New York City - Landscape Prints

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream...

William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signed in pencil lower right [also signed and dated in the plate]. Refere...

John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), 1913, Etching. Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated...

April Gornik Remember the Sabbath Day (The Fourth Commandment), 1987 2 Color Lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Signed and numbered AP 12/15, a...

Hand signed by the artist vertically and numbered 15/200 (aside from proof editions of 35) lower left in pencil. Printer's chop mark, lower right. Published to commemorate the 100th ...

Jean-Emile Laboureur (1877-1943), Maisons au Bord de la Mer, etching, 1936, numbered bottom right (26/66) and inscribed in the bottom margin by Suzanne Laboureur (see below). Referen...

Donald Baechler, Sea World, 1999: A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Soft-ground etching and aqu...

Alberto Sanchez Junto al Muelle (60cm x 60cm), 2018 Archival pigment print on fine art paper, mounted on birch panel, resin coated 60h x 60w x 7d cm 23.62h x 23.62w x 2.76d in Editio...

Kent Hagerman was an amazing draftsman who managed to get fantastic detail into his work while showing the environment and atmosphere. This print captures the moment a 'pod' is bein...

Chuzo Tamotzu (1891-1975) Untitled (Southwestern Scene), c. 1950 Lithograph Sight: 12 1/2 x 16 in. Framed: 19 1/2 x 23 1/4 x 1 in. Edition 14 of 30 Numbered lower left, signed lower...

Reproduction of Seascape by Gerhard Richter, published by Achenbach Art Editions in 1991. Framed in a white metal frame with a front profile of 1/4 inch and a side profile of 1 1/2 i...

Currier & Ives The Burning of Chicago, 1871 Hand-colored lithograph 7 5/16 x 12 11/16 inches After undertaking apprenticeships in Boston and Philadelphia, Currier set up a print pu...

The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loos...

Ari Gradus, Israeli (1943 - ) - On The Lomac, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Size: 22 x 30 in. (55.88 x 76.2 cm), Description: Ari...

Chemin De Fer Rhetique, Grisons, Suisse. Chateau De Tarasp. 1913. Color lithograph Cardinaux created an extensive work of different media, he illu...

Original poster commemorating Rene Ricard's 1990 exhibition Mal de Fin: Paintings 1989-1990 at the Petersburg Press Gallery, New York. The image reproduces his painting, Mal de Fin, ...

Linda Plotkin, American (1938 - ) - Costa Secca, Year: 1965, Medium: Etching on Arches, signed, titled, numbered and dated in pencil, Edition: AP, Image Size: 15 x 14.75 inches, ...

Duane Bryers, American (1911 - 2012) - Blue Harmonica, Year: 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP, Image Size: 17.5 x 22 in., Size: 21.5 in....

Catalogue raisonné 00594 edition 16/43 Published by Simmelink-Sukimoto Editions Although best known for his portraits, Katz has depicted landscapes both inside the studio and out o...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

Eugene Berman, Russian (1899 -1972) - Escape from Troy, Year: 1967, Medium: Lithograph on CM Fabriano, signed and numbered in pencil, Edition: 174/250, Image Size: 14 x 11.25 inc...

Joseph Grippi, American (1924 -2001) - White Cloud, Year: 1984, Medium: Screenprint Monoprint, signed and numbered in pencil, Edition: 4/40, Size: 24 x 28.5 in. (60.96 x 72.39 cm)

Joseph Grippi, American (1924 -2001) - Golden Sky, Year: 1973, Medium: Screenprint Monoprint, signed and dated in pencil, Size: 29.5 x 40 in. (74.93 x 101.6 cm)

André Masson, French (1896 -1987) - Pompeii I, Year: 1953, Medium: Lithograph and Chine Colle, signed and numbered in pencil, Edition: EA, Image Size: 12.5 x 9.25 inches, Size: ...

André Masson, French (1896 -1987) - Ruine, Year: 1945, Medium: Lithograph, signed and numbered in pencil, Edition: 10/30, Image Size: 8 x 6.25 inches, Size: 14 x 11 in. (35.56 x...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

André Masson, French (1896 -1987) - Le mythe de Sisyphe, Year: 1962, Medium: Lithograph on Japon, signed in pencil, Image Size: 9 x 7 inches, Size: 10.75 x 8.25 in. (27.31 x 20.9...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Brood Mare Pasture Year: circa 1977 Medium: Lithograph, signed in pencil Edition: 250, A...

Landscape, Vintage Car, Palm Tree, Classic Porsche, Mid Century Modern, Limited Series. Archival Inkjet Print on Semi Gloss 100% Cotton Paper. Mid Century Design. Tom Blachford. Moonlight Classic Porsche in Palm Springs California. This is a limited edition print in a series of 10. Each pieces comes with a hand-signed certificate of authenticity. The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loosening the shackles of Palm Springs and Mid Century, Blachford’s large scale works explores some of the outer reaches of the Modernist movement in Architecture, and captured using only the light of the full moon. Blachford's series is a surreal ode to the landscapes of California and its cache of pristine Modernist buildings. Shot entirely at night, bathed in moonlight, the homes, vintage cars, and foliage appear as they have been captured in another space and time. Recognizing the locations may be easy, but it is more difficult to identity when the image was actually taken, be this day or night, in the past, present, or future. The images act as portals in time where it seems these moments exist in all places at once. For Blachford these unique residences act as the sets for infinite narratives, both real and imagined, which the viewer is invited to script for themselves. Each image acts as a still frame for a story about to start and end simultaneously. California has a unique geography and climate, and this gives rise to a distinct deep blue sky: a hue of moonlight ideal for this approach to architectural photography. The long exposure allows the camera to capture a world just beyond our perception and distil it into a single moment. Midnight Modern has already included Palm Springs' most iconic properties; the Kaufman Desert House...

Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...

Wolf Kahn Untitled, 1982 Original Etching 10 × 15 inches Edition AP (aside from the regular edition of 90) pencil signed, dated and inscribed to Cynthia Frame included: Ships framed ...

Duane Bryers, American (1911 - 2012) - Green River, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22.5 inches, Size: 21.5 in....

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Original exhibition postcard from Christo and Jeanne-Claude's 'The Gates, Project for Central Park, New York City' of a drawing from 2003 in two parts. Framed in a white wood frame w...

Seaside by Georges Lambert, French (1919–1998) Date: circa 1977 Lithograph, signed and numbered in pencil Edition of 200 Size: 21 in. x 30 in. (53.34 cm x 76.2 cm)

Patagonia #32 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pap...

William Tillyer William Tillyer The Mulgrave Suite 2023 Etching, aquatint and embossing with hand colouring in watercolour on paper, Edition of 35, Set of 7 Image size: 40 x 40 cms ...

Alfred Sisley (1839 - 1899) - Bords du Loing, Year: 1890, Medium: Etching, Image Size: 5.25 x 8.5 inches, Size: 7 x 11.25 in. (17.78 x 28.58 cm), Printer: Gazette des Beaux-Arts, Pa...

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...

Also a sculptor, Harry Wickey was a master printmaker and Art Students League teacher. This rural scene pre-dates the much better known, very close subject, John Steuart Curry's li...

Moored below a bridge crossing the Seine, several rowboats of bright colors float before a view of the Notre Dame de Paris in the distance. Identifiable by its signature Rose Window,...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Boyd was a master printmaker. This wood engraving is a marvel of open space. There may have been a horizontal crack in the block. There's a disconnect running across the center. At...

Sunrise over Jerusalem Amos Yaskil Israeli (1935) Lithograph, signed and numbered in pencil Edition of 375 Image Size: 18 x 24 inches Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Watch Us: Together We Can Do It, II 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 29/75 - edition number, date of creation, and artist's signature on re...

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View from Volpaia Milton Glaser, American (19...

Christo and Jeanne-Claude, Christo, Javacheff Christo Wrapped Trees, Switzerland poster (Hand Signed by Christo and Jeanne-Claude), 1998 Offset lithograph (hand signed) Signed Christ...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Harrisville. Year: 1992, Medium: Silkscreen, Signed and numbered in pencil, Edition: 175, Image Size: 11 x 16 inches, Size: 19 x 23 in...

Christo, Christo and Jeanne-Claude, Javacheff Christo The Pont Neuf, Paris Wrapped (Hand Signed), from the Estate of Aviva and Jacob Bal Teshuvah, 1985 Offset lithograph poster (hand signed Christo et Jeanne-Claude) Signed Christo et Jeanne-Claude in orange crayon on the front Unnumbered 24 × 36 1/2 inches Unframed Hand signed Christo et Jeanne-Claude in orange crayon on the front unframed Accompanied by gallery issued Certificate of Guarantee & provenance This elegant vintage poster was published to promote and raise funds for Christo's famous The Pont Neuf Wrapped Project in the mid 1980s. From the estate of Jacob and Aviva Bal Teshuva - authors of books on Christo, collectors, philanthropists and friends of the artist. Provenance Estate of Aviva and Jacob Bal-Teshuva ABOUT THE PONT NEUF WRAPPED PROJECT: On September 22, 1985, a group of 300 professional workers completed the temporary work of art The Pont Neuf Wrapped. They had deployed 450,000 square feet (41,800 square meters) of woven polyamide fabric, silky in appearance and golden sandstone in color, covering: The sides and vaults of the twelve arches, without hindering river traffic. The parapets down to the ground. The sidewalks and curbs (pedestrians walked on the fabric). All the street lamps on both sides of the bridge. The vertical part of the embankment of the western tip of the Île de la Cité. The Esplanade of the Vert-Galant. The fabric was restrained by 8 miles (13 kilometers) of rope and secured by 12.1 tons of steel chains encircling the base of each tower, 3.3 feet (1 meter) underwater. The Charpentiers de Paris headed by Gérard Moulin, with French sub-contractors, were assisted by the USA engineers who had worked on Christo and Jeanne-Claude's previous projects, under the direction of Theodore Dougherty: Vahé Aprahamian, August L. Huber, James Fuller, John Thomson and Dimiter Zagoroff. Johannes Schaub, the project's director had submitted the work method and detailed plans and received approval for the project from the authorities of the City of Paris, the Department of the Seine and the State. 600 monitors, in crews of 40, led by Simon Chaput...

The title, The Wave, lends itself to suggesting that the woman (with her long, flowing hair) is personifying the wave. Or is she one with the wave? Is she push...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

ABOUT THIS ARTIST: Paolo Pettigiani is an Italian photographer and art director. He combines graphic design and photography in one single image, playing with colors, shapes and contr...

Regates by Raoul Dufy is a lithograph from the book Lettre à mon Peintre by Marcelle Oury, printed on high-quality velin Arjomari paper. The artwork is framed in a navy wood frame wi...

Asa Cheffetz Ramshackle Barn (de-accessioned from the Denver Art Museum), ca. 1929 Wood-engraving Pencil signed, numbered 27/100 and titled by the artist on the front 13 × 10 1/4 inches Unframed - affixed to matting De-accessioned from the collection of the Denver Art Museum Asa Chaffetz, "the engraver's engraver" This is the original numbered wood engraving from 1929; not a later re-print This print was honorable mention in the International Exhibition of prints, Art Institute of Chicago, 1929 Exhibited: New England engraved: The prints of Asa Cheffetz: An Exhibition of his wood engraving & an exploration of his life as an artist. Springfield, MA: Museum of Fine Arts, 1984 (A different example) Asa Cheffetz Biography: Born in Buffalo, New York, Cheffetz studied at the School Of The Museum Of Fine Arts in Boston under Philip Leslie Hale...

William Waitzman July (from the Memorial Sloan Kettering Art Collection), 2016 Hand made color silkscreen on wove paper Pencil signed and numbered 6/14 on the front Frame included: M...

Venice Amos Yaskil Israeli (1935) Date: 1980 Lithograph, signed and numbered in pencil Edition of AP Image Size: 18 x 25 inches Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Raoul Dufy, French (1877 - 1953) - Crows in Field, Year: 1912, Medium: Woodcut on laid paper, signed in pencil, Image Size: 1.5 x 3.5 inches, Size: 7.25 x 5.5 in. (18.42 x 13.97 cm...