Realist Prints and Multiples

This artwork titled "La Espera" 1973 is an original colors lithograph on Arches paper by renown Costa Rican/Mexican artist Francisco Zuniga, 1912-1998. It is hand signed, dated and n...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), At the pond, 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 148’, 23....

After David Loggan (1634 - 1692) Christ's College, Cambridge Engraving 40 x 46 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engrave...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Scotch thistles bloom in the foreground while from the fog emerge towering Monterey pines behind them. These are the woods across the bay from San Francisco in early summer when this...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

This is an original 19th century duotone lithograph entitled "One of the Tombs of the Caliphs, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, p...

This is an original 19th century duotone lithograph entitled "Bab En Nasr, or Gate of Victory, And Mosque of El Hakim, Cairo" by David Roberts, from his Egypt and Nubia volumes of th...

This is an original 19th century duotone lithograph entitled "Island of Philae, Looking Down the Nile" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, ...

This is an original 19th century duotone lithograph entitled "Ruins of Erment, Ancient Hermontis, Upper Egypt" by David Roberts, from his Egypt and Nubia volumes of the large folio e...

This is an original 19th century duotone lithograph entitled "General View of Kalabshee, Formerly Talmis, Nubia" by David Roberts, from his Egypt and Nubia volumes of the large folio...

This is an original 19th century duotone lithograph entitled "Scene on the Nile Near Wady Dabod, with Crocadiles" by David Roberts, from his Egypt and Nubia volumes of the large foli...

James Basire & John Carter Architectural details of St Albans Cathedral Engraving 62 x 46 cm This engraving was originally published by the Society of Antiquaries of London, an o...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable offers will be considered. About the artist: As a self taught artist, Jake's style has developed over many years, evolving since childhood. Early in life he nurtured a bond with nature and wildlife that eventually became the basis for his artistic endeavors. Jake captures the landscape with striking compositions emphasizing light and color. Among the artist\'s favorite subjects are serene lakes, forests, and mountains of North America. Jake has enjoyed a popular following throughout the past 23 years that he has been showing, and his art continues to attract collectors throughout Canada and beyond. His art has found homes in his native province of Ontario, as well as internationally. He is honored to have collectors as far away as Japan, Dubai, Europe, as well as a growing clientele in Western Canada.

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Cambridge (1690) Engraving 80 x 50 cm Loggan's marvellous and large view of Trinity from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells...

James Basire & Robert Blemmell Schnebbelie Monument of King Edward IV in St George's Chapel at Windsor Engraving 50 x 32 cm This engraving was originally published by the Societ...

James Basire & John Carter Stalls in Tiltey Church Essex & Stalls in the Choir of Rochester Cathedral Engraving 50 x 32 cm This engraving was originally published by the Society ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message...

This is an original 19th century duotone lithograph entitled "The Temples of Aboo-Simbel, From the Nile" by David Roberts, from his Egypt and Nubia volumes of the large folio edition...

The Dartmouth Portraits aer reworked plates from an earlier drypoint self portrait series done in 1971. For the second set, Dine used the same plates, the same theme and, in most cas...

'Sister' , by contemporary printmaker and artist Rosie McLay (British) Edition 59 of 75 in total, handmade etching by the artist. Ink on paper layed on Dutch gold leaf. Hand etched ...

This is a hand-colored engraving depicting the natural history of Pinkunderwing Moths, Cream Spotted Tyger Moths in their natural botanical environment, which is plate 4 from Moses H...

Limited edition aquatint etching of the New York City skyline by Katherine E. Gallagher. This piece features the famous Chrysler Building prominently in the background along with a M...

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...

This coastal seascape limited edition print captures a scene from the porch of a beachfront property along the coast. A setting sun casts sharp light and cool blue-grey shadows across the porch, where two sets of shoes and two boat paddles...

This is an original 19th century duotone lithograph entitled "View from Under the Portico of Dayr-Medeeneh, Thebes" by David Roberts, from his Egypt and Nubia volumes of the large fo...

This is an original 19th century duotone lithograph entitled "Temple of Wady Dabod, Nubia" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) LE PETIT CAVALIER SUR BOIS. 1854 (1921) (Delteil 42) Cliché-verre on thin vellum. Signed in plate at bottom. 8 1/4 x 6 5/16” (sheet size)....

David Loggan (1634 - 1692) Queens' College, Cambridge Engraving 37 x 45 cm An eighteenth-century view of Queens', Cambridge, engraved by David Loggan, the noted engraver, draughtsm...

David Loggan (1634 - 1692) Sidney Sussex College, Cambridge Engraving 33 x 45 cm An eighteenth-century view of Sidney Sussex, Cambridge, engraved by David Loggan, the noted engrave...

Early black and white still life photograph of a fireplace. The piece also documents the various items used to decorate the hearth including woven basketed and earthen pots...

G. Paterson "Dinner Party at a Mandarin's House" Original Engraving After T. Allom C.1840 Original engraving Dimensions 8" wide x 5" high The frame measures 20.5" wide x 18.5" hig...

First Edition lithograph Full plate: 16 Presented in a acid free mount Modern hand-coloured lithograph for the first edition of David Roberts' The Holy Land. Published by F.G. Moon...

Color etching and aquatint on wove paper. Signed, titled and numbered 56/100 in pencil. This etching is made after the painting of the same subject "Woman in Yellow Dress...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Joseph Constantine Stadler (1755 - 1828) after William Westall (1781 - 1850) Trinity Library...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Compan...

Riga. 1969, paper, silk screen printing, 62x74 cm Josif Elgurt (1924-2007) Born in 1924 in Kishinev in Romania. In 1947 resumed his art studies in Kishinev. Since 1952 he has lived...

Howard Scott Loose Talk Can Cost Lives Lithograph 51 x 36 cm 'Closed for the duration...Loose talk can cost lives.' In both the United Kingdom and the United States, there was a ...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

David Loggan (1634 - 1692) Clare College, Cambridge Engraving 36 x 42 cm An eighteenth-century view of Clare College, Cambridge, engraved by David Loggan, the noted engraver, draugh...

David Loggan (1634-1692) Prospectus Cantabrigiae Orientalis & Occidentalis Engraving 32 x 46 cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. ...

This is an original 19th century duotone lithograph entitled "Tombs of the Mamelukes, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published ...

Boston: American Art Review, 1880. Etching on cream laid paper, 5 3/4 x 8 3/4 inches (146 x 230mm), full margins. Light uniform age tone, scattered handling creases and minor toning ...

Drypoint etching on watermarked cream wove paper, 5 7/16 x 8 7/16 inches (39 x 215 mm), wide (perhaps full) margins. A very desirable, bright and richly inked impression, with the da...

Pieter van der Aa (1659 - 1733), after David Loggan (1634 - 1692) The Auditoriums & Public Library, Cambridge Engraving 12 x 16 cm An eighteenth-century view of the auditoriums and ...

This is an original 19th century duotone lithograph entitled "The Nilometer on the Island of Rhoda, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio editi...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

This is an original 19th century duotone lithograph entitled "Cairo: The Aquaduct of the Nile from the Island of Rhoda" by David Roberts, from his Egypt and Nubia volumes of the larg...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) Wadham College Oxford Engraving 1675 34x42cm Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (c. 1708). The contemporary artist Andrew Ingamells...

Forest Road, paper, etching, 21.5x28.5 cm Piotr Petrovich Belousov (1912-1989) was a Soviet, Russian painter, graphic artist, art teacher, professor of the Leningrad Institute of Pa...

Artist: Marcel Gromaire Medium: Lithograph Title: Flammes Intérieures Portfolio: Verve Vol VII No. 27-28 Year: 1952 Edition: 6000 Signed: Signed in the plate Framed Size: 22" x 18 1/...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Iris on Silver Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 22.5 in. diameter Si...

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 it click on "See all from this Seller" and search for 'Collaert' - or message us as they may not all have been uploaded yet. Theodoor Galle (1571 – 1633) after Maerten de Vos (1532 - 1603) Jesus is Nailed to the Cross 46. Et postquam venerunt in locum qui voctur Caluarie, ibi crucifixerunt eum. Luc. 23. From Vita, Passio, et Resurrectio Iesu Christi first published 1598, this a later edition published by Joannes Galle (1600-1676) 17.5x22cm From the Gospel of Luke, chapter 3 "When they came to the place called the Skull, they crucified him there." Theodoor Galle was the son of Philip Galle...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634-1692) All Souls College...

This artwork is part of a project called "In Portugal", which consists of a selection of photographs taken in public sites throughout the Iberian country. Typical of Candida Höfer, the artist has photographed empty interiors of libraries, museums, palaces and theaters. Deutsche Oper am Rhein Düsseldorf - Contemporary, 21st Century, C Print, Limited Edition...

Marquette Lighthouse is a well known landmark for anyone who has visited the Upper Peninsula of Michigan! This is signed by the artist Leo Kuschel who liv...