Theodore Casimir Roussel Landscape Prints

This artwork titled "Arch Beach, California" c.1910 is an original etching on Wove paper by American artist Harley DeWitt Nichols, 1859-1939. It is hand signed and titled in pencil by the artist. The plate mark (image) size is 6.5 x 9.5 inches, framed size is 13 x 17 inches. it is custom framed in a wooden silver frame, with off white matting. It is in excellent condition, especially considering the age. About the artist: Born in the small rural Wisconsin town of Barton, Harley lived a peripatetic life. As a young child, he accompanied his family to Lincoln, Nebraska where he found great excitement in the roaming herds of buffalo and Native Americans. It was in these years that a talent for drawing was discovered. In 1870, after several years of hardship, his father moved the family back to Wisconsin. At the age of 11 he became a water boy...

This artwork "l'Entree du Port, Netherland" c. 1930 is an original color aquatint on wove paper by French/Armenian artist Heran Chaban, 1887-1939. It is h...

Vibrant screen print of people gathering around a pond by Jane Leddy (American, 1925-2019). People and various animals - including goats, ducks, and cows - ...

House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg catalog 13 state .i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression pr...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126 state v/vi. Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with extensive plate tone with plate tone on 'Va...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

Engraved by Claudine Bouzonnet-Stella (French, 1636-1697) After Jacques Stella (French 1596-1657) The Wedding Procession - Le Cortege nuptial • Copper engraving on laid paper • Sh...

Artist: Henri Le Sidaner (French, 1862-1939) Title: "Pavillon dans les Arbres (Pavilion in the Trees)" Portfolio: Henri Le Sidaner (Camille Mauclair) *Issued unsigned, though signed by Sidaner in the plate (printed signature) lower left Year: 1928 Medium: Original Etching on Rives BFK paper Limited edition: Unknown Printer: Unknown Publisher: Galeries Georges Petit and Henri Floury, Paris, France Reference: Bibliothèque Nationale No. 12 Sheet size: 11" x 8.38" Image size: 9.25" x 7.13" Condition: Some minor foxing on verso. It is otherwise a strong impression in excellent condition Notes: Printed in one color: bistre. Comes from Camille Mauclair's 1928 book publication "Henri Le Sidaner" which contained two bound original drypoint etchings by Sidaner. Comes with its original tissue cover...

This is a pair of framed hand-colored prints, both utilizing engraving and etching techniques, depicting two London architectural landmarks: "The National Gallery, Charing Cross" and "Covent Garden Market" from the Stationers' Almanac, published in London by J. Robins & Sons in the early 19th century. Both of these prints show vibrant London street scenes with markets, carriages, common people as well as the wealthy in the foreground of "Covent Garden Market" and wealthy well dressed people, carriages, a begger, street merchants, as well as uniformed military on horseback in the foreground of "The National Gallery". "The National Gallery, Charing Cross" was created by James Sands from a painting by Thomas Allom (1804-1872), published in 1836. "Covent Garden Market" was created by Frederick James Havell (1801–1840/41) after a painting by William Havell...

This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757. This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island...