts), originally painted in 1909. Publishe...