Landscape Prints

This print presents a fictitious encounter between contemporary colonial forces and Native Americans who are defenders of immigrant refugees and displaced populations. The artist de...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

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

Artist: Scott Kahn (American, b. 1946) Title: Lunar Eclipse Medium: Archival pigment print (giclée) Hahnemühle fine art paper Edition: Signed in pencil and marked 31/200 Year: 2021 S...

This linocut was inspired by a visit to my favourite national trust garden in Devon, National trust Coleton Fishacre. It's looking down the bay to the sea. It's a reduction linocut, ...

This poster, titled Mount Fuji and Flowers, is based on a piece from the permanent collection of the Metropolitan Museum of Art. David Hockney's work is renowned for its vibrant colo...

New York — The City That Never Sleeps Experience the vibrant energy and timeless beauty of New York City through this authentic 1970s travel poster by R. Meyer. This masterpiece cap...

Louise Bourgeois (1911-2010) Landscape with a Mountain Lake Original etching with aquatint Unsigned On vellum 60.5 × 73.5 cm (c. 24 x 29 in) Authenticated with the blind stamp of C...

Artist: Scott Kahn (American, b. 1946) Title: Early November, Pennsylvania Medium: Archival pigment print (giclée) Hahnemühle fine art paper Edition: Signed in pencil and marked 1/20...

La Plage a Deauville by Georges Lambert, (1919 - 1998) Date: circa 1977 Medium: Lithograph, signed and numbered in pencil Edition: 250 Image Size: 19 x 27.5 inches Size: 21 x 29.5 ...

"A Sunset From The Berkely Hills" - 1921 UC Berkeley Yearbook Lithograph "A Sunset From Berkely Hills" 1921 University of California Berkeley Color Lithograph by Pedro Lemos (Americ...

Artist: Peter Max (1937) Title: Liberty Head X Year: 2004 Edition: 679/700, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 7 x 6.87 inches Condition: Excellent Inscripti...

HAROLD L. DOOLITTLE (1883 - 1974) YOSEMITE 1924 Aquatint signed and titled in pencil and dated in the plate lower left 1924. Image 9 ¾ x 13 ¾, sheet 12 x 16 ¾. Doolittle excelled i...

Victor ZAROU (1930-2013) Small Path in Provence, 1982 Original Lithograph Handsigned in pencil Numbered / 150 (the number you can see can be different) On Vellum 74 x 55 cm (c. 29 x...

Claude MONET (after) Impressionnism : The Nymphs in Giverny Lithogrpah after a painting Printed signature in the plate Numbered / 300 copies On vellum 30 x 59 cm (c. 12 x 24 in) Ex...

These are the foggy woods in the hills of Oakland, across the bay from San Francisco. Shortly after sunrise. Native Bay Laurel trees like the one in the foreground and Coast Live Oak...

Morning light filters silently through dense coastal fog and layers of tree branches. This path through a tangle of redwoods and bay laurel trees is in the woods across the bay from ...

This authentic 1978 original vintage poster is the coveted Style B U.S. one-sheet for National Lampoon's Animal House, with riotous ensemble artwork by American illustrator Rick Meye...

Artist: Alexander Calder Medium: Lithograph Title: Derriere le Miroir #173 (Plate 2) Portfolio: Derriere le Miroir #173 Year: 1968 Edition: Unknown edition, unnumbered, as issued Fr...

Anthony Canham Untitled XXI From Folio "Endlich allein - endlich zu zwein" Color Lithograph 1976 Edition: 150 Not individually signed or numbered Size: 11.8 x 8.25 inches (30.0 × 21....

The Road Across the Wolds reflects David Hockney’s lifelong love of the Yorkshire countryside, featuring sweeping roads and rolling fields rendered in his bold, expressive style. Inc...

Artist: Julian Stanczak (1928-2017) Title: Sequential Chroma Year: 1978 Edition: 2/175, plus proofs Medium: Silkscreen on Somerset paper Size: 30.25 x 25.75 inches Condition: Good In...

The Great Escape – 1963 Frank McCarthy Original Lithograph This 1963 Frank McCarthy lithograph captures the raw tension of one of cinema's great...

JESSIE ARMS BOTKE (1883 – 1971) THE INTRUDER c. 1930 Color woodcut, signed, titled and inscribed “Botke prints” Image 9 ¾ x 11”, sheet 11 7/8 x 14 3/4". On cream laid paper. Califor...

This is an exclusive handprinted limited edition cyanotype. "Pacific Sunset Waves" is an original cyanotype that abstractly shows the sunset reflections on the sea. Details: + Titl...

Jan Both (Dutch, Active 1636-1652) View of the Tiber in the Campagna (The Ferry) Etching, c. 1645-1652 Unsigned (as usual) in this early state Provenance and Collector's Mark verso: Petersen, Lugt 2064 verso Illustrated: Freedberg, Dutch Landscape Prints...

Maurice de VLAMINCK (after) Seine River and Boat in Chatou Color lithograph after a painting Printed signature in the plate On Arches Vellum 50 x 65 cm (c. 20 x 26 inch) Excellent ...

"Venice" Reflections and the Canal Serigraph by Howard Behrens Limited Ed 43/100 Serigraph on paper signed and ltd ed numbered 43 of 100 screened prints made by Howard Chesner Behren...

Old Village by Millard Owen Sheets, American (1907–1989) Circa 1977 Lithograph on Arches, signed and numbered in pencil Edition of 250, AP Image Size: 19.5 x 21.5 inches Size: 23.5 x...

Growing Tall Max Epstein, Canadian (1932–2002) Date: 1980 Screenprint, signed and numbered in pencil Edition of 295 Image Size: 28 x 18.5 inches Size: 35 in. x 23 in. (88.9 cm x 58.4...

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...

ABOUT THIS ARTIST: Jessica Brilli (Sayville, NY 1977) has been drawing and painting since her childhood. Working in a style that encompasses American realism and 20th century graphic...

La Plage a Deauville by Georges Lambert, 1919 - 1998 Date: circa 1977 Medium: Lithograph, signed and numbered in pencil Edition: 250 Image Size: 19 x 27.5 inches Size: 21 x 29.5 in....

This is an exclusive handprinted limited edition cyanotype of gorgeous rolling clouds. Details: + Title: Dense Rolling Clouds + Year: 2025 + Edition Size: 100 + Stamped and Certifi...

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

JESSIE ARMS BOTKE (1883 – 1971) PELICANS c 1927-30 Color woodcut, small edition 13 3/8” x 15 3/8”, sheet 15 x 17”. Signed in pencil. Annotated “Botke Prints” Good impression and col...

"Strawberry Creek At The Class Of 1910 Bridge" - 1921 UC Berkeley Lithograph "Strawberry Creek At The Class Of 1910 Bridge" 1921 University of California Berkeley Color Lithograph b...

Signed and numbered etching and aquatint, signed, titled, and numbered from the edition of 200. Featuring one of the prominent landscape features along the Big Sur Coast - Point Sur....

This artwork titled "High Meadows" 1984, is an original reduction woodcut on paper by noted American artist Gordon Louis Mortensen, b.1938. It is hand signed, dated, titled and numbered 24/130 in pencil by the artist. The artwork (image) size is 20 x 33.75 inches, framed size is 27.75 x 41 inches. Custom framed in a wooden gold frame, with off-white fabric matting and dark green fillet. It is in excellent condition, the frame have some very small minor restorations, practically invisible. Please note: the shadows lines at the upper right of the artwork is not a part of it, it is the reflection of the lighting. About the artist: Born near Arnegard, North Dakota on April 27, 1938, Gordon Mortensen...

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century...

Field by Millard Owen Sheets, 1907 - 1989 Date: circa 1977 Medium: Lithograph on Arches, signed and numbered in pencil Edition: 250 Size: 24 in. x 35 in. (60.96 cm x 88.9 cm) Publish...

This rare exhibition poster features Pierre Bonnard’s La Terrasse, created around 1918–1920, and published as part of the Collection of European Masters for the Kunstsammlung Nordrhe...

M.C. ESCHER (1898-1972) Flight of birds, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 45 x ...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

Werner Bronkhorst Play for Keeps, 2026 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FS...

Lithograph realized by Lucio Rofrano in 1990s. Edition of 150, numbered and hand signed. Excellent condition.

“Come India Is Calling” – Original Air-India Vintage Travel Poster (Linen-Backed) Presenting an original “Come India Is Calling” Air-India vintage travel poster, professionally archi...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism TOPIARY II by Fran...

This is an exclusive handprinted limited edition cyanotype. "Miami Art Deco Pool" shows the movements of water over a tiled swimming pool floor. Details: + Title: Miami Art Deco Poo...

This is a rare hand-painted Artist's Proof by contemporary artist Shizico Yi, created on a deluxe matte-finish giclée aluminium panel. Each edition is 90% hand-painted with Shizico’s...

Richard Estes Salzburg Cathedral, 1983 Silkscreen in colors on Fabriano Cottone Pencil signed and numbered 248/250 on the front Silkscreen in colors on Fabriano Cottone, signed in pe...

Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper 14 1/2 x 10 5/8 inches (367 x 268 mm), full margins. In very...

The Road by Frank Schott country road outside of town, from a series of impressions captured in and around the artist community of Marfa, Texas, longtime residence of minimalist art...

SWEETGRASS CARRIERS is a hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the renowned American artist JONATHAN GREEN printed in 17 colors using h...

NORBERTINE VON BRESSLERN-ROTH (1891 1978) KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928 Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16” In excellent condition and full ...

Kawase Hasui, 'The Beach at Kaiganji in Sanuki Province (Sanuki Kaiganji no hama),' from the series Collected Views of Japan II, Kansai Edition (Nihon fûkei shû II Kansai hen), woodblock print, 1934. A very fine, atmospheric impression, with fresh colors; the full sheet, in excellent condition. Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe ‘D’ seal indicating an early impression printed between 1931 - 1941. Stamped faintly 'Made in Japan' in the bottom center margin, verso. Horizontal ôban; image size 9 3/8 x 14 1/4 inches (238 x 362 mm); sheet size approximately 10 5/16 x 15 1/2 inches ( 262 x 394 mm). Collections: Art Institute of Chicago; Austrian Museum of Applied Arts (Vienna); Honolulu Museum of Art; Museum of Fine Arts, Boston; National Museum in Warsaw; University of Wisconsin-Madison. ABOUT THE ARTIST “I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui Hasui Kawase...

A fine etching with aquatint by the artist Pat Mallinson (1930-2008) depicting Melrose Abbey, Scotland. Signed and titled to the lower margin. Numbered 4/100. On paper. Image size: 2...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Artist: Peter Max (1937) Title: Umbrella Man at Sunrise Year: 2001 Edition: 303/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excellent In...