Baby Landscape Prints

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Artist: Peter Max (1937) Title: Liberty Head II Year: 2001 Edition: 458/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscripti...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

The Small Village is an original artwork realized by Jeannine Hervé in the second half of the XX Century. Original etching on paper. Hand-signed in pencil on the lower right. Numbered on the lower left margin. Edition of 60 prints. Passepartout included (cm 34 x 27). Perfect conditions. Very small but elegant artwork representing a village with buildings. Jeannine Hervé (Morbihan, 1931). Painter, watercolourist, draughtswoman, lithographer, engraver (wood/burin) and art restorer. From 1936 to 1937, Jeannine Hervé studied drawing and then painting with E. Robert and the engraver Adolphe Beaufrère...

James Dean - Gold by David Studwell Screen print with metallic gold ink Limioted Edition, 50 in edition Signed by the artist Complete size of sheet (sheet sizes may vary) Height:...

HENRI DE TOULOUSE-LAUTREC Etude de femme 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inches

This map of Kampen (the ancient Campensis) is an original etching realized by George Braun and Franz Hogenberg as part of the famous Series "Civitates Orbis Terrarum". The “Civita...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 36 (Plate 36), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

Barbara Rosiak is a Polish painter and graphic designer born in 1955 in Lodz. From 1974 to 1979, she studied at the National Superior School of Fine Arts at the Faculty of Painting a...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 108 (Plate 108), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates fro...

To Picasso is an original lithograph realized by Gian Paolo Berto, in 1974. Hand-signed and dated on the lower right margin. Numbered on the lower right margin. Edition of 25. The ...

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Côtes Normandes 1961. Published by Pierre de Tartas, ...

This exquisite lithograph after Fernand Leger (1881–1955), titled Le Sacre-Coeur, Paris (The Sacred Heart, Paris), originates from the 1970 folio Fernand Leger mes voyages avec un po...

This exquisite lithograph after Fernand Leger (1881–1955), titled Le Bistrot, Paris (The Bistro, Paris), originates from the 1970 folio Fernand Leger mes voyages avec un poeme d'arag...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Dent Prompte, Dix poèmes inédits illustrés par Max Ernst, ...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 95 is a beautiful black and white etching and aquatint on paper realized by the Italian artist Ludovico Caracciolo, after Claud...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and 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...

Skeleton is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Torero et le taureau (The Bullfighter and the Bull), from Carnets intimes (Private Sketchbooks), Verve, Vol. VII...

A stunning example of American printmaking, “Red Mountain Relic” is an original etching with drypoint by acclaimed artist Gene Kloss (1903–1996). This atmospheric composition capture...

Ninfe Resting is an original etching artwork realized by Eugène Charvot after Narcisse Diaz de la Pena in 1880 ca. Signed on the plate. Titl...

Artist: Peter Max (1937) Title: Flower Spectrum Year: 1990 Edition: 118/150, plus proofs Medium: Lithograph on Arches paper Size: 26.75 x 26 inches Condition: Excellent Inscription: ...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 12 (Plate 12), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Visage, Femme et Chevre (Face, Woman and Goat), from the folio Derriere le miroir, No. 147, originates from the 1964 edi...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 60 (Plate 60), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

Dimensions: 10 x 24 cm. Interesting etching, representing a gallery of fantastic characters. Artist's Proof titled and hand-signed with pencil on lower margin. In excellent condit...

This exquisite lithograph by Marc Chagall (1887–1985), titled Visage Rouge et Oiseau (Red Face and Bird), from the folio Derriere le miroir, No. 198, originates from the 1972 edition...

Le Cerisier is an artwok realized in  1902  by the French Artist  Paul Emile Colin . Black and white woodcut on paper. Hand Signed on the left corner. The artwork is attached on pa...

Scenic Spots in Kyoto is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 1...

The artwork is print on silk and it is limited edition. A stunning exploration of memory, legacy, and hidden worlds, "Comode" is a surrealist masterpiece blending fine art illustrat...

11 layer-screen print on archival 100% cotton rag paper. Measures 15x22 inches. Based on original linocut from the Al Norte y P’atras/North and Back series. Depicts farm workers in my hometown of Salinas, California. Álvaro D. Márquez is a visual artist and part-time professor of Chicana/o and Latina/o Studies at Cal State LA. Much of Marquez's work explores art as social inquiry, looking at the history of displacement in the Americas, starting with Indigenous dispossession after European conquest, following through to current issues around gentrification and homelessness. Marquez was born into the working-class migrant community of East Salinas, in California’s Central...

Letter of the Alphabet Q, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions with some folding. ...

Bastille Day Paris is an original hand drawn lithograph by the French artist Urbain Huchet depicting a lively French street celebration on Bastille Day, the July 14th French national...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Black and white etching on wire rod paper, representing the Greek myth of the nymph Echo. Wonderful plate with fresh impression and a beautiful use of chiaroscuro, from the volume “...

Landscape is an etching realized by Pierre Quentin Chedel in 1755. Good conditions. Signed on Plate. The artwork is depicted through confident strokes. The etching was realized f...

Great Spit-on Bird is an Original woodcut print realized by Sonia Léwitzka. Good condition on acream colored paper. Signature on the lower right corner. On the back of the paper, ...

Letter of the Alphabet Q, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

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 ...

Landscape is an Original Lithograph realized by Michel Estèbe. Hand signed on the lower right margin. Good conditions. Michel Estèbe is a french artist born in Talence. He studied ...

Image dimensions: 21 x 27 cm. Liber Veritatis - Plate 191 is a beautiful black and white etching and aquatint on paper realized by the Italian artist ...

Image dimensions: 15x20 cm. Nude Lying Down is an original etching realized by an Anonymous artist in ca. 1945. Sheet dimension: 28 x 38 cm Very good con...

This exquisite lithograph after Jules Pascin (1885–1930), titled Venus de dos (Venus from Behind), from the album Pascin, originates from the 1954 edition published by Editions du li...

This exquisite lithograph after Jules Pascin (1885–1930), titled Femme dans un fauteuil (Woman in an Armchair), from the album Pascin, originates from the 1954 edition published by E...

In The Forest is a modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored screen print. Hand signed on the lower right margin. Artist's proof (as reported on ...

La Lessiveuse is an original print in etching technique on ivory paper, realized by Alexandre Decamps (French Engraver; 1803-1860) and by Ch. Bourgeat, a sculptor. Good conditions:...