Tri-State Area - Landscape Prints

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 9.5 x 12.5 inches; image size: 9.05 x 10.24 inches Inscription: Unsigned and unnumbered, as issued No...

Moses Oley drew an industrial scene, but one very much in isolation. The quarry equipment looks both imposing and busy. There appears to be smoke coming fro...

Grant Arnold's Summer Landscape, made in 1936, in the depths of the Depression, is a study in peace and calm. It's as though he found a refuge from the wo...

John Muench was a master at drawing on a lithographic stone. He was a New Englander and this is a classic subject both for him and for the area. The...

Wayne Ensrud, American (1934 - ) - Manhattan from Brooklyn Bridge, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 26 x 34 inches,...

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. ...

Eugene Berman, Russian (1899 -1972) - Escape from Troy, Year: 1967, Medium: Lithograph on CM Fabriano, signed and numbered in pencil, Edition: 174/250, Image Size: 14 x 11.25 inc...

Artist: Peter Max (1937) Title: Protect Our Children Ver. II Year: 2002 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 13.81 x 17.12 inches Condition: Excel...

Medium: Lithograph on vélin d'Arches paper Year: 1969 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Raoul Dufy, IV, Col...

This lithograph is signed and number in pencil. It is numbered 18/18 indicating there were 18 impressions of this subject printed.

Clearly a view from New York City across the Hudson River to the New Jersey Palisades, this small format packs a wallop! Construction of the bridge was begun in 1927 and this scene i...

the artist, A. Felip is a mystery. The title, Desolation, says it all. Further, this very compelling, post-war subject is so well drawn it has be be by an experienced artist. And th...

Raymond Hosford, American - For Amber Waves of Grain, Year: 1973, Medium: Lithograph, signed in pencil, Image Size: 16 x 24 inches, Size: 22 x 30 in. (55.88 x 76.2 cm), Publisher...

Raoul Dufy, After, French (1877 - 1953) - Le Paddock a Deauville, Year: 1964, Medium: Lithograph Poster, Size: 23.75 x 39 in. (60.33 x 99.06 cm), Frame Size: 32 x 47 inches, Pr...

Jack Hofflander, American (1920 - 2003) - Haitian Village, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 30 AP, Size: 21.5 in. x 27.5 in. (54.61 c...

"Alba Gem II" is a striking abstract linocut by Ann Aspinwall, known for her meditative, minimalist approach to printmaking. This work explores the quiet power of repetition, color, ...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 10.24 x 13.78 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...

AT YOUR SERVICE by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques(not a photo reproduction or digital print) on ar...

Joseph Grippi, American (1924 -2001) - Winter Landscape, Year: circa 1975, Medium: Screenprint Monoprint, signed in pencil, Size: 28.5 x 41.5 in. (72.39 x 105.41 cm)

CLIFF-HANGER is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arc...

The title, The Wave, lends itself to suggesting that the woman (with her long, flowing hair) is personifying the wave. Or is she one with the wave? Is she push...

Robert Irwin Being and Circumstance Notes Toward a Conditional Art, 1985 Hardback monograph with dust jacket (hand signed and dated 2015 by Robert Irwin) Boldly signed and dated May...

Christian Ludwig Martin worked in Vienna. He was an artist, illustrator, and art teacher. 'Geese' is titled in German, and titled and signed in pencil. It is on a large sheet. While ...

Linda Plotkin, American (1938 - ) - Poplars II, Year: circa 1965, Medium: Lithograph on Arches, signed, titled and numbered in pencil, Edition: 6/90, Image Size: 20.75 x 16.5 inc...

Trying my best to decipher the name I get Leo Tanenbaum. Well, (Sergeant) Sgt. Leo Tanenbaum. Sorry that I haven't been able to find a mid-century artist with this name. It's such an...

untitled vintage etching of face reminiscent of mid-century modern esthetic image 23.5" x 18" Artists proof printed on 100% cotton rag monochromatic Panoramic

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Artist: Bernard Buffet, French (1928 - 1999) Title: Place de la Concorde Year: 1968 Medium: Lithograph, signed in the plate Size: 25.5 x 19.5 in. (64.77 x 49.53 cm) Frame Size: ...

Wayne Ensrud, American (1934 - ) - Ponte Vecchio, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 45, Image Size: 23.5 x 27.5 inches, Size: 27 in. x 3...

Medium: Lithograph on vélin de Lana paper Year: 1950 Paper Size: 9.75 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Signac Dessins, 1950. Publi...

Dramatic, large scale black, white, green and grey Western American landscape with river, grassy banks, trees, and rolling clouds filling the sky. Hang in minimalist, modern, and con...

Artist: Peter Max (1937) Title: Liberty Head I Year: 2001 Edition: 430/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscriptio...

Artist: Jiang Tie-Feng (1938) Title: Morning with Crane Year: 2001 Medium: Silkscreen on Vellum Rag paper Edition: 227/293, plus proofs Size: 31 x 31 inches Condition: Good Inscription: Signed and numbered by the artist. JIANG TIE-FENG (1938- ) Chinese Artist Jiang Tiefeng's colors are of unsurpassed richness. Jiang's use of imagery in his paintings are steeped in Buddhist and Chinese mythology. Each figure has a symbolic meaning, and his works have so much complexity and visual fascination that the viewer is constantly seeing something new. Jiang's deep love of the colorful earth and for Xishuangbanna, a region of the Yunnan Province, has encouraged him to explore and create mysterious and unique subjects to paint. The secret and essence of Jiang Tiefeng's work is best expressed by the artist himself as he describes his paintings not only as pictures, but they are also music and poetry...

This print is signed, titled, and dated, in pencil. Manayunk was an industrial town to the north of Philadelphia.

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

Cynthia MacCollum is a painter, printmaker, and photographer who lives and works in New Canaan, CT. Her work has been shown online at ODETTA, NYC, and in person at the Center for Contemporary Printmaking...

Sea Island by Ronald Julius Christensen, American (1923–1999) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 295 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Ted Jeremenko, Yugoslavian/American (1938 - ) - White Chapel I. Year: 1986, Medium: Screenprint on Arches, signed and numbered in pencil, Edition: 175, Size: 25 x 30 in. (63.5 x 76.2...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Wayne Ensrud, American (1934 - ) - Harbor Boats, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 19 x 26 inches, Size: 22 in. x 2...

Medium: Lithograph on vélin d'Arches paper Year: 1973 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Les Réalistes Lyriq...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 12.5 x 9.5 inches; image size: 10.24 x 5.91 inches Inscription: Unsigned and unnumbered, as issued No...

Wayne Ensrud, American (1934 - ) - St. Paul de Vinci, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 18 x 24 inches, Size: 23 in...

BUBBLE is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches pa...

David Lee, Chinese (1944 - ) - Autumn, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29 in. x 21 in. (73.66 cm x 53.34 cm), Description...

Artist: Peter Max Title: Moonscapes II Year: 1978 Medium: Screenprint on Somerset, signed and numbered in pencil Edition: 150 Image Size: 19 x 25 inches Size: 22 x 28 in. (55.88 x ...

Striking, large, black and white city landscape in South America at night. A couple strolls towards the neon lights of a vintage 1950's theater, reflected in the wet sidewalk, with palm trees and tropical plants. Hand painted monotype ink creates a dramatic, film noir painting...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. Although Barr was on the Mural Project of the ...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Larry Rivers Happy 20th Birthday Lincoln Center, 1979 Lithograph on wove paper Hand signed, numbered 80 from the limited edition of 108 and dated on the front by Larry Rivers 26 × 35 inches Unframed This hand signed and numbered limited edition lithograph was commissioned by the prestigious Vera List print program in NYC which invited artists to create works that would help fundraise for Lincoln Center, which many New Yorkers consider the cultural center of the city. This is Larry Rivers' clever homage to...

In the 1950s woodcuts started to get bigger and bigger as they competed with paintings for a space on the wall. This California print by Joseph Zirke...

This lithograph is signed in pencil under the image at the lower right. Just above that, in the image, are the artist's initials and the date, 1942. This well-known walkway on the P...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

BALBOA PARK is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1990 in an edition of 150, using traditional ha...

ABOUT THIS PIECE: Blurring the lines between reality and abstraction Luca searches for rich textures, patiently waiting for the subtle moment when the soft lighting or harsh contrast...

Wayne Ensrud, American (1934 - ) - Mediterranean, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 21 x 28.5 inches, Size: 2...

Signed titled, and dated, in pencil, and annotated in lower margin "My great-great grandfather's house, built in Bentleyville, Ohio in 1831; torn down in 1956." The wood engraving i...

Classic American Depression-Era subject meets the French landscape? Clearly Guyer was looking at both Jean-Francois Millet and Vincent Van Gogh, who together informed this image. And...

David Lee, Chinese (1944 - ) - White Herons, Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 21 x 29 in. (53.34 x 73.66 cm), Descriptio...