Monastery Art

This striking vintage travel poster promotes the Château de Blois, one of the great castles of the Loire Valley, as part of the Paris–Orléans–Midi railway’s campaign to encourage tou...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

Nicholas Berger Biography American, b. 1949 In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work that continues to evolve a...

"Library" Mid 20th Century Precisionism Cubist Realism Modernism Architectural. Signed verso. Robert Herrmann hid his paintings from the public for ov...

John Cowey (1786-1833) Christ Church Cathedral, Oxford, 1816, from the Dean's gardens  Engraving  23 x 32 cm Early nineteenth-century view of Christ Church Cathedral from the Dean's...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

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

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 Sepulchre's - The Round Church (1814) Aquatint with original hand colouring 24 x 29 cm Published by Rudolph Ackermann (1764 - 1834). An engraving of the Church of the Holy Sepulchre, Cambridge, the round shape of which is inspired by the rotunda in the church of the Holy Sepulchre, Jerusalem. 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...

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 ...

One of the photographers at Mauritius Publishing based in Berlin was Karl Heinrich Lämmel. Born on 30 July 1910 in Riesa, Saxony, he has been missing since April 1945. In the thirtie...

Beautiful 1976 oil on canvas painting depictes an African woman in native dress. Oil on canvas measuring 14 x 34 inches, signed and dated lower right. The panel in unstretched and c...

André MANTELET MARTEL (1876-1953) View Of The Pantheon, Descartes street, Paris Ve area, 1926 Charcoal on paper Signed, dated and located lower left 60 x 44 cm Provenance; former Jac...

From a series of architectural prints of St George's Chapel; to see some others, scroll down to "More from this Seller" and below it click on "See all from this Seller." Frederick Nash (1782-1856) Drawn and etched Engraved by F C Lewis Arches and Columns London Published by F Nash, No 6 Asylum Buildings, Westminster Road July 12 1804 55x39cm Frederick Nash was born in Lambeth. Initially studying architectural drawing under Thomas Malton he subsequently enrolled at the Royal Academy of Arts. From 1801 to 1809 he worked with the antiquarians John Britton...

Medieval Column- Vintage Photo is a black and white photograph realized in the early 20th century. Good conditions with foxing.

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...

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Richard. Phene-Spiers (1838 – 1916) Tom Tower, Christ Church, Oxford Signed and inscribed and dated 1880 Watercolour on paper 37x25cm (14.5×9.8 in.) Spi...

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...

The Doric Colonnade is a black and white vintage photo, realized in Mid 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including historical ...

Oil on canvas, signed and dated '1879' bottom right Image size: 38 x 59 1/2 inches (96.5 x 151 cm) Ornate Orientalist style gilt frame Carl Werner Carl Friedrich Heinrich Werner wa...

To see our other Modern British Art, 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 you ...

This gothic style architectural segment of a building facade located ion Harlem, NYC, was carved 1924-1926 by William Bradley & Son Cut Stone Contractors. In 2020, each limestone scu...

Old days Photo - Border Pass is a black and white vintage photo, realized in the early 20th century. Good conditions and aged. It belongs to a historical and Nostalgic album includ...

Old days Photo - The Villa is a black and white vintage photo, realized in the early 20th century. Good conditions and aged. It belongs to a historical and Nostalgic album includin...

Old Days is a vintage black and white photograph realized in the 1970s. Good conditions.

Den Haag – 09-02-24 My First One This Year This graphite pencil drawing ‘Den Haag – 09-02-24’ is my first one this year. Last one I made on Christmas day. In between I comp...

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. Bernard Cecil Gotch (1876 - 1964) Queen's College, Oxford Watercolour 28 x 39 cm (51 x 64 cm framed) Signed lower right. Queen's College in all its leafy glory. The dreaming spires of the University Church of St Mary the Virgin, the Radcliffe Camera, and All Souls peek over the quad. Bernard Cecil Gotch was a Winchester-born artist who is best known for his atmospheric watercolours of Britain's towns and cities (most notably Oxford). He moved to Oxford in 1927, painting many watercolours of the interiors and exteriors of Oxford’s many buildings. His works concentrate on the grand exteriors and interiors of the University's colleges, and he exhibited frequently - including an exhibition every term at Oriel College. His first notable commission was for the publisher Methuen, illustrating 'A Shepherd’s Life' by W H Hudson...

Pieter van der Aa (1659-1733), after David Loggan (1634–1692) Christ Church, Oxford Engraving 12 x 16 cm An eighteenth-century view of Christ Church, engraved by Pieter van der Aa 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. David Loggan (1634-1692) Hall of the Blessed Virgin...

Church of the Sorbonne in Paris is a lithograph made by Auguste Wahlen in 1844. Good condition. Drawing in black and white. At the center of the artwork is the original title "Chi...

Black and white sculptural street scene photograph. The photograph is attached to the board to protect against bending.

Black and white photograph of d'Este Eagles among the spouts in the Hundred Fountains in the Vill d'Este. The photograph is attached to a board to protect against bending.

A finely detailed etching by Joseph Mallord William Turner (1775-1851) from his Liber Studiorum series. Turner designed and etched the plate himself after his 1809 painting London fr...

A finely detailed etching with hand colouring by William Tatton Winter (1855-1928) depicting Salisbury Market. Signed in graphite to the lower right. Blind stamped to the lower left....

Roman Castels  is a vintage offset poster realized after a photograph by Franco Fontana. Realized in occasion of Fontana's exhibition at Galleria Rondanini, Roma. Limited edition o...

A demonstration print executed in front of a live audience in New York City in 1933. Etching on cream laid paper, 6 7/8 x 4 7/8 inches (178 x 127 mm); sheet 11 7/8 x 8 3/16 inches (...

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 ...

Cornhill: J & A Arch, 1819. Etching and engraving on lightweight cream wove paper, 14 7/8 x 9 1/4 inches (378 x 235); sheet 18 3/4 x 13 1/8 inches (477 x 334 mm), full margin. In ve...

The sculpture is a b/w photographic print on Cardboard. The artwork represents a sculpture.

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

M.C. ESCHER (1898-1972) Ascendant and Descendant, 2008 Facsimile after the original woodcut from 1938 Signed in the plate Numbered / 450 copies (the number you can see can be differ...

A captivating Mid-Century watercolor of an old Chicago house (with a female figure standing in the window) by Chicago artist George Yelich. The watercolor bears its original frame. ...

Original Photograph / Photographer unattributed Yokohama, Japan: 1890s. Hand-tinted albumen print, 7 3/4 x 10 1/4 inches (198 x 260 mm), numbered in negative 40, and captioned at lo...

Original exhibition poster created for a special tribute to architect Frank Lloyd Wright on the 125th anniversary of his birth. Sponsored by the Guggenheim Museum in 1992, the poster...

View Of Rome is a vintage black and white photograph realized in the early 20th Century. Good conditions. A historical testimonial of the cityscape through the art of photography c...

Richard Haas Chelsea Hotel, Sunset, 1980 Offset Lithograph poster on paper Pencil signed on the front 23 1/4 × 21 1/2 inches Unframed This striking offset lithograph poster by the world's top architectural muralist Richard Haas presents a detailed portrait of the historic New York City landmark - the legendary Chelsea Hotel. Many famous people stayed at this storied hotel. Nancy Spungen...

Etching realized by Sigfrido Oliva in 1980s. Hand signed in pencil. Artist proof, not numbered. Very good condition.

Watercolor on watercolor paper, 9 3/4 x 11 3/4 inches (248 x 299 mm), the full sheet. With charming primo pensiero and unfinished detail in the form of a small child lying in his sto...

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. Bernard Cecil Gotch (1876-1964) The Bodleian Library, Oxford: Passageway into the Old Schools Quandrangle Watercolour 35 x 49 cm Signed in pencil lower right. An enticing view of the passageway leading into the Old Schools Quad of the Bodleian Library. Through the gateway, we see the passageway leading out of the Quad onto the other side, into Radcliffe Square. A glimpse of the Radcliffe Camera...

Black and white photograph with a European setting. The building appears to be a bridal or dress shop. The photograph is attached to a board to protect a...

Photograph of the iconic waterfall in the Houston Galleria area. This photograph showcases the Sabbttier process or the results of solarization. The photograph is not framed. Artist...

A Break This graphite pencil drawing ‘St.-Bavo in Haarlem – 03-10-23’ is a break from the continuous stream of cubist female forms. So it goes, on a whim I decided to postpo...

Leon Collins Birthdate Unknown, died 2025 Galveston / Navasota Texas Artist Image Size: 36 x 24 Medium: Acrylic on Canvas "Austin, Texas" UT Tower Leon Collins Birthdate Unknown-Died...

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 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. J Sawyer (British, 20th Century) Keble College...

Title: Balazuc Village Stone Tower and Houses Ardeche French Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on paper, unframed Size (H x W): 5.5 x 8.25 inches Si...

Rome in the Early 20th Century is a Historical Photo in black and white. It belongs to historical album including photo of historical events and places, all meticulously captured, an...

Etching on paper. Hand signed, dated and numbered in pencil. Edition of 60. Very good condition.

Edition of 5 Signed, titled, dated and numbered on artist label. From Salamone series Gum Print "In 1998 and 2001 I travelled around the province of Buenos Aires (Argentina) with th...

Etching in brownish black ink on cream laid paper, 8 1/4 x 4 1/4 inches (209 x 111 mm), full margins. Signed (illegibly) in pencil, lower right margin. In good condition with a print...