USA - Landscape Prints

This exquisite silkscreen by Ellsworth Kelly (1923–2015), titled Red Blue, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Athen...

COLMAR is an original wood engraving by the American artist Bernard Brussel-Smith, hand printed in yellow, light blue and black ink. COLMAR depicts a quaint French village scene with...

Etching with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

Artist: Peter Max (1937) Title: Liberty Head III Year: 2001 Edition: 485/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscript...

Lithograph and original issue World Federation of United Nations Associations postage stamp on vélin paper. Inscription: Signed in the plate, as issued. Good condition. Notes: Publis...

Tony Bennett Title: San Francisco Golden Pavilion Lithograph Signed and Marked PP  2/10 ( Printers Proof ) Paper Size: 30" x 24" inches Image Size : 25" x 20" inches Published By : Atelier E. Ettinger Gallery Anthony Dominick Benedetto, known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz. He is also a painter, having created works under his birth name that are on permanent public display in several institutions. Whether he is performing as Tony Bennett or painting as Anthony Benedetto...

Artist: Vahe Yeremyan Work: Print on Satin Paper, Edition 017 Subject: Autumn Trees, Framed Size: 17.5" x 24.5" x 0.8''inch, 44x62x2cm, Ready to Hang, Wooden Frame. All works are...

This exquisite lithograph after Marc Chagall (1887–1985), titled Ares und Aphrodite (Ares and Aphrodite), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-langu...

Original France travel by bicycle (and French bread) vintage serigraph poster, excellent condition, ready to frame. These images are of the exact rare poster you will receive. Ar...

This square woodcut print on paper evokes the peacefulness of looking across a stream through a woodland scene in a symmetrical composition. The dark eggplant purple silhouette of th...

Jean Solombre, French (1948 - ) - Tous Les Oiseaux Du Monde, Year: 1983, Medium: Etching with Aquatint on Arches, signed, titled and numbered in pencil, Edition: 24/110, Image Siz...

Edition of 110, signed and numbered lower right

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Akzent im Rosa (Accent in Pink), from the folio Derriere le miroir, No. 118, originates from the 1960 edition pu...

“Rancho de Taos” by well-known woodblock artist Gustave Baumann (1881-1971). The medium is color woodblock. It's a beautiful print in excellent condition. Baumann's personal Hand and...

Artist: Jean Michel Folon, Belgian (1934 - 2005) Title: Editions Lahumiere Year: Circa 1980 Medium: Screenprint on Arches Paper Paper Size: 29.5 in. x 39.5 in. (74.93 cm x 100.33 cm)

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise I (Moses I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Littera...

Artist: After Joan Miro (1893-1983) Title: Sculptures et Ceramics Year: 1973 Medium: Lithograph exhibition poster on wove paper Size: 32.5 x 22 inches Condition: Excellent Notes: Pub...

"Fairly self-explanatory, but I’ll share my thoughts. Our planet Earth is often called 'Mother Earth' for reasons that seem obvious to me. Mothers are often the primary caregivers fo...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of Mitsuke in Niigata Prefecture, Japan, circa 1850. A figure on horseback...

large format photograph of a sea of green sun umbrellas and yellow-green striped sun chairs, a Mediterranean pre-summer season study of Italian beach clubs in the iconic coastal resort town of Forte dei Marmi, Italy FORTE DEI MARMI by Frank Schott 48 x 72 inches / 122cm x 183cm edition of 7 signed 26.5 x 40 inches / 67cm x 102cm edition of 25 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, Ed Rusha...

Artist: Peter Max (1937) Title: Galactic Man Year: 1982 Medium: Unique, mixed media with lithography and hand coloring on Arches paper Size: 6.75 x 6.25 inches Condition: Excellent I...

David T. Kessler, American (1950 - ) - Reflected Overhang IV, Year: circa 1980, Medium: Screenprint on Arches, signed, titled and numbered in pencil, Edition: 15/100, Image Size: ...

Signed and numbered etching and aquatint from the edition of 250. By the end of February the the rows of still dormant grape vines are delineated by bright yellow mustard flowers. These vineyards are in the hills southwest of Napa. Born in Berkeley, California, on December 21, 1949, he was raised in a home that had a sweeping view of the San Francisco Bay. This scene kindled his interest in landscape and was one of his earliest drawing subjects. Stephen McMillan's etchings and aquatint prints capture the landscapes of California...

This is an original 19th century duotone lithograph entitled "Great Hall at Karnac, Thebes" by David Roberts, from his Egypt and Nubia volumes of the larg...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Odalisque, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from the 1951 ...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Paysage a Cagnes (Landscape at Cagnes), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the sweeping emotional vigor and expressive distortions that define Soutines landscape vision, capturing in lithographic form the turbulent rhythm, chromatic intensity, and psychological tension characteristic of his mature periods in Cagnes. Executed as a lithograph on velin d'Arches paper, this work measures 26 x 20 inches. Unsigned and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1893–1943) Title: Paysage a Cagnes (Landscape at Cagnes), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 26 x 20 inches Inscription: Unsigned and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a moment of renewed international interest in his oeuvre. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural dynamism of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

Framed 34.25 x 38.50 in Color lithograph after the 1951 oil on canvas by René Magritte, plate-signed by Magritte and numbered from the edition of 300.

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

This exquisite lithograph after Marc Chagall (1887–1985), titled La Mariee (The Bride), from the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38, originates from the 1951 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1951. The composition captures Chagall’s poetic vision of love and mysticism, blending dreamlike imagery and radiant color into a lyrical meditation on devotion and imagination. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: La Mariee (The Bride), from the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1951 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, Sur Quatre Murs, No. 36-37-38, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1951 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall's art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby's New York for Les Amoureux (1928). Marc Chagall La...

This exquisite heliogravure after Nicolas de Stael (1914–1955), titled Bouteilles (Bottles), from the folio Nicolas de Stael, Peintres d'aujourd'hui (Nicolas de Stael, Painters of To...

This exquisite lithograph by David Hockney (born 1937), titled Letter V, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Artist: Peter Max (1937) Title: Liberty Head VII Year: 2003 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.43 x 2.62 inches Condition: Excellent Insc...

This 90 color hand pulled serigraph exhibits all of the subtle brushwork, light, and color that the artist is known for. "Afternoon Glow" is signed by the artist in an edition of 240...

Lake Tarryall, a 1941 lithograph by Adolf Dehn (1895-1968) was made while he was teaching in Colorado. A native of Waterville, Minnesota, Dehn attended the Minneapolis School of Art ...

Hand embellished by the artist, "Along Lake Como I" is in excellent condition and hand signed by the artist. It is an ARTIST PROOF. Framing options are always available with The Loft Fine Art.

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

This realistic nautical limited edition print by Michel Brosseau captures the folded and tied white sails of a boat. The subject is rendered realistically with a flat light umber bac...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio La Varende, Rodin (La Varende, Rodin), originates from the 1944 ...

Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Bleu et noir (Blue and Black), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Maeg...

Piazza Navona allagata solito farsi nelle Feste di Agosto Etching, 1752 Signed in the plate lower right (see photo) From: Della Magnificenze di Roma Antica e Moderna ( The Magnificense of Ancient and Modern Rome) , (1747-1761) Volume II, The Main Squares and Obelisks, columns and other ornaments, 1752, Plate No. 26 Della Magnificenze di Roma Antica e Moderna_ (1747-61), a collection of 238 plates that was published in ten volumes. Vasi recorded all types of architecture and organized these images of contemporary Rome by subject, with each volume representing a different category of architecture. This comprehensive project provides one of the most complete views of eighteenth-century Rome Condition: Excellent Image/Plate size: 8 .25 x 12.63 inches Sheet size: 11 x 15 7/8 inches Vasi was Giovanni Battista Piranesi’s teacher. Piranesi (1720-1778) entered Vasi’s studio as an apprentice at age 20 c. 1740. Piranesi left Vasi’s employment after stabbing Vasi over the perception that Vasi was withholding secrets of the etching process. Giuseppe Vasi was an Italian engraver and painter born and trained in Sicily. He received a classical education in his hometown of Corleone and trained as a printmaker in nearby Palermo, perhaps under the tutelage of the etchers Antonino Bova and Francesco Cichè. He moved to Rome in 1736, already an established printmaker, and spent most of his career documenting the urban landscape of the city in engravings. Through his patron, the politically and culturally influential Cardinal Troiano Acquaviva d’Aragona, Vasi met other artists working in Rome, such as Sebastiano Conca, Ferdinando Fuga, and Luigi Vanvitelli. He was also influenced by his predecessors, including Giovanni Paolo Panini, Giovanni Battista Falda...

Original 1957 “Emprunt SNCF Souscrivez” vintage French poster by Paul Schmitt, linen-backed and ready to frame. The poster had been folded for shipment, and the fold lines were res...

This exquisite silkscreen by Andy Warhol (1928–1987), titled Birmingham Race Riot, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadswor...

ANTON SCHUTZ MANHATTAN c 1940 Etching, signed in pencil, edition 100, no. 15/100. On thin simili-japan paper. Very slight toning around plate mark. Remnants of old tape on verso, s...

Extra large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle pai...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Banksy (after) Visit Historic Palestine Print On the verso of the print it is double stamped with the Walled Off Hotel Emblem. It has a stamp in the lower left corner that reads,...

Artist: EZ Title: Untitled Year: circa 1995 Medium: Acrylic on linen Size: 13 x 17.5 inches Condition: Excellent Inscription: Signed in gold ink Notes: Original painting. EZ paintin...

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

Artist: Red Grooms Title: Sarajevo Year: 1968 Medium: Marker Drawing on Paper, Signed and Dated l.l. Paper Size: 13.5 x 19 inches (34.29 x 48.26 cm) Frame: 17 x 22.5 inches (43.18 x ...

Calais Chem de fer du Nord – Original Linen-Backed Vintage Travel Poster Full lithograph, archival linen-backed in A- condition, ready to frame. There is a restored tear about 5” long from the center bottom, as shown in one of the images. It is not a distraction, just trying to point out any visible imperfection on this 100-year-old, seldom found (in any condition). There is no paper loss. This exquisite original travel poster, designed by the acclaimed French artist Jeanne Poye Maillard, was commissioned by the French Northern Railway (Chemin de Fer du Nord) to entice holidaymakers to the picturesque port city of Calais. Rendered in lush, vivid colors and professionally linen-backed, the poster depicts an inviting seaside vista characteristic of the early- to mid-20th-century golden age of rail travel. The Embroidery Factories of Calais. Calais is famous well beyond its port—for more than a century, it has been a global center for embroidery and lace-making. Starting in the early 1800s, British inventors brought mechanical lace-making machines (notably the Leavers machine) to Calais to avoid industrial restrictions at home. This technological advance turned Calais into the central hub of the lace and embroidery industry. The artistry and precision of the Calais factory workers established French lace as the international standard, adorning haute couture garments for houses like Chanel and Dior...

In No Thru Traffic, master printmaker Art Werger offers a striking aerial view of an archetypal suburban neighborhood, rendered with his characteristic precision and subtle wit. Curv...

Wolf Kahn - Hillside in Early Summer, print for the United Nations (WFUNA) Limited edition print commissioned by the World Federation of United Nations Associations (WFUNA) Archival ...

Original vintage travel poster: Chicago - Fly TWA. UP UP and Away Trans World Airline. Artist: David Klein. Size 25" x 40" Dated 1960's. ...

In "Late Night", Frederick Mershimer created a winter scene where Berkeley Place meets Seventh Avenue in Brooklyn's Park Slope. This image, the seventh in t...

Original Piedmont, Take Off and Paint the Town vintage airlines travel poster. Archival linen backing in very good condition, ready to frame. This is a serigraph, so it features rich...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...