Continental US - Landscape Prints

THOMAS HART BENTON (1889-1975) PLOUGHING IT UNDER (aka Ploughing) 1934 (Fath 8) Original lithograph, signed in pencil. Edition of 250 as published by Associated American Artists (AA...

SUNRISE II is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1980 in an edition of 165, using traditional hand lithography techniques on archival paper, 100% acid free. SUNRISE II features a pop art landscape with a black line drawing depicting an elegant woman wearing an off shoulder dress against an imaginary rainbow color landscape. SUNRISE II is a magical, hippie art...

Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Édition...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool green palette and captures a landscape scene with lush foliage and rol...

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, ...

Paper: 25.25 x 20.5 in. / 64.1 X 52 cm. Image: 10.75 x 11.5 in / 27.3 x 29.2 cm. One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 bo...

Original vintage travel poster: Leamington Spa. Art Deco British travel poster created by the artist Freda Lingstrom. This poster is archival line...

Artist: Bernard Buffet, French (1928 - 1999) Title: Place de la Concorde Year: 1968 Medium: Lithograph, signed in the plate Size: 25.5 x 19.5 in. (64.77 x 49.53 cm) Frame Size: ...

Charming vintage Aquatint/etching titled "In the Forest" from the Paris Etching Society by French artist Pierre Maulin (France, late 19th-early 20th Cent...

Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Édition...

Edition of 110, signed and numbered lower right

Abstract landscape monotype of a large cumulus cloud in soft pink and periwinkle blue 12 x 12 inch image on 22 x 33 inch Rives BFK paper Rives BFK paper is made of cotton, has deckle...

Marie Therese Vacossin Geometric Composition Medium: Colour Silkscreen Year: 1979 Signed, dated, titled, numbered or inscribed Edition: 10 Size: 8.2 × 8.2 on 14.0 × 13.3 inches COA ...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Japanese Woodblock print of a Biensennyo-ko a powder face women. Behind the women is a framed cityscape. The print is possibly from the series "Eight Favorite Things in the Modern World". The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Keisai Eisen...

Signed, titled and numbered aquatint print. In the Fall and Winter cool damp fogs often descend upon the hills around Petaluma. This can be a magical time to wander through the nativ...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Édition...

The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Artist: Raoul Dufy, French (1877 - 1953) Title: The Band Year: 1949 Medium: lithograph, signed in the plate Size: 19 x 29.5 inches Frame Size: 25.5 x 36 inches Printed by Baynard Pr...

This giclee on canvas called "Near Amalfi" by Howard Behrens is embellished and signed by the artist. It is numbered 11/25. Framing options are available.

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Measures 27 x 32 inches and is unframed. The date of creation is unknown, but is believed to be within the Late 20th Century. The piece is in Fair/Distressed Condition-indentation/su...

Artist: John Sell Cotman (English, 1782-1842) Title: "Entrance to the Castle at Tancarville" (Vol. 2, Plate 86) Portfolio: Architectural Antiquities of Normandy Year: 1822 Medium: Or...

The image show a panoramic view of the architectural arches and the boats in the harbor of Dieppe in Normandy France. Dieppe was occupied by German naval and army forces after the f...

This is an original John James Audubon hand-colored royal octavo lithograph entitled "Grizzly Bear", No. 27, Plate CXXXI from Audubon's "Quadrupeds of North America". It was drawn on...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

Artist: Arman (1929-2005) Title: Grey Mood Year: 1978 Edition: 54/150, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 22.25 inches Condition: Good Inscription: Signed and ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Titled in lower left corner ("Coast July No. 2") Numbered lower center ("9/23") Signed and dated twice in lower right, once inside the artwork, once below ("Bothwell '63" and "Dorr Bothwell '63") Presented in a cream colored mat with foamcore backing. Mat size: 24"H x 28"W Paper size: 20"H x 26"W Dorris Hodgson Bothwell (American, 1902–2000), known as Dorr, was born in San Francisco, California, on May 3, 1902. The Bothwell family moved to San Diego in 1911, where they became friends and neighbors with the artists Anna and Albert Valentien. Dorr began her art studies with Anna in 1916 at the age of 14. In the early 1920s, Dorr returned to San Francisco to study at the California School of Fine Arts, then studied at the University of Oregon, in Eugene, and the Rudolph Schaeffer School of Design, which was founded in San Francisco, 1926. After receiving a modest inheritance, Dorr traveled to American Samoa in 1928, where she remained for two years and produced many works of art in a wide variety of mediums. Some of these were successfully shown at the Fine Arts Gallery of San Diego and the Beaux Gallery in San Francisco, allowing her to spend time in England, France, and Germany. Returning to San Diego in 1931, Dorr became involved, once more, with the San Diego art community and exhibited with the San Diego Moderns...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

A dynamic mid 20th century copy of a lithograph that depicts Englishmen on horseback giving chase with a pack of beagle-type dogs running in the background. by John Frederick Herring...

Next Sign by Frank Schott from a series of works capturing conceptual roadside signs in iconic American landscapes captured with a large format camera to allow epic scale print s...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...

This print by Pablo Picasso is a prime example of the artist's manipulation of perspective and reduction of subjects into simple, flat forms rendered in a geometric and angular fashi...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-Lautrec, 1950. Published by Librairie Au Pont des Arts, Paris; rendered by Daniel Jacomet; and, printed by Ateliers Daniel Jacomet et Cie, Paris, Monday, October 30, 1950. Excerpted from the folio (translated from French), This album, including all the prints dedicated by Toulouse-Lautrec to Yvette Guilbert, was printed for the Librairie Au Pont des Arts, by D. Jacomet. The color state of the Colombine plate in Pierrot and the twenty-seven plates of the French and English series were executed according to the original lithographs (before the letter for the French suite) from the Toulouse-Lautrec workshop and kept in the Cabinet des Stampes of the National Library. The collection includes three plates in color and twenty-eight plates in black. All copies also include a lithograph: Colombine à Pierrot, taken, after special authorization from the Musée d'Albi, on the original stone of Toulouse-Lautrec, by Lucien Détruit. It was taken from this album: A non-trade and nominative example; L examples on a large vélin of Rives including: III proofs of the lithography Colombine à Pierrot printed...

Lithograph on vélin Lafuma Navarre paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the album, Dessins de Henri-Matisse, 1925. Published...

Artist: Brian Rice (1936) Title: Colossal Year: 1967 Edition: 25/75, plus proofs Medium: Lithograph on Arches paper Size: 25.25 x 22.75 inches Condition: Good Inscription: Signed and...

Signed, titled artist proof. Edition of 135. Like much of his work, Royal Palm has atmosphere of the Mediterranean, but all of the elements are rooted in the artist's neighborhood. ...

Signed and numbered from the edition of 88. This tranquil scene of the moon at night by the waters' edge shows Schwaberow's technicque at its best. The grain of each piece of wood plays into the image perfectly. Micah Schwaberow was born in Eugene, Oregon and currently resides In Santa Rosa, California. The rolling hillsides, cloudscapes and coastline of Sonoma County are a major motif in his woodcuts. Seascape with light reflecting on the water just after sunset. Micah learned the art of Japanese woodblock art...

This realistic nautical limited edition print by Michel Brosseau captures a view of a small white dinghy boat tied to a dock. Two ores rest inside the small boat, which is surrounded...

"The Queen Flower" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, color...

PROVINCETOWN FISHING NETS is a limited edition lithograph by the American artist/sculptor Chaim Gross. PROVINCETOWN FISHING NETS was printed using traditional lithography methods on ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 3 (double) Juin 1952,...

A very good impression of this scarce lithograph on wove paper. , Printed by Lemercier & Cie, Paris and published by Alfred Robaud. From "Douze Croquis et Dessins Originaux." Catalo...

Lithograph on vélin Lafuma Navarre paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the album, Dessins de Henri-Matisse, 1925. Published...

Color lithograph on Somerset white wove paper. Signed, dated and numbered 2/90 in pencil, lower margin. Printed by Derriere L'Etoile Studios, New York. Published by Brooke Alexander ...

"Woods Cove" is an beautiful 90 color hand pulled serigraph created from the oil painted on location in Laguna Beach, California by Maria Bertran. This Contemporary Impressionist pai...

"Moorea" is an beautiful hand pulled serigraph created from the oil painted on location in Tahiti by Maria Bertran. This Contemporary Impressionist painting captures a timeless scene...