New York City - Landscape Prints

This reproduction of the Magritte painting is the only authorized and approved copy in its current format. It has been sanctioned by the appropriate authorities managing Magritte’s e...

ABOUT THIS ARTIST: Niko (aka c-nik) is a multidisciplinary artist, currently based on a pixel in a city that never sleeps, quietly working to create peace from chaos in surreal arcs ...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire II, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. He taught at the Connecticut College for Women, and after the death of Grant Wood, the University of Iowa State...

Louisa Chase’s paintings are romantic in tone, alluding to the power of nature while serving as pictorial metaphors for her own state of mind. Drawing on her distinctive brand of Neo...

Silkscreen, 2022 In collaboration with ArtStar and Marginal Editions H: 30.5” x W: 30” inches Limited Edition of 30 + 5 APs Hand-signed on recto $1,600 This is Zaria Forman’s first-...

This reproduction of Eugène Bléry's etching Le Charlemagne depicts the Forêt de Fontainebleau, a renowned forest located south of Paris. The print is produced by La Calcographie du L...

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...

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...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Mystery Artist Untitled (Great Pyramid), c. late 20th/early 21st century Possibly C-Print or Lithograph? Sight: 9 1/2 x 9 1/2 in. Framed: 13 x 13 x 1 1/8 in. Signed lower left This...

Duane Bryers, American (1911 - 2012) - His Family, Year: 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP, Image Size: 14.5 x 22.5 in., Size: 21.5 in. ...

Hans-Georg Rauch, German (1939 - 1993) - The Galleons Suite - Untitled #2, Year: 1977, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 100, Size: 27 in. x ...

Lawrence Beall Smith Windy Hill, 1948 Signed in pencil lower right margin Lithograph on wove paper Image 10 3/8 x 13 1/16 inches Sheet 11 15/16 x 16 inches From the edition of 250 ...

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 ...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire 1, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in ...

An original hand-signed print by the Greatest Of All Time, Muhammad Ali. Guiding Light Muhammad Ali, American (1942–2016) Date: 1979 Screenprint, signed and numbered in pencil Edi...

Ed Ruscha Nine Swimming Pools and a Broken Glass (HAND SIGNED), 1976 Limited Edition Artist's Book Boldly signed by Ed Ruscha on the first front end page 7 × 5 1/2 inches This is the...

Richard Haas Chelsea Hotel, Sunset, 1980 Offset Lithograph poster on paper Pencil signed on the front 23 1/4 × 21 1/2 inches Unframed This striking offset lithograph poster by the world's top architectural muralist Richard Haas presents a detailed portrait of the historic New York City landmark - the legendary Chelsea Hotel. Many famous people stayed at this storied hotel. Nancy Spungen...

A glowing lemon-yellow wash of color floods this erotic beach landscape with light. Hidden in the dappled shadow of a tree, a nude woman glances downward as she applies sunscreen. A ...

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...

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...

Linda Westin, based in Stockholm, left photography and became a Ph.D. in neuroscience specialized in super-resolution fluorescence microscopy. Then she turned back to photography. No...

Joe Zucker The Relocation of Property by Natural Forces Rubber stamp print on Arches 88 paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper size: 8 x 8 in...

The limited edition lithograph Boat on a Shore in Brittany by Georges Braque is a significant piece for collectors and art enthusiasts. Printed by ARTE in Paris, this lithograph offe...

Hans-Georg Rauch, German (1939 - 1993) - Perspectives Adventure (1D), Year: 1975, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 75, Size: 14 in. x 20 in....

Michael Knigin, American (1942 - 2011) - Chosen Journey II, Year: 2004, Medium: Chromogenic Print on Canvas mounted to board, signed and dated lower left and signed, titled, numbere...

"Group of Carnations" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, co...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

Max Epstein, Canadian (1932 - 2002) - Anchored Flotilla Days Gone By, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: AP 295, Image Size: 18.5 x 27.5 inc...

Framing included in listing price ($1,500 value), free art transport to the continental U.S., and a 14 day return policy. Please note there is some repaired damage to the frame noted in the images. San Francisco from Thierry Cohen...

Hans-Georg Rauch, German (1939 - 1993) - Untitled, Year: 1978, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 100, Size: 21 in. x 29 in. (53.34 cm x 73.66...

Lloyd Lozes Goff, American (1918 - 1982) - Dogana, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 19 x 25 inches, Size: 22...

Artist: Richard Haas, American (1936 - ) Title: Manhattan View from Governor's Island (Color) Year: 1999 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 85 ...

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...

Thelma Appel Meeting Plaza, 2018 25 Color Silkscreen on 320 Gram Coventry paper with full margins and deckled edges. Accompanied by ARTIST SIGNED, gallery issued Certificate of Authe...

Artist: Malcolm Morley, British (1931 - 2018) Title: Battle of Britain Year: 2005 Medium: Screenprint, signed and numbered in pencil Edition: dedicat...

Ari Gradus, Israeli (1943 - ) - Pigeon Feeder, Year: 1980, Medium: Lithograph, Signed and Numbered in Pencil, Edition: AP, Image Size: 26 x 18 inches, ...

A classic Rosenquist pop art composition with gold, turquoise, purple, pink, blue, green and yellow. Characteristically surreal and graphic, Rainbow incorporates bold geometric forms with painterly washes of color and airbrush texture. Rosenquist's signature gleaming metallic chrome texture can be seen on an inverted fork behind the glass of a golden window. Paper 25.25 x 30.25 in. / 64 x 77 cm Image 17 x 21.5 in. / 43 x 54.5 cm Lithograph with screenprint on cream-coloured Hodgkinson handmade Wookey Hole paper. Edition of 75 with 8 color trial proofs: this impression 8/8. Signed and dated 1972 lower right in pencil; titled, numbered 8/8 and labeled Color Trial Proof lower left in pencil. This graphic, colorful scene is based on Rosenquist’s 1962 oil painting of the same name, collected in the Museum Ludwig in Cologne. The artist used real glass and wood to construct windows for the original painting – here, house siding is abstracted to bold, black horizontal lines, and the window glass is printed in dark gold ink. At the top of the composition, a window with shutters pushed open is colored in turquoise, with sharp black shadows. The left-hand window pane is shattered, and to the right, the outline of an oversized...

Linda Plotkin, American (1938 - ) - Calvaire de Pierre, Year: circa 1965, Medium: Etching and Aquatint on Arches, signed, titled and numbered in pencil, Edition: 64/75, Image Size...

Untitled XXVI Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Lorna Patrick, American - Portal with a View, Year: 1981, Medium: Screenprint [Signed and Numbered in pencil], Edition: 295, Size: 31 x 42 in. (78.74 x 106.68 cm), Description: ...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

Lloyd Lozes Goff, American (1918 - 1982) - Salute, Year: 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 250, AP 30, Image Size: 19 x 25 inches, Size: 23 in. x...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘The boy who left home to learn fear’. Hockney chose this story for its ...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

Biagio Civale, Italian/American (1936 - ) - French Landscape on River, Medium: Screenprint, Signed and Numbered in Pencil, Edition: 47/63, Size: 19.5 x 27.5 in. (49.53 x 69.85 cm)

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

John McNulty, Irish/American (1949 - ) - Sailing 4, Year: circa 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 650, Image Size: 8 x...

Harvest by Erté, Russian (1892–1990) Date: 1987 Embossed Screenprint with Foil, signed and numbered in pencil Edition of 300, HC 8/18 Size: 16 x 29 in. (40.64 x 73.66 cm) Frame Size:...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - Provincetown - The Harbor, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 1...

Biagio Civale, Italian/American (1936 - ) - Lampadario, Medium: Linocut, Signed, numbered, and titled in pencil, Edition: A/P, Image Size: 12.5 x 10 inches, Size: 23 x 18 in. (58...

Alvin Carl Hollingsworth, American (1928 - 2000) - 3 Miles, Medium: Lithograph, Image Size: 5.75 x 16.5 inches, Frame Size: 14.25 x 24.25 inches, Description: This lithograph by ...

Biagio Civale, Italian/American (1936 - ) - The Bridge, Medium: Linocut, Signed, numbered, and titled in pencil, Edition: 21/33, Image Size: 12 x 16 inches, Size: 16 x 21 in. (40...

Whimsical, mysterious seascapes, animals, and mythological figures weave throughout this expressive set of black and white Enzo Cucchi lithographs. The complete set of five lithograp...

Mel Hunter, American (1927 - 2004) - Dreadnaught After the Storm, Year: 1977, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 24 x 31 in. (60.96 x 78.74 ...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California....