Framed Landscape Prints

Richmond Park, from London Parks by Julian Trevelyan, 1969-70 Additional information: Medium: etching, aquatint and soft-ground (unframed) 58.5 x 77 cm 23 1/8 x 30 1/4 in signed, ti...

"Suez, General View" is a 19th century folio sized tinted duo-tone lithograph, plate 124 from the "The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia" volume of David Roberts’ large folio edition, published in London by F. G. Moon in 1843. The lithographs were prepared by Louis Haghe (1806-1885) from paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. The lithograph depicts the Suez city skyline on a peninsula with boats moored in the bay. Men, dressed in traditional Arab costumes, rest on a hillside In the foreground with their camels, weapons and presumably goods for sale and trade. This tinted lithograph, which is professionally framed in a decorative gold-colored wood frame with cream-colored double mats. The print is in excellent condition. There are four additional listings of David Roberts hand colored engravings of Egypt...

Two figures plant a tree in this striking woodcut by Clare Leighton. The print is from Leighton's 1935 book *Four Hedges,* which documents her experience creating a garden over the c...

Alongside, 1941 Tod Lindenmuth (American, 1885-1976) Color Woodblock Print 9 x 7 inches 19.75 x 14.5 inches with frame Signed Lower Right Titled and Dated Lower Left A founder of the Provincetown Art Association and one of the original Provincetown Printers, Tod Lindenmuth was a semi-abstract painter and graphic artist who did much to promote modernist styles. Although he was much influenced by Abstract Expressionism, his subject matter was realistic enough to be recognizable. He did linoleum cuts and was one of the first to work with that medium, and towards the end of his life, he experimented with collage. In the 1930s, he had commissions for the Public Works of Art Project and the Works Progress Administration. Lindenmuth was born in Allentown, Pennsylvania. He studied with Robert Henri at the New York School of Art in Manhattan, and in Provincetown with E. Ambrose Webster and George Elmer Browne. He first exhibited in Provincetown in 1915, and between 1917 and 1928 served on the jury for the Provincetown Art Association's 'First Modernistic Exhibition". He exhibited regularly with the Society of Independent Artists in New York. He married artist and illustrator Elizabeth Boardman Warren...

Beethovens Residence at Mödling - Vintage Colored Etching by Henry Goering WWII Hand colored etching of the Christof House (the Yard of Christ) by Henry...

By J. Torrents Llado 35" x 24" Serigraph, Edition 65/75 Hand signed in pencil, bottom right. Hand numbered in pencil, bottom left. This Impressionist-style serigraph by National Tr...

This Limited Edition print, "Into the Light," by Daniel Pollera is a contemporary realist seascape that depicts a Bay House in Long Island. The Bay House can be seen to the right, su...

3722 Japanese Woodblock on paper set in a vintage wood frame Image size 9x10.5"

This framed early 19th century map of North America entitled "Nord-Amerika" is plate No. LIV (No. 46) from Adolph Stieler's Hand-Atlas, published in Gotha, Germany by Justus Perthes ...

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...

A contemporary woodcut print of a waterfall in a forest in silver ink. The monotype brings to mind the tradition of Japanese printing while being distinctly contemporary. Edition 1...

This artwork titled "Summer Field" 1965, is an original etching on Wove paper by noted American artist Richard Claude Ziemann, b.1932. It is hand signed, titled, dated and inscribed ...

This artwork titled "Kazakh Steppes" 1965, is an original etching on Wove paper by noted American artist Richard Claude Ziemann, b.1932. It is hand signed, titled, dated and numbered...

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

This artwork titled "Facing the Sun, Gyakko" is an original color aquatint by noted Japanese artist Shogo Okamoto, 1920-2001. It is hand signed, dated and numbered 62/100 in pencil b...

Mykonos Horizon Thomas McKnight, American (1941) Screenprint, signed and numbered in pencil Edition of 147/200 Image Size: 36 x 18 inches Frame Size: 52 x 34 inches

3rd State Watermark: Gekrontes Wappen. Similar to: Paschal Lamb on Shield, Ash & Fletcher no 29 B’a, dating this sheet to about 1651.

large format original photograph of the iconic Mediterranean rock pools of Calafuria Vaschette in Tuscany by iconic Italian photographer Massimo Vitali, renowned for his grand scale ...

In response to a massive oil spill off the coast of Southern California in 1969, Wisconsin Senator Gaylord Nelson initiated the idea of the first annual Earth Day on April 22, 1970, ...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 2 of 5. Kristin Moore says o...

This artwork titled "Marshland" 1962, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated, titled and numbered 31/40 in pe...

This artwork titled "Fallscape" 1961, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated and numbered 15/40 in pencil by ...

Jean Solombre, French (1948 - ) - Tu aimerais ce que j'aime et ce qui m'aime: l'eau, la images, le silence et la nuit, Year: 1981, Medium: Etching with Aquatint on Arches, signed, ...

The midsummer full moon casts its pale light over the skeletal remains of a deceased oak. Twilight's Path ‘Now air is hushed, save where the weak-eyed bat With short shrill shriek flits by on leathern wing, Or where the beetle winds His small but sullen horn As oft he rises 'midst the twilight path Against the pilgrim, borne in heedless hum’ – William Collins (1721–1759), Ode to Evening. "Once in a while (helped by a bit of planning) everything comes together and you take a photograph that feels really satisfying. However much one reads about artists/photographers trying and failing, taking many shots to end up with that one that works, it’s hard to remember. Just keep showing up, keep doing what you do, it won’t always work out, but sometimes things flow and something special can come through." - Jasper Goodall...

Tomas Sanchez Simplemente un vuelo, 1990 Serigraph Ed 4 of 250 21 x 16 in

This early 19th century etching entitled "Veduta degl' Avanzi delle Torri di Belisario Dalla parte che guarda l' Interno della Città, vicino a Porta S. Giovanni, A. Mura Aureliane" (...

This artwork titled "Honolulu Shaved Ice" 1986, is an original color lithograph on paper by noted French artist Guy Buffet, 1943-2023. It is hand signed and numbered P.P. 2/5 in penc...

A beautiful aquatint etching of a serene pastoral scene in the Picardy region of northern France by Paul Emile Lecomte (1877-1950). A mother and child are seen walking down a path in...

Serigraph printed in colors on paper. Hand signed, dated and numbered by Melanie Taylor Kent. Remarqued lower margin. Printer's Proof edition. ...

It almost makes one want to board Aeroflot to see this firsthand…maybe going out of Istanbul? Well no. And yet, there’s a universal energy on full display in this view by a master im...

This a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Reliquiae Theartri Pompejani" (Remains of the Theatre of Pompey) from "Il Campo Marzio dell'Antica Roma" (The Campus Martius of Ancient Rome), published in Rome in 1762. It depicts the remains of an ancient theater in Rome with exposed seating and an arch still standing in the foreground. An inset shows an architectural side view of a portion of the structure. The etching is presented in an antiqued silver-colored wood frame with a cream-colored French mat. The frame measures 24" x 20.75" x 1.25". The print is in excellent condition. The Theatre of Pompey (Latin: Theatrum Pompeii, Italian: Teatro di Pompeo) was a structure in Ancient Rome built during the latter part of the Roman Republican era by Pompey the Great...

This artwork titled "Pau Hana" c.1990 is an original color lithograph on paper by noted French artist Guy Buffet, 1943-2023. It is hand signed and numbered H.C. 1/10 in pencil by the...

Waiting from the Kent Bicentennial Portfolio Will Barnet, American (1911–2012) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 11.25 x 11 inches Size: 17 x 14 in. (43.1...

Artist: Henri Matisse (after) Title: L'escargot Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Framed Size: 17" x 17" Sheet Size: 14" x 10 1/2...

Christo The Umbrellas (Yellow) (FRAMED - either black or white frame - you choose) Lithoserigraph Year: 1991 Size: 14.6 × 16.4 on 19.1 × 19.9 inches Framed: 20.5 x 20.5 x 2.5 inches ...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

This artwork "Horse Ride, Hawaii" c.1985, is an original color lithograph on paper by noted French artist Guy Buffet, 1943-2023. It is hand signed and numbered 065/300 in pencil by t...

John Beerman, American (1958 - ) - Night at Sandia Mountain, Year: 2004, Medium: Lithograph, signed, dated, titled and numbered in pencil, Edition: CTP 3, Image Size: 6 x 9 inche...

Luigi Lucioni, American (1900 - 1988) - Stony Pasture, Year: 1943, Medium: Etching, signed in pencil, Image Size: 7.75 x 11 inches, Frame Size: 15.75 x 18.5 inches

Pink Flowers - Limited Edition Naive Serigraph Colorful serigraph by Croatian naive artist Ivan Rabuzin (b. 27 March 1921, d. 18 December 2008.) Three giant pink flowers stand in a ...

This artwork titled "Cannes, La Croisette" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Jean Claude Picot, 1933-2020. It is hand signe...

This is from his New York series consisting of 10 original lithographs signed & numbered. Limited edition of 150 numbered and 30 AP.. It is number 58 in the catalogue of lithographs. The size is the registered paper size plus the frame. Vol.1 Bernard Buffet lithographs...

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

Framing Included in Listing Price, Free Shipping, 14-Day Return Policy. Gibbous Moon Willow (2012) by Susan Derges. 24 x 13.5 inches Digital C-Print Edition 9 of 9 *Last print av...

Wonderful Vintage Archibald Thorburn colored chromolithograph. The colors are amazing, giving the painting a really great appearance . Printed circa 1919, the picture is inscribed ...

This abstract landscape limited edition print by Elwood Howell features a vibrant blue palette. Light green and violet accents contrast with the bright blue landscape, which creates ...

Shift Change Mike Goscinsky, American (1933–2021) Woodblock on thin wove paper, signed, titled and numbered in pencil Edition of 15/75 Image Size: 14 x 19 inches Size: 22 x 26.5 in. ...

Framed 24 x 21 in No. 400 in the Catalogue Raisonne of Chagall's lithographs This lithograph came from "The Lithographs of Chagall: Volume II" by Fernand Mourlot and Marc Chagall....

Signed (at lower right): C A Walker

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Published By New York Graphic Society, 1979. Printed In Italy In Good Condition Measures 19 in x 21 in.

Very nice original hand colored copper plate etching (aquatint) by the Hungarian born artist, Marianne L. Almasy. Depicts a Parisian flower girl selling her bouquets with the iconic cathedral of Notre Dame. Handwritten bottom left in pencil, original etching 136/295. Handwritten in pencil by the artist lower right, L. Marianne. Condition: excellent. Provenance: Sarasota, Florida estate. Professionally matted with a one inch solid oak frame in a medium walnut stain. Overall 24 by 19 inches. Marianne Almasy...

Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine ...

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...

A fine hand coloured 18th Century engraving after the original by Piranesi (Rome 1743), published by Danisy, Paris. Presented in period gold leaf frame, under glass. Piranesi was born in Venice, in the parish of S. Moisè where he was baptised. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, Matteo Lucchesi, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced him to the art of etching and engraving of the city and its monuments. Giuseppe Vasi found Piranesi's talent was much greater than that of a mere engraver. According to Legrand, Vasi told Piranesi that "you are too much of a painter, my friend, to be an engraver." After his studies with Vasi, he collaborated with pupils of the French Academy in Rome to produce a series of vedute (views) of the city; his first work was Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna. From 1743 to 1747, he was mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice. It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and antiquarian engravings. He then returned to Rome, where he opened a workshop in Via del Corso. In 1748–1774, he created an important series of vedute of the city which established his fame. In the meantime Piranesi devoted himself to the measurement of many of the ancient buildings: this led to the publication of Le Antichità Romane de' tempo della prima Repubblica e dei primi imperatori ("Roman Antiquities of the Time of the First Republic...

John Copley (1875 - 1950) Birds at Evening 1932 Image: 15 x 21.2 cm Frame: 33.0 x 38.2 cm Painter and printmaker John Copley was born in Manchester in 1875. He trained at Mancheste...

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

large format photograph of Gulpiyuri, a flooded sinkhole with inland beach in Northern Spain, by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographica...

This coastal Limited Edition print by Daniel Pollera pictures a sandy walk with wooden fencing and grass on either side, leading to a beach. Two beach chairs and an umbrella overlook...