Urban Prints and Multiples

Palazzo Ruspoli sul Corso is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for worn margi...

Michael Dal Cerro's prints could be seen as imaginary architectural proposals. He takes satisfaction in taking something that is supposed to be exact...

Cities 7 - Gothic Revival, St Pancras, London by Susan Brown. Limited edition giclée print - The print edition is 150 The image size of the print is 40cm X 40cm, the overall size is 50cm X 50cm Each print is signed and numbered by Susan Brown Unframed, unmounted. The gothic building of St Pancras, designed in 1874 by George Gilbert Scott...

Ari Gradus, Israeli (1943 - ) - Early Days Lower East Side, Year: 1980, Medium: Lithograph, Signed and Numbered in Pencil, Edition: AP, Image Size: 27 x 18 inches, Size: 30 in. ...

Uses and Customs - Consular Street in the Entrance of the City of Pompei is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peop...

Bold woodblock serigraph by Ruth Chaney (American, 1908-1973). Numbered (#17), titled, signed, and dated along the bottom edge. The Smithsonian American Art Museum has an edition of...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

The Swissair – Japan travel poster from the 1960s reflects the evolving image of Japan during a period of rapid industrial growth and modernization, post-World War II. By the 1960s, ...

Maurice Vlaminck Le Cafe de Paris, Pl. X, from Visage des Maisons, c. 1927 (Walterskirchen 132) Etching on Van Gelder laid paper, signed in pencil, trial proof with the blindstamp o...

Limited edition aquatint etching of the New York City skyline by Katherine E. Gallagher. This piece features the famous Chrysler Building prominently in the background along with a M...

Palazzo Pontificio is an original black and white etching of the Late 18th Century realized by Giuseppe Vasi. The beautiful etching represents a glimpse of Rome. Signed and titled ...

Chiesa e Monastero di S. Chiara is a black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions and aged ...

Seminario di S. Pietro in Vaticano is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditi...

Seminario Romano is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions and aged margi...

The Capitol is a beautiful lot of two hand-watercolored lithographs realized by an Italian artist of the XIX century. It represents the incredible landscape of the communal site of t...

Palazzo Altieri is an original black and white etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Quite Good conditions and aged ...

Etching by Ettore Fagiuoli depicting Piazza delle Erbe in Verona. Ettore Fagiuoli, who was born in 1884 and died in Verona in 1961, was an Italian architect, engraver, and stage desi...

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)

This artwork titled " Paris, Le Pantheon" c.1980, is an original colors lithograph on Arches paper by French artist Urbain Huchet, 1930-2014. It is hand signed and numbered 134/250 i...

Italian village: Warm colors were used by the artist James Pratt to create this painting that could be almost any European city! This is a limited edition...

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...

Clare Halifax London! Limited Edition Print Image Size:H50cm x W49cm Sheet Size: H64cm x W56cm (Please note that in situ images are purely an indication of how a piece may look). Lo...

Eliza Southwood Oranges and Lemons Unframed Limited Edition Silkscreen Print of 100 Silkscreen Print on Paper Size: H 76cm x W 56cm Signed and title...

Silkscreen Print – A printing technique whereby the artist paints glue or stencils their work onto a mesh stretched over a wooden frame. Colour is then pushed through the mesh (whic...

Philip Pearlstein (1924-2022) View Over Soho, Lower Manhattan, 1977 Aquatint in colors on wove paper Edition 7/41 Signed, editioned and titled in pencil lower left Printed by the Orl...

Liquor Store Reflection by C.J. (Ching-Jang) Yao, Taiwanese (1941–2001) Date: 1981 Screenprint, Signed and numbered in pencil Edition of 250 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Bridge of Sighs II by Gary Wing Limited edition print by Gary Wing, featuring the iconic Hertford Bridge in Oxford, also known as the Bridge of Sighs. Original work also available. S...

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. John Hill (1770 - 1850) after Augustus Charles Pugin (1762 - 1832) St Aldate's From Carfax (1813) Aquatint with original hand colouring 27 x 21 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of St Aldate's, overlooked by Christ Church's pale and magnificent Tom Tower. John Hill was born in London in 1770, and was an engraver's apprentice. He worked in aquatint and largely produced book illustration aquatints. He went to America in 1816 and produced the notable Picturesque Views of American Scenery amongst other books of prints. Augustus Charles Pugin was an Anglo-French artist and architectural draughtsman. Pugin produced views of London, jointly creating the illustrations for the 'Microcosm of London' published by Rudolph Ackermann in 1811, followed by plates for Ackermann's books about Westminster Abbey, Oxford and Cambridge universities, and Winchester College. His later works included illustrations for Specimens of Gothic Architecture (1821–1823), The Royal Pavilion at Brighton (1826), Architectural Antiquities of Great Britain (1826), Specimens of the Architectural Antiquities of Normandy (1827), Illustrations of the Public Buildings of London (1825 to 1828), Paris and its Environs (1829 to 1831), and Examples of Gothic Architecture (1831). He also produced a book of furniture designs called Gothic Furniture, and assisted architects with detailing for their gothic designs. He ran a drawing school at his house in Bloomsbury. Ackermann was an Anglo-German bookseller, inventor, lithographer, publisher and businessman. He attended the Latin school in Stollberg, but his wish to study at the university was made impossible by lack of financial means, and he therefore became a saddler like his father. He worked as a saddler and coach-builder in different German cities, moved from Dresden to Basel and Paris, and then, 23 years old, settled in London. He established himself in Long Acre, the centre of coach-making in London and close to the market at Covent Garden. Ackermann then moved to Little Russell Street where he published Imitations of Drawings of Fashionable Carriages (1791) to promote his coach-making. Other publications followed. In 1795 he established a print-shop and drawing-school at 96 Strand. Here Ackermann set up a lithographic press and began a trade in prints. He later began to manufacture colours and thick carton paper for landscape and miniature painters. Within three years the premises had become too small and he moved to 101 Strand, in his own words "four doors nearer to Somerset House", the seat of the Royal Academy of Arts. Between 1797 and 1800 Ackermann rapidly developed his print and book publishing business, encompassing many different genres including topography, caricature, portraits, transparencies and decorative prints. During the Napoleonic wars, Ackermann was an energetic supporter of the Allied cause and made significant contributions to British propaganda through his publication of anti-Napoleonic prints...

Clare Halifax Switch Views, London Limited Edition Silkscreen Print Edition of 50 Size: H 38cm x W 37cm x D 0.1cm Sold Unframed Please note that insitu images are purely an indicatio...

Medium: original lithograph. Printed in Paris in 1958 by Mourlot and published in an edition of 2000. Size: 12 1/4 x 19 inches (310 x 475 mm). There is a center fold, as published. S...

Jayson Lilley From Greenwich Park II Limited Edition Print Edition of 39 Image Size: H 84cm x W 84cm Signed Sold Unframed Please note that insitu images are purely an indication of ...

Manhattan Skyline By Michael Wallner [2019] limited_edition Brushed aluminium Edition number 25 Image size: H:43 cm x W:135 cm Complete Size of Unfr...

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...

(after) Maurice Utrillo Inspired Village of Montmartre Pochoir with printed signature Edition of 490 Dimensions: 39 x 30 cm Information : This print was created for the portfolio "Le Village inspiré, Chronique de la bohème de Montmartre (1920-1950) " published by Vertex in 1950 Condition : Excellent Maurice Utrillo (1883 - 1955) The French painter Maurice Utrillo was born as the illegitimate son of the painter Suzanne Valladon in Paris on December 26, 1883. He was adopted by the Catalan art critic Miguel Utrillo...

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 ...

Artist: C.J. Yao Title: Downtown Houston Year: 1982 Medium: Screenprint, signed and numbered in pencil Edition: 250 Paper Size: 22 x 30 inches

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Powis House in Ormond Street London" (Vol. 1, Plate 42) Portfolio: Vitruvius Britannicus; or The British Architect, Containing th...

Artist: Richard Haas, American (1936 - ) Title: Cities Services Building (Blue) Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 30 Image Size: 20 x 16 inches Size:...

Clare Halifax Small St Paul Limited Edition 8 Colour Silkscreen Print Edition of 50 Image Size: H 15cm x W 21cm Sheet Size: H 18cm x W 23cm x D 0.1cm Sold Unframed Please note that i...

Clare Halifax Changing Seasons at St Pauls Limited Edition 10 Colour Screen Print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto som...

Civic Building – Manaus, Eliza Southwood Limited Edition Silkscreen Print of 20 Silkscreen Print on Paper Size: H 97cm x W 67cm Signed and titled Silkscreen Print – A printing techn...

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 ...

Reginald Marsh, 'A Morning in May', etching, 1936, edition 100 (Whitney, 1969), Sasowsky 169. Unsigned as published; numbered '89/100' in pencil. A superb, richly-inked impression, ...

Bistro 1900 is a serigraph on black paper with an image size of 24 x 36 inches, signed ‘Kondakova’ lower right and numbered lower left. From the edition of 525 and numbered 38/100 (there were also 200 Arabic on white paper, 25 APs, 100 Roman, and 100 on canvas). Framed in a contemporary, mahogany-style moulding. You might happen upon Bistro 1900 as you round a Parisian street corner leading onto a light-filled courtyard. The bistro door...

Roth, Ernest (American, 1879-1964). FROM PIER 4 - EAST RIVER. Etching, not dated. Edition size not stated. Signed in Pencil, and titled in pencil at the lower edge, and Signed, dated...

London: Charles Hullmandel, c1839. Stipple point lithograph with hand coloring in watercolor on cream wove paper, 21 1/4 x 14 1/4 inches (540 x 362 mm), the full sheet. In fair cond...

This exquisite lithograph after Andre Derain (1880–1954), titled Amiens (Amiens), from the folio Andre Derain entre 1935 et 1949, V (Andre Derain between 1935 and 1949, V), 1970, ori...

Historical Print entitled "Bennett: Bowling Green, New York" 1826 as noted in bottom Left Corner It was published by Rudolf Leach Fine Arts, Inc., 225 Fifth Avenue, New York City ...

Lithograph realized in 1980s. Hand signed and numbered. Edition of 100. Excellent condition.

Humanic, Wien, 1924. Color lithograph. Ref: Plakat. 01 Kuntsler Mihaly Biro p. 97 pl 153. Biró is internationally considered as the founder of the political poster art, he is ...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

This exquisite woodcut after Maurice Utrillo (1883–1955), titled Montmartre, sous la neige (Montmartre, Under the Snow), from the folio Les Peintres mes amis (The Painters My Friends), originates from the 1965 edition published by Editions d'art Les Heures Claires, Paris, and printed by Atelier Raymond Jacquet, Paris, May 20, 1965. Montmartre, sous la neige (Montmartre, Under the Snow) captures Utrillo’s quiet poetry and emotional depth, translating his painterly vision of Paris into the medium of woodcut. The serene winter streets, rendered with rhythmic precision and tonal restraint, evoke the contemplative stillness that defines Utrillo’s deeply personal view of urban solitude and beauty. Executed as a woodcut on grand velin d'Arches paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the exceptional standards of Editions d'art Les Heures Claires, Paris, and the master craftsmanship of Atelier Raymond Jacquet, Paris. Artwork Details: Artist: After Maurice Utrillo (1883–1955) Title: Montmartre, sous la neige (Montmartre, Under the Snow), from the folio Les Peintres mes amis (The Painters My Friends), 1965 Medium: Woodcut on grand velin d'Arches paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1965 Publisher: Editions d'art Les Heures Claires, Paris Printer: Atelier Raymond Jacquet, Paris Catalogue raisonne reference: Monod, Luc. Manuel de l’amateur de livres illustrés modernes, 1875–1975. Ides et Calendes, 1992, illustration 11485. Condition: Well preserved, consistent with age and medium Provenance: From the folio Les Peintres mes amis (The Painters My Friends), published by Editions d'art Les Heures Claires, Paris; printed by Atelier Raymond Jacquet, Paris, May 20, 1965 Notes: Excerpted from the folio (translated from the folio), The lithographs by Derain and Van Dongen were printed by Lucien Detruit. Those by Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavailles, Terechkovitch, and Carzou were printed by Mourlot Freres. Those by Picasso and Buffet were printed by P.-J. Ballon. The lithograph by Miro was printed in the workshop Arte, which also printed, in phototype, the frontispiece. The etchings by Villon and Zadkine were printed by Manuel Robbe. That by Braque was printed by A. and P. Crommelynck. The wood engravings and printing of the illustrations by Vlaminck, Rouault, Pascin, and Utrillo were done by Raymond Jacquet. The texts by Andre Warnod, collected by his daughter Jeanine Warnod, were hand-set in De Roos type, size 24, and printed in Paris on the presses of Daragnes. Printing completed on May 20, 1965. Justification of the edition, III examples on large velin d'Arches containing the original copper plates inked for one intaglio illustration; a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered I to III. XVI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered IV to XIX. XXI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; and a complete suite of the illustrations on Arches—numbered XX to XL. XL examples on large velin d'Arches containing a complete suite of the illustrations on Arches—numbered XLI to LXXX. CLXX examples on large velin d'Arches—numbered LXXXI to CCL. About the Publication: The folio Les Peintres mes amis (The Painters My Friends), published in Paris in 1965 by Editions d'art Les Heures Claires, stands among the most ambitious postwar French printmaking collaborations. Conceived as a celebration of modern art’s greatest masters, the volume unites original graphic works by Utrillo, Vlaminck, Matisse, Picasso, Chagall, Braque, Villon, Derain, Zadkine, Miro, and others, alongside critical essays by Andre Warnod. Each plate was executed under the supervision of Paris’s foremost ateliers—Mourlot Freres, Lucien Detruit, P.-J. Ballon, Manuel Robbe, and Raymond Jacquet—representing the finest techniques of lithography, etching, and woodcut. This luxurious folio exemplifies the artistry and craftsmanship of mid-20th-century French printing, merging text, image, and handcraft into a unified artistic statement. A triumph of the livre d’artiste tradition, it remains a vital record of the enduring creative dialogue between the painters, printers, and publishers who defined the visual culture of their time. About the Artist: Maurice Utrillo (1883–1955) was a French painter whose poetic depictions of Montmartre and Paris transformed the city’s quiet streets, cathedrals, and cafes into enduring symbols of nostalgia and modern beauty. Born in Paris to the artist Suzanne Valadon—model and muse to Pierre-Auguste Renoir and Henri de Toulouse-Lautrec—Utrillo was immersed in art from an early age but led a turbulent life that found solace in painting. Entirely self-taught, he became one of the most distinctive figures of the Paris School, celebrated for his lyrical “White Period” (1909–1914), during which he employed thick impasto and a restrained palette of whites, grays, and ochres to capture the worn facades and atmospheric stillness of Montmartre. Influenced by Paul Cezanne’s structural precision, Vincent van Gogh’s emotional color, and Camille Pissarro’s realism, Utrillo forged a style that blended Impressionist light with Post-Impressionist solidity, expressing solitude, longing, and spiritual calm. He worked amidst the revolutionary ferment of early 20th-century Paris, alongside Pablo Picasso, Amedeo Modigliani, Georges Braque, and Chaim Soutine, yet his art stood apart from their Cubist and Expressionist experiments, focusing instead on evoking emotional truth through representation. Though he shared his generation’s stage with avant-garde icons such as Joan Miro, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, Alexander Calder, Alberto Giacometti, and Man Ray, Utrillo’s paintings offered a poetic counterpoint—a meditative realism that captured the enduring soul of modern life. His mastery of perspective and tonal harmony imbued works like Rue Norvins and Place du Tertre with quiet majesty, transforming ordinary streets into sanctuaries of memory and light. Utrillo’s profound sensitivity influenced later artists including Balthus, Jean Dubuffet, Nicolas de Stael, and Giorgio Morandi, as well as Edward Hopper and Wayne Thiebaud, who echoed his stillness and emotional clarity in their own depictions of urban solitude. His art, now housed in major museums such as the Musee d’Orsay, Centre Pompidou, Metropolitan Museum of Art, and Tate, remains a cornerstone of modern French painting, bridging the lyricism of Impressionism with the introspection of modernism. Revered for his sincerity and mastery of mood, Utrillo stands alongside Picasso, Miro, Dali, Kandinsky, Duchamp, Calder, Giacometti, and Man Ray as a pillar of 20th-century art, his work capturing the eternal poetry of Paris. The highest auction record for Maurice Utrillo was achieved by his masterpiece Rue Norvins a Montmartre (circa 1910), which sold for $4,882,500 USD at Sotheby’s, New York, on November 6, 2011, affirming his enduring legacy as one of the most beloved and collectible painters of his era. Maurice Utrillo Montmartre...

Edition of 30 + 10AP Ms. Murray is notable for capturing the crystalline quality of northern light. She has an extensive exhibition history and she is represented in both private an...

"L'arc de Triomphe, Wrapped" (Project for Paris) is a 2019 limited-edition (Edition 500) offset-lithograph by Christo (signed in the plate). The work comes beautifully framed in a wh...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

This color intaglio of the "New York Stock Exchange" was issued in a limited edition of 100. This impression is one of the Artist Proofs from the edition. The Stock Exchange is seen from Federal Hall...

Hiro Yamagata Marriage" Serigraph Signed And Numbered. In good condition measures 36x32

Hand embellished serigraph on canvas. Hand signed and numbered on front by the artist. Stretched. Edition AP of 75. Artwork is in excellen...

Artist: Ralph Fasanella, American (1914 - 1997) Title: Empire State Year: 1974 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 300 Image: 40 x 24 inches S...

Île de la Cité is a serigraph on paper with an image size of 30 x 36 inches, signed ‘Kondakova’ lower right and numbered lower left. From the edition of 325 and numbered 48/75 (there...