New York City - Landscape Prints

"Evening II" is a mezzotint engraving created by Robert Kipniss in 2008. Printed in an edition of 60, this impression is signed in pencil and inscribed “8/60.” The paper size is 12...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: Paris Year: 1973 Medium: Screenprint on BFK Rives, Signed, titled and numbered in pencil Edition: 250, AP 20 Size: 30 in. x 22 in. ...

Created by Surrealist Fanny Brennan from 1992-96, Ladder is a lithograph in colors on wove paper. Hand-monogrammed in pencil and numbered from the edition of 250, the artwork measure...

Created by Surrealist Fanny Brennan from 1992-96, Fuji Under Siege is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the e...

This charming beach image by the American painter, printmaker, photographer and stage designer David Salle evokes the joy to be found in a serene day by the ocean. The print was publ...

Artist: Mori Shizume Title: New York Skyline 5 and 6 Year: 1979 Medium: Two Silkscreens, each signed and numbered in pencil Edition: 210, AP 25 Paper Size: 30 x 18 inches (each) Fr...

Created by Surrealist Fanny Brennan from 1992-96, Clarion is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the edition of...

Lee Wells End of the World Party #13 2023 Archival pigment print Edition of 5 Caption: Vivid Vale Valediction: In a secluded vale where nature’s tapestry unveils its final act, Cele...

Lemon, Frank. Flights: Unforgettable Exploits of the Air. This plate: With one beat of his wing, Charles Lindbergh goes to Paris! 1927. Wright Aeron...

In his monotype, Opus 11, 2008, Keiji Shinohara uses his medium to disrupt the formulation of the landscape genre. A cross-section of sky, or perhaps water, inserts itself into the rich red pigment of the earth. The pale yellow and blue...

Artist: Wayne Ensrud, American (1934 - ) Title: Manhattan II Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300, AP 45 Image Size: 24 x 29 inches Size: ...

Ann Aspinwall’s Helios is a striking large-scale work that exemplifies her mastery of minimal color and intricate mark-making. Known for her precise printmaking and deep understandin...

Artist: Risaburo Kimura Title: City 379 Year: 1971 Medium: Serigraph, signed and numbered in pencil Edition: 300 Paper Size: 28.5 x 22.5 inches

Edition: 21/50 Image Size: 26.5 x 18.5 inches Frame Size: 34 x 26 inches Signed, numbered, dated, and titled in pencil Hans Behrens created this etchin...

Rachel Burgess' landscapes are explorations of memory and the resonance of nature's forms. She begins her artistic process with plein air paintings and drawings which she completes i...

The upper corner of a bowling alley silhouetted against the sky in the fading evening light. Only the word "Pin" and a crowned bowling pin can be seen of the sign on the facade. This...

Artist: John Ross Title: Homage to the City, Day Medium: Collagraph Triptych, signed, numbered, and titled in pencil Edition: I 6/25 Size: 29.5 x 22 in. (74.93 x 55.88 cm) Each

Charles Bastard, Swiss (1854 - 1924) - Arcade du Molard, Year: 1890, Medium: Hand colored etching on Arches, signed, titled and dated in the plate, Image Size: 6 x 8 inches, Size: ...

Bob Cato, American (1923 - 1999) - Tall Grass from the Nantucket Series (B&W), Year: circa 1970, Medium: Screenprint on Somerset, signed and numbered in pencil, Edition: 21/25, Ima...

Untitled - IX 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) Frame Size: 21 x 18 inches

Four in One Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 6/150 Frame Size: 17.5 x 14.5 inches

Ted Jeremenko, Yugoslavian/American (1938 - ) - The River. Year: circa 1985, Medium: Screenprint, signed and numbered in pencil, Edition: 175, AP 10, Image Size: 20 x 25 inches, Size...

Weeping Condo 38.5 x 22 image size: 36" x 19.5" Artists proof printed on 100% cotton rag monochromatic Panoramic Dark. mysterious vintage work by Esteban Chavez

V. Beffa - Seaside. Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Beach Scene with Parasailor 1998 Lithograph on Rives BFK Mould-Made Paper (Edition of 60) 39.5 x 49.75 inches $6,500 This work is offered by ClampArt in New York City.

Street Pop Art limited edition silkscreen print ‘Virtual Insanity’ by prodigy contemporary street-artist Hijack, was created in 2020 as a part of his environmentally conscious series...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Circular Fence Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed in pencil Edition of Trial Proof Size: 10 x 14 in. (25.4 x 35.56 cm) ...

Barriers by Lowell Blair Nesbitt, American (1933–1993) Date: 1972 Screenprint Edition of 3000, unsigned Image Size: 12.5 x 16.5 inches Size: 14 x 18 in. (35.56 x 45.72 cm) Frame Size...

Claude Tabet, French (1924 - 1979) - Montmarte. Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 22 x 30 in. (55.88 x 76.2 cm), Desc...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Waterside Town II. Year: circa 1985, Medium: Silkscreen on Arches, signed and numbered in pencil, Edition: 175, Image Size: 20.5 x 25 ...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Church at Sunset. Medium: Screenprint on Arches, signed and numbered in pencil, Edition: 175, Image Size: 20 x 25 inches, Size: 27 in....

Scherezade Signed and dated 1999 in pencil, Artists proof printed on 100% cotton rag colorful, harem scene w multiple figures in Arabic palace IMAGE SIZE: 17.5" x 23.5" PAPER SIZE:...

Purple and blue hues create a sunset over blue mountains that sit above a quaint village in this beautifully picturesque vintage lithograph by Swedish artist Lennart Jirlow...

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...

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...

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 both her...

Claude Tabet, French (1924 - 1979) - Promenade at the Square. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Siz...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Hillside Town. Year: circa 1985, Medium: Silkscreen, signed and numbered in pencil, Edition: 175, Image Size: 19.5 x 24.5 inches, Size...

Claude Tabet, French (1924 - 1979) - Bridge over the Seine. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 19 x 23 inches, Size: 22 x ...

Claude Tabet, French (1924 - 1979) - Rue Norvins. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 23 x 16 inches, Size: 30 x 22 in. (76...

Claude Tabet, French (1924 - 1979) - The Louvre. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 18.5 x 22.5 inches, Size: 22 x 30 in. ...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Farmhouse 1. Year: circa 1985, Medium: Silkscreen on Arches, signed and numbered in pencil, Edition: 175, Image Size: 11 x 16 inches, ...

Howard Cook (1901-1980), Chrysler Building (Chrysler Building in Construction) – –1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 19...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

Artist: John Baeder, American (1938 - ) Title: Blue Beacon Diner Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 250 Size: 22 x 30 in. (55.88 x 76.2 cm)

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Bacchanale". The original painting was completed circa 1922. In the 1970's after Picasso's d...

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

Artist: Vitaly Komar, Russian (1943 - ) and Alexander Melamid, Russian (1945 - ) Title: Sunrise at Bayonne Year: 1988 Medium: Aquatint Etching with Metallic Leaf Collage, signed and ...

Alex Katz Purple Irises on White 2023 Archival pigment ink print, on Innova Etching Cotton Rag 315 gsm 24 x 30 inches (61 x 76 cm) unframed Signed and numbered edition of 100 Alex K...

Michael Knigin, American (1942 - 2011) - Fireworks CCXVII, Year: 2006, Medium: Chromogenic Print on Canvas, signed and dated in pen lower right, titled on verso, Size: 30 x 68 in. ...

Bob Cato, American (1923 - 1999) - Cattails from the Nantucket Series (Tan), Year: circa 1970, Medium: Screenprint on Somerset, signed and numbered in penci...

George O'Connell, American (1926 - ) - The Sun Has Given The Wealth To The Land, Year: 1958, Medium: Etching on Arches, signed, titled and dated in pencil, Image Size: 17.75 x 24 i...

Artist: Jack Beal, American (1931 - 2013) Title: Garden Year: circa 1975 Medium: Screenprint, Signed and numbered in pencil Edition: 74 Image: 18 x 24 inches Sheet Size: 24.5 in. x 3...

Artist: Michael Knigin, American (1942 - 2011) Title: Art Deco 1925 Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: AP Size: 33.5 x 21 in. (85.09 x 53.34 cm)

Devonshire Bullocks 1982 Lithograph on Rives BFK Mould-Made Paper (Edition of 58) 47.5 x 35 inches $5,500 This work is offered by ClampArt in New York City.

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...