Steamer Art

RMS Laconia, 1921 by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 14.25 x 22.75 inches Superb oil painting by the well ...

Title: Historic Miniature Watercolor of Liverpool Docks Watercolour with Boats by Jack Grunwell, 20th century British artist Medium: Watercolor on thin card, unframed Measurements: ...

Contemporary watercolor painting on paper by Polish artist Wlodzimierz Karczmarzyk. Marine painting depicting boats on a water. Artwork's style is sketch-like but realistic at the sa...

Ancient View of the Port of Ensenada is a silver salt photograph realized by unknown photographer of the end of 19th Century. Very good condition, applied on a single cardboard. Ca...

Original Maritime Oil Painting of RMS Aquitania in New York Harbor by Frederick Hoertz. Original painting of Cunard Line’s Aquitania by Frederick Hoertz (American, 1889-1978) that w...

Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925. Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art. ABOUT THE ARTIST Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper. After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques. In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions. With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...

This is an John Stobart "Baton Rouge” lithograph signed and numbered. In good condition measures 42x31

Imerethie II, 1924 by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 13.5 x 22.5 inches Superb oil painting by the well l...

This 1982 original poster, designed by Philippe Giegel, was part of a promotional campaign celebrating Geneva as a premier Swiss travel destination. Commissioned to highlight the cit...

Tower Bridge and Waves at Westminster diptych Overall sheet size: H55.8 X W52 Clare Halifax. Waves at Westminster- a Thames view of the houses of parliament and Big Ben. Limited Edition Print; edition of 100. Clare Halifax, artist, joins Wychwood Art selling art...

Maritime watercolor, an accurately detailed depiction of steamship "Nellie" en route on the water, complete with tiny silhouetted passenger figur...

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 want. We also have several more ship drawings...

We acquired a series of marine works from Laurence Dunn's Archives. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Laurence D...

Image dimensions: 21.5 x 15 cm. Ancient Roman Ruins is a beautiful black and white etching and burin on laid paper, representing the Sepulcher of the Plauzia family in Tivoli and th...

Image dimensions: 46cm x 62cm / 18 inches x 24½ inches Framed dimensions: 55.8cm x 71cm / 22 inches x 28 inches Signed with fly insignia (lower left); further signed, inscribed and ...

Signed lower left. In this richly imaginative painting by Julian Nemethy reimagines the Hudson River day liner not merely as a vessel of transport, but as a dreamscape in motion. The steamboat, rendered with meticulous precision, glides through a river that shimmers magically—beneath a sky alive with imaginative playful clouds Nemethy’s signature style is on full display: whimsical flourishes, exaggerated perspectives, and a near-naïve attention to detail that invites the viewer into a world where nostalgia and fantasy intertwine. The day liner becomes a symbol of freedom and wonder, a floating stage for the American imagination. It’s a celebration of movement, memory, and the enduring romance of the Hudson. Contemporary artist Julian Nemethy is the son of artist Albert Nemethy, and his work can be distinguished from that of his father by the use of fantastical elements, extreme use of color and detail, and whimsical touches. Julian Nemethy is one of the many artists in the Nemethy family. Born in Hungary, his parents fled the Communist regime in the mid-1950s when Julian was a small child. He was one of six siblings who were raised by their father. In high school, Julian taught himself to paint, and felt he had found his vocation. In the 1980s, he moved to the Smokey Mountains of...

Cooper Hart’s watercolor painting titled "The Rattler at Vicksburg" captures a poignant moment from one of the most tumultuous periods in American history. The piece is a masterful b...

The American Steam-Sailer St. Louis signed, dated and inscribed 'A. Jacobsen 1899. / West Hoboken N.J.' (lower right) oil on canvas 22 1/8 x 36 1/8 in. (56.2 x 91.8 cm.) Painted in 1...

An artist who knew the vessels he painted firsthand, Baltimore artist Otto Muhlenfeld has captured the Great Lakes Steam Tug CALUMET in a colorful, working profile. Her American Ensi...

'Jhelum River' A luxury boat trip on the Jhelum River near Srinagar, in Jammu and Kashmir, India, 1961. The boat is called the ‘HB Cutty Sark’. 20x20" inches / 51 x 51 cm paper si...

Playfully rendered fine art lithograph of ships and boats docked at port using rich hues of brown, circa 1930. Signed lower right. Original one-o...

Signature: Signed and Dated

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Lower Left

Etching on chine collé mounted to white wove paper, 3 11/16 x 5 (92 x 125 mm), full margins. In good condition with minor mat tone. Printed by Delâtre, Paris. [Guiffrey 34]

Off the French Coast French artist, mid 20th century signed oil on board, unframed board: 18 x 22 inches provenance: private collection, France condition: a few minor scuffs but over...

Hans Kaumann (German, 20th Century) Hamburg Harbor, c. 1920 Etching 12 x 16 in. This historic print depicting Hamburg Harbor offers a look into the past, presenting a c. 1920s view ...

Talented artist Jim Clary's work focuses heavily on his love and passion for the history and beauty of seas and ships. Growing up near the St. Clair River, h...

Original Linen backed vintage travel poster. De Rouen au Havre et vice versa par la Seine Maritime. Billets directs aller et retour Chemin de Fer et...

Original French Line Normandie horizontal cruise line shipping lithograph. Artist Albert Sebillle with signature in the plate, lower right corner. Arch...

Image dimensions: 7.2 x 12.7 cm. New Orleans is a black and white xylograph on paper, realized in 1890 by anonymous artist, of incredible fineness. Of little dimensions but high meticulousness of sign, this original print presents us a lost and historical view on the New Orleans port...

Rivers of the Far West is a colour vintage photo, realized in 1980s. The photo depicts steamboat Mark Twain and canoes passing Big Thunder Mountain and Phantom Manor in Euro Disneyl...

Ancient View of Hong Kong is an original modern artwork realized in Italy in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower ma...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Artwork sold in perfect condition Fabrizio La Torre’s 100th Anniversary Celebration (1921-2021) Set # 12 - By the sea Limited edition of 100 Coffrets for each themes, all artworks pr...

Il traghetto, January 1956. In New York, the ferry with the silhouette so characteristic of this city and the star spangled flag, symbol of the country. Artwork #1 / 5 sold in perfe...

Whitby is an etching realized in 1845 by Edward Francis Finden. Signed on the plate. Titled on the lower center, from the series of "Ports of Great Britain" The artwork is beautif...

Thon, William (American, 1906-2000).; UNTITLED (DRAWING OF A BOAT #2; LIKELY IN ITALY). Ink and watercolor on paper. Not dated. Unsigned. 14 x 17 inches. In excellent condition. From...

Havana Cuba - Historical Photo is a black and white vintage photo, realized in the 1960s. It belongs to historical album including photo reportages of historical moment and political...

People Leaving Cuba is a black and white vintage photo, realized in the 1960s. It belongs to historical album including photo reportages of historical moment and political events, me...

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 thirties, Karl Heinrich Lämmel produced several photographic reports of cities, including Munich and Cologne. Photographs that have yet to be seen and appreciated. Lämmel's pictures show a different view of Germany. His documentation is an unparalleled and intriguing insight into the working and everyday life of the time. Impressive images of cities and their architecture before the destruction of WWII . The print is new, a Premium-FineArt-Print ( Hahnemühle 308g ), it comes in a secure role without passpartout and frame to reduce shipping cost. This sizes are limited to 25 copies per size. Description: Schiffe im Hafen von Hamburg, Deutschland 1930er Jahre. Ships at Hamburg harbor...

Otto Kuhler (1894-1976) original etching, 1923. Title: “Mississippi Evening” Signed in pencil lower right. Title in pencil lower center. Dated lower left, 1923. Image measures 7 7/8...

A fine lithograph print depicting a steamer coming in to dock. This work is part of the Prints for Schools series. The purpose of Prints for Schools was to provide schools and other ...

Leith Pier and Harbour is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good condi...

Signed lower right. Contemporary artist Julian Nemethy is the son of artist Albert Nemethy, and his work can be distinguished from that of his father by the use of fantastical eleme...

Jhelum River A luxury boat trip on the Jhelum River near Srinagar, in Jammu and Kashmir, India, 1961. The boat is called the ‘HB Cutty Sark’. Paper size 40 x 40" inches / 101 x 10...

Pier in Algiers is a lithograph made by Auguste Wahlen in 1844. Good condition. At the center of the artwork is the original title "Molo di Algeri". The work is part of Suite Moeu...

Walk to Sant'Andrea in Trieste 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 "Pass...

Allonby is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork is beautifully realized...

In the realm of vintage travel posters, the Circa 1930 original poster of Albert Sébille for the Cie Gle Transatlantique "France" stands as a remarkable testam...

Entrance to the Port of Dundee is an etching realized in 1845 by W. H.Bartlett. Signed on the plate. Titled on the lower center. Good conditions with slight foxing. The artwork ...

Seascapes With Monument and Figures is an Etching realized by Giuseppe Aloja (1783-1837). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original titl...

Alloney is a lithograph on paper realized by the artist W.H. Bartlett . Signed on the plate on the lower left. Titled on the lower center. The state of preservation is good, only a yellowed paper along the edge. William Henry Bartlett...

Ernest Fiene Along the Kanahawa River, West Virginia, 1936 Signed lower right Oil on canvas 26 x 36 inches Fiene made a series of paintings, drawings and lithographs which are based on his travels through Pennsylvania and West Virginia during the winter of 1935-36. The industrial areas of Pennsylvania and West Virginia are represented in numerous oils, among which are some of his most well-known. Fiene wrote of the trip, "The increasing snow and atmospheric conditions [in the Kanawha River valley} enhanced this mountainous coal mining country with a majestic beauty." Winter on the River is Fiene's only American Artists Group print and there were only two lithographs produced from the West Virginia trip. The American Artists Group (AAG), under the direction of Carl Zigrosser, who was then working at New York's famed Weyhe Gallery, published ninety-three prints by over fifty artists in 1936 and 1937. Zigrosser's goal was to popularize contemporary American art through original prints offered at the low price of $2.75. The project was also a means to provide income for impoverished artists during the Depression. The prints were featured in many of the leading print exhibitions and publications of the period. The lithograph produced from this image is now in the collection of the Amon Carter Museum, Baltimore Museum of Art, Cleveland Museum of Art, Philadelphia Museum of Art, Pensacola Museum of Art, San Francisco Fine Arts Museum, Syracuse Museum, Yale University Art Museum. Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

Jhelum River A luxury boat trip on the Jhelum River near Srinagar, in Jammu and Kashmir, India, 1961. The boat is called the ‘HB Cutty Sark’. 60x60” / 152 x 152 cm - paper size ...

The Harbor in London is an original drawing on paper realized in the early 20th century by Robert Louis Antral . This is an original black and white drawing representing a view of a London harbor...

Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th Century. Signed on the plate on the ...

Durrenstein is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital Letter...

This astonishing ancient view of a street in Tokyo is an original vintage photo applied on cardboard: 26 x 34 cm. It was realized between the 1880s and the 1890s. Image 21.5 x 27.5 cm. Caption in Italian, in ink hand-written. An incredibly vivid view of Tokyo streets...

Eliza Southwood London is the Place for Me Limited Edition Screen Print Edition of 100 Sheet Size: H 75.5cm x W 50cm Image Size: H 73cm x W 48cm Signed and Numbered Sold Unframed Ple...