Jean-Baptiste-Camille Corot Landscape Prints

Joe Zucker The Relocation of Property by Natural Forces Rubber stamp print on Arches 88 paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper size: 8 x 8 in...

This striking vintage 1930s black-and-white lithograph by celebrated Colorado artist Arnold Ronnebeck (1885–1947) captures the dynamic energy of the Grand Lake...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Hilltopper is an original, hand drawn, limited edition lithograph(not a photo reproductioon or digital print) by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100% acid free. Hilltopper is a finely detailed winter landscape drawing depicting a snow covered hilltop with a lone, English style horseback rider and nature details including dried grasses, branches, and large bare tree firmly anchored to the frozen earth. Print size - 32 x 27 inches, unframed, excellent condition, pencil signed by Peter Sculthorpe, inscribed PP#8(Printers Proof) aside from the edition of 275 Edition size - 275, plus proofs Year published - 1989 Printer - J K Fine Art Editions Co. NY Peter Sculthorpe's paintings are well known for their true to life depictions of rural stone barns, color changing shadowy skies, snow covered landscapes, cows, horses, lone figures that capture the countryside and stone architecture of the Brandywine Valley...

Color lithograph with pochoir, Edition25 Susan Hall lived and worked for many years in New York City before returning to her childhood home in Point Reyes Station, California. She depicts moments suspended in the mysterious light of this place of marshland, wave-broken coast line and tawny, rolling hills. In Susan's latest prints Solitary Oak and As the Moon Rises...

This is an exclusive handprinted limited edition cyanotype. Lovely scene of a hidden pond in a Scandinavian forest. Details: + Title: Scandinavian Enchanted Forest + Year: 2024 + ...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...

This beautiful 19th century framed engraving "Line Fishing Off Hastings" by William Miller is based on an original painting by the renowned British artist J.M.W. Turner, which depicts a scene of fishermen at work off the coast of the town of Hastings in East Sussex, England. The Miller engraving faithfully reproduces Turner's painting, capturing the same atmospheric quality and sense of motion. In the foreground of the image, a group of fishermen are shown in a small boat, with one man using a fishing line to catch fish. In the background, there is a larger ship, along with a view of the town of Hastings and the cliffs beyond. Overall, the Miller engraving "Line Fishing Off Hastings" is a beautiful and detailed representation of Turner's original painting, and provides a glimpse into life in a 19th century fishing community. This colorful 19th century engraving is presented in a gold-colored wood frame and a cream-colored French mat highlighted with a light blue band and thinner mustard and gold-colored bands. There is a gold-colored fillet which further embellishes the engraving. The frame measures 18" high, 20.5" wide and 1" deep. The engraving, frame and mat are in excellent condition. Joseph Mallord William (J.M.W.) Turner (1775-1851) was an English painter who is widely considered one of the greatest landscape painters in Western art history. Born in London, he showed a remarkable talent for art from a young age, and studied at the Royal Academy of Arts from the age of 14. He quickly gained recognition for his watercolor landscapes, which were highly innovative and expressive. Turner's style evolved over time, and he became increasingly interested in the effects of light and color. He traveled extensively throughout Europe, and his experiences of the natural world, particularly the sea and the sky, had a profound influence on his art. His paintings are known for their luminosity, atmospheric effects, and dramatic use of color. Despite facing criticism and ridicule from some of his contemporaries, Turner continued to push the boundaries of art, experimenting with new techniques and styles throughout his career. He was a prolific artist, creating thousands of paintings, sketches, and watercolors, and his legacy continues to inspire artists today. William Miller (1796-1882) was an English engraver and publisher, best known for his work in reproducing the paintings of J.M.W. Turner. Miller was born in Bristol and began his career as an engraver at a young age, working for a variety of publications and artists. In the early 1820s, Miller began working with Turner, engraving many of the artist's most famous works, including "The Fighting Temeraire...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

This beautiful 19th century framed hand-colored engraving/etching entitled "Ullyses Deriding Polyphemus" by Edward Goodall is based on an original 1829 painting by the renowned Briti...

New York: c 1920. Etching with aquatint printed in brownish black ink on cream wove paper, 8 3/4 x 12 inches (220 x 304 mm), full margins. Signed and titled in pencil in the lower ma...