Tri-State Area - Landscape Prints

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 ...

Yesterday, Today, Tomorrow by Dorothy Dell Dennison, American (1908–1994) Date: circa 1977 Lithograph, signed and numbered in pencil Edition of 1...

ITALIAN VILLAGE by the South American artist Jorge Dumas, is an original hand drawn lithograph hand proofed and printed using traditional lithography techniques on archival printmaki...

"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...

ALGARVE LANDSCAPE is an original hand drawn lithograph by the American woman artist Mary Faulconer printed using traditional lithography techniques on archival paper 100% acid free. ...

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. ...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Spring Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

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...

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...

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

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...

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...

Artist: Mark Kostabi (1960) Title: Factory Year: 1985 Edition: 45/100, plus proofs. Medium: Lithograph on Arches paper Size: 22.25 x 30 inches Condition: Good Inscription: Signed and...

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...

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...

HOVERING STONE is a hand drawn original lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on archival Arches printmaking paper 100% acid...

DAILY CHORES is an original hand drawn lithograph(not a photo reproduction or digital print) by the American woman artist Sally Caldwell-Fisher, printed using hand lithography techniques on archival Arches paper 100% acid free. DAILY CHORES by Ms. Caldwell-Fisher presents a nostalgic look back at New England life - a refreshing seaside summer landscape featuring a brick red colored house and quintessential white light house set atop a lush green seaside overlook. A lone woman stands shading her eyes, looking toward the sea dressed in Victorian clothes...

Artist: Victor Vasarely (1908-1997) Title: Metagalaxie Year: 1989 Medium: Silkscreen on Arches paper Edition: 103/250, plus proofs Size: 32 x 27.55 inches Condition: Good Inscription...

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: ...

Artist: Peter Max (1937) Title: Lady with Picture Year: 1978 Edition: 45/250, plus proofs Medium: Silkcreen on Arches paper Size: 29.75 x 21.75 inches Condition: Excellent Inscriptio...

Artist: Lowell Nesbitt (1933-1993) Title: Flamingos Year: 1981 Edition: 178/200, plus proofs. Medium: Silkscreen on Arches paper Size: 33.5 x 41 inches Condition: Good Inscription: S...

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

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...

A POINT OF HONOR is an original hand drawn limited edition lithograph(not a photo reproduction or digital print) by the British artist, Michael Hasted printed using hand lithography on archival Somerset paper, 100% acid free. A POINT OF HONOR is a surrealist composition portraying a curious interior scene featuring a full green leafy tree positioned behind a floating concrete sphere...

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...

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: ...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Summer Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Artist: Ian Hornak (1944-2002) Title: The Unexpected Frontier Year: 1981 Edition: 57/150, plus proofs Medium: Silkscreen in colors on vélin de Rives BFK paper Size: 29.13 x 38.19 in...

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

Artist: Alexandra Nechita (1985) Title: Spring Love Year: 1997 Edition: 205/250, plus proofs Medium: Lithograph on Arches paper Size: 36 x 25 inches Condition: Excellent Inscription:...

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

Artist: Ian Hornak (1944-2002) Title: Landscape with Ravine Year: 1968 Edition: 200, plus proofs Medium: Etching on vélin de Rives paper Size: 22 x 30 inches Condition: Good Inscrip...

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.

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

Artist: Julian Stanczak (1928-2017) Title: Sequential Chroma Year: 1978 Edition: 2/175, plus proofs Medium: Silkscreen on Somerset paper Size: 30.25 x 25.75 inches Condition: Good In...

Artist: Lowell Nesbitt (1933-1993) Title: 10 Lemons Year: 1979 Edition: 142/175, plus proofs. Medium: Silkscreen on Arches paper Size: 30.5 x 33.25 inches Condition: Excellent Inscri...

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)

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) ...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

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...

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 ...

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...

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:...

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....

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...

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...

Artist: Peter Max (1937) Title: Baloo Baba Year: 1972 Edition: 300, plus proofs Medium: Silkscreen on wove paper Size: 16 x 18 inches Condition: Excellent Inscription: Signed by the ...