Julian Trevelyan Landscape Prints

Richard Florsheim created this color lithograph entitled “Warf-Side” in 1962 in an edition of 60 pieces. This impression is signed and inscribed “Trial Proof” and printed at the Mour...

GEORGES ROUAULT (1871-1958) MON DOUX OU-ETES-VOUS? / MY SWEET COUNTRY, WERE ARE YOU? 1927 ( Chapon/Rouault 97; Wofsy 151) Miserere XLIV Aquatint, 1927, on laid Arches. watermark...

Working in the tradition of the Etching Revival, Ernest David Roth made this amazingly conceived and detailed study of the entrance to the Spanish ci...

William Walcot. R.E., R.I.B.A. San Marco. Etching with drypoint and aquatint. Dickins 66, Harvey-Lee 91. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. Housed in a 16 x 20-inch archival mat. Soon after Walcot's arrival in England, the Fine Art Society sponsored a trip sent to Italy. This scene is one of four small drypoints that resulted from the artist’s stay in Venice. When he was seventeen, he began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

Binyon 396 - A fine impression in fine condition in an edition of 20 signed and inscribed by the artist. Strang was a prolific printmaker and across his lifetime produced over 750 o...

Chelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

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...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. The Enchantress with the baby Rapunzel references a Heironymus...

Interno del Pronao del Tempio d'Ercole nella città di Cora is an original etching by Luigi Rossini. From the collection “Le antichità de’ contorni di Roma”(..), Rome, 1826 by L. Rossini, an artist's proof with sharp details, showing Cora’s Ruins. Signed on plate “Rossini dis. e inc.” lower-left corner, with date and place “Roma, 1825”. In very good condition. Image Dimensions: 45 x 57 cm Luigi Rossini (1790 – 1857) Like Giovanni Battista Piranesi, Luigi Rossini was an architect and his etchings have the same tendency to emphasize the massive constructions of the Ancient Rome. He became famous thanks to his etchings representing Roman landscapes and antique monuments...

Twixt Day and Dawn. 1919. Aquatint. Hardie catalog 165 state ii. Image 9 7/8 x 11 1/2 (sheet 13 9/16 x 16 7/8). A masterly inked impression produces subtle lighting variations throu...