Realist Prints and Multiples

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Peter Handel - "Karina In Front Of Porsche". Giclée on Hahnemühle Velvet, handsigned. High-quality art print after the original painting: Peter Handel transforms nude photographs painterly into highly realistic, subjective images. Light and shadow, plasticity and form are modulated with several layers as well as glazing application: The compositions refer to the person depicted and give her an individual presence, so that the person and not the object is accentuated here. A beautiful artwork that looks good in every room and especially in the living room or bedroom. About Peter Handel: Peter Handel is an artist of international format and was born in 1949 in Anklam, East Germany. 1968 - 1971 studied art and sports, 1977 - 1982 teaching position at the GHS Duisburg, since 1979 freelance artist. Handels' art developed out of the American photorealism movement of the 1970s, in which the visual reality of everyday life is depicted realistically, without the intervention of emotion. He transforms his nude photographs into hyper-realistic paintings and graphics that play with the mutual conditionality of reality-representing or reality-simulating images and media art. Through meticulous imitation, Handel thus reflects on the photographic image and its sign-like quality, often on an additional level of reality when there are apparently pasted or hung photographs next to the painted level. The encounter with the painter Peter Handel reveals an old-masterly skill. In the creative process of the highly realistic nudes, light and shadow, plasticity and form are modulated with several layers as well as by glazing application. Handel slowly approaches his painting and in a subjective way arrives at an independent result. Fascinated by the possibilities of painting, Handel confronts and discusses different levels of reality - realistic and idealistic - leaving behind the objective level of pure depiction. Peter Handel's works are represented in numerous exhibitions: 1972 - 1975 Wilhelm Lehmbruck...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

This is an original 19th century hand-colored lithograph entitled "Approach of the Simoon, Desert of Gizeh" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is the most famous and collectible of David Roberts' works, entitled "Approach of the Simoon, Desert of Gizeh". The scene captures the dramatic moment when a fierce sandstorm, known as a simoon, approaches a caravan traveling through the desert of Gizeh in Egypt. The scene is filled with swirling clouds of sand, which obscure the figures of the travelers and their camels. The sky is dark and ominous, with lightning bolts striking the ground in the distance. The figures in the foreground appear to be huddling together for protection, while one man in the center struggles to keep his turban from being blown away. Roberts' lithograph is particularly striking for its attention to detail and its use of light and shadow to create a sense of depth and atmosphere. The figures and camels in the foreground are rendered with great precision, while the distant landscape and stormy sky are suggested with broad, sweeping strokes. Overall, "Approach of the Simoon, Desert of Gizeh" is a powerful and evocative image of the harsh realities of life in the desert, and a testament to David Roberts' skill as an artist. This is the most well known and sought-after of all Roberts prints, as well as the most difficult to find and hence most expensive. This hand-colored lithograph is printed on wove paper with wide margins. The print is in excellent condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV conservation glass. All framing materials used are archival museum quality. The frame measures 23.75" high and 29" wide. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Petra and the Citadel of Cairo. They can be viewed by typing their reference #'s, LU1173211969422 and LU1173211970142, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Compan...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Compan...

Teatro Degollado Guadalajara III - Contemporary, 21st Century, C Print, Limited Edition, Photography, Red, Interiors, Art 38 x 47 cm (15 x 18.5 in.) Edition of 100 Signed and numbered and accompanied by Certificate of Authenticity In mint condition, in the original packaging as acquired from the publisher PLEASE NOTE: Edition numbers could vary from the one shown in the images. The pictures are only for illustrative reasons, the work is offered unframed. Candida Höfer is known for her images of empty interiors of libraries, museums, palaces and theatres, focusing on the cultural spaces free from human presence. Part of the artist’s latest exhibition at Sean Kelly Gallery, Candida Höfer in Mexico, Teatro Degollado Guadalajara III expands her signature attention to Mexican Baroque...

Paper Size: 36 x 29 inches ( 91.44 x 73.66 cm ) Image Size: 28 x 21 inches ( 71.12 x 53.34 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: 28 Color silkscreen printed by Pamplemousse Press. Hand signed, titled and numbered out of 125 by Gretchen Dow Simpson...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell. Details: + ...

Christo (Christo Wladimirow Jawaschew, born 1935 in Bulgaria, died 2020 in New York) and Jeanne-Claude (Jeanne-Claude Marie Denat, born 1935 in Casablanca, died 2009 in New York) cre...

Christo (Christo Wladimirow Jawaschew, born 1935 in Bulgaria, died 2020 in New York) and Jeanne-Claude (Jeanne-Claude Marie Denat, born 1935 in Casablanca, died 2009 in New York) created a number of world-famous installations as an artist couple. With 'L'Arc de Triomphe, Wrapped' (18 September - 03 October 2021), Christo and Jeanne-Claude's last project was realised posthumously. As an artist collective, the pair realised monumental sculptures and installations for over 45 years, often draping and/or wrapping large sections of landscapes, industrial objects and buildings with a special type of fabric. An important part of the large-scale projects were preliminary drawings, project sketches and objects, and later photographic documentation, which were sold by Christo and Jeanne-Claude to finance the costly projects from the beginning. The installations, on the other hand, were always temporary and the materials recycled afterwards. In the sense of an ecological aesthetic, the works have their legitimacy purely in memory, dedicated to the ephemeral and transient, by not adding more monuments to an already crowded world. With wrapping projects that have transformed buildings and landscapes into abstract objects, such as'Wrapped Coast...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the ...

Giclee on heavy Handmade cotton paper Signed and inscribed with archive In great condition

Giclee on heavy Handmade cotton paper Signed and inscribed with archive In great condition

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

This is an exclusive handprinted limited edition cyanotype. This beautiful cyanotype is titled "Long Wave in Venice Beach" and it shows an outstanding wave in one of the most iconic ...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...

This is an exclusive handprinted limited edition cyanotype. "Mediterranean Blue Sea Waves" is a handmade cyanotype print of the subtle tidal flow moving in on the Mediterranean Sea. ...

This is an exclusive handprinted limited edition cyanotype. "Pacific Sunset Waves" is an original cyanotype that abstractly shows the sunset reflections on the sea. Details: + Titl...

LION PORTRAIT by the British wildlife artist Sydney Taylor, is an original hand drawn limited edition lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on archival Somerset paper 100% acid free. LION PORTRAIT is a contemporary wildlife portrait depicting three male lion heads, their majestic manes prominently displayed. Printed in a warm neutral palette of light muted gray green, golden brown yellows, dark red brown, touch of pink, and accents of black and white. Print size - 21.5" x 29.5", unframed, excellent condition, hand signed in pencil by Sydney Taylor Year published - 1983 Edition size - 200, plus proofs Printer - JK Fine Art Editions Co., NY About AFRICAN LIONS - Lions are the only cats that live in groups, which are called prides. These are family units that may include up to three males, a dozen or so females, and their young. All of a pride’s lionesses are related, and female cubs typically stay with the group as they age. Young males eventually leave and establish their own prides by taking over a group headed by another male. Only male lions boast manes, the impressive fringe of long hair that encircles their heads. Males defend the pride's territory, which may include some 100 square miles (259 square kilometers) of grasslands, scrub, or open woodlands. These intimidating animals mark the area with urine, roar menacingly to warn intruders, and chase off animals that encroach on their turf. Female lions are the pride's primary hunters. They often work together to prey upon antelopes, zebras, wildbeest, and other large animals of the open grasslands. Many of these animals are faster than lions, so teamwork pays off. After the hunt, the group effort often degenerates to squabbling over the sharing of the kill, with cubs at the bottom of the pecking order. Young lions do not help to hunt until they are about a year old. Lions will hunt alone if the opportunity presents itself, and they also steal kills from hyenas or wild dogs. Lions have been celebrated throughout history for their courage and strength. They once roamed most of Africa and parts of Asia and Europe. Today they are found only in parts of sub-Saharan Africa, except for one very small population of Asian Lions...

SEATED WOMAN CROSSED ARMS is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Paint...

AFTER THE BATH is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Painter, 1899-19...

SEATED SEAMSTRESS is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Painter, 1899...

Portrait of Liz is an original lithograph by Raphael Soyer, the renowned Russian-born American realist painter, draftsman, and printmaker. Printed on archival Arches paper 100% acid free paper. Portrait of Liz is a sensitive realistic portrait of a seated young woman wearing a 1970's bohemian style pink tunic...

Franz Edmund Weirotter (1730-1771), Paysages (Landscapes), 1759, complete set of 6 (5 are illustrated on this site), [signed in the plates lower right Weirotter sc, and also signed a...

Artist: Peter Milton (American, 1930-) Title: Interiors IV: Hotel Paradise Café Year: 1987 Medium: Resist-ground etching and engraving on copper Paper: BFK Rives Image size: 23.5 x ...

Renée Mauperin; Ten Etchings, Complete Set for the Illustrations to the Novel by Edmond and Jules de Goncourt 1882 Paris: G. Charpentier et Cie, 1882-1884. The complete set of ten ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the view you want. David Loggan (1634 - 1692) Trinity College, Cambridge (1690) Engraving 80 x 50 cm Loggan's marvellous and large view of Trinity from the 'Cantabrigia Illustrata'. Loggan was born to English and Scottish parents, and was baptised in Danzig in 1634. After studying engraving in Danzig with Willem Hondius (1598-1652 or 1658), he moved to London in the late 1650s, going on to produce the engraved title-page for the folio 1662 Book of Common Prayer. He married in 1663 and moved to Nuffield in Oxfordshire in 1665. Loggan was appointed Public Sculptor to the nearby University of Oxford in the late 1660s, having been commissioned to produce bird’s-eye views of all the Oxford colleges. He lived in Holywell Street as he did this. The 'Oxonia Illustrata' was published in 1675, with the help of Robert White (1645-1704). Following its completion, Loggan began work on his equivalent work for Cambridge; the 'Cantabrigia Illustrata' was finally published in 1690, when he was made engraver to Cambridge University. The 'Oxonia Illustrata' also includes an engraving of Winchester College (Winchester and New College share William of Wykeham as their founder) whilst the 'Cantabrigia Illustrata' includes one of Eton College (which shares its founder, Henry VIII, with King’s College). Bird’s-eye views from this era required a particular talent as an architectural perspectivist; it was not until 1783 that it became possible for artists to ascend via hot air balloons and view the scenes they were depicting from above. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition by Henry Overton (on thicker paper and with a plate number in Roman numerals in the bottom right-hand corner), those of Cambridge were printed in much smaller numbers. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK, 'Les Delices de la Grande Bretagne' (circa 1708). The contemporary artist Andrew Ingamells...

Medium: original etching and drypoint with aquatint and roulette. This is an exquisite impression on japon paper, of what is arguably the most famous Felix Buhot...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. Moeris and Galatea is one of four etchings...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Cypress Grove is one of four etchings...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings...

James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky. A very fine impression, in black ink on a thin Japan paper. Provenance: Dr. John W. Randall (cf. Lugt 2130), without his mark, annotated on the mat. Limehouse, the entrance to the West Indies Docks, lies opposite the Surrey Commercial Docks in Rotherhithe, along the lower Thames. It’s unusual to find the signed butterfly (or any pencil signature) on the early London etchings, but it is known that Whistler signed...

Robert Riggs, 'Psychopathic Ward', 2-color lithograph, c. 1940, edition c. 50, Beall 60, Bassham 78. Signed, titled, and numbered '14' in pencil. Signed in the stone, lower right. A ...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. John Piper C.H. (BRITISH, 1903-1992) Shadwell Park (from the 'Victorian Dream...

Original TAA Trans Australia Airlines vintage travel poster. Linen-backed and ready to frame. TAA Airlines was started in 1946 and was renamed Australian Airlines in 1986. In 1...

Exceptional aquatint etching on paper by master print maker Zhang Biao. His daughter Fang Fang was published on a full page in the official catalog of the exhibition. This print rece...

James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on...

Etching, 1908. Image Dimensions: 30 x 17 cm Hand signed and signed on plate. Provenance: Galleria Prandi 26/10/1976. Jean-Émile Laboureur was a French painter, illustrator and engra...

To see our other views of London, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Samuel Buck (1696-1779) & Nathaniel Buck (active 1724-59) Panorama of the River Thames from Westminster Bridge to London Bridge Published September 1749 30x404cm Engraving Samuel & Nathaniel were brothers, best known for their depictions of ancient castles and monasteries entitled 'Buck's Antiquities' and those of townscapes of England and Wales, 'Sea-Ports and Capital Towns'. LIttle is known about the brothers' lives. Samuel was born in Yorkshire and died in penury in London in 1779, he was buried in the churchyard of St Clement Danes. Nathaniel pre-deceased him, dying between 1759 and 1774. This panorama is a fascinating insight into a long-lost, but strangely familiar, London. To the left is Westminster Bridge, framing the picture and to the right London Bridge completes the frame. A detailed key identifies 140 buildings and other features. Amongst the more recognisable items are Westminster Abbey, Horse Ferry (which is, indeed, a ferry for taking horses across the river with their carts and carriages), but presuamably somewhat redundant with the new (1750) bridge that coincides with the publishing of this print, the huge stack of used straw...

Complete Title: Nuova Raccolta di Cinquanta Costumi Pittoreschi Incisi all'Acquaforte". Suite of original colored etching realized by the italian engraver Bartolomeo Pinelli in 1815-...

Image dimensions: 21.5x39 cm. Beautiful plate from the volume "Campi Flegrei" by William Hamilton including 59 plates by Pietro Fabris. This particular plate illustrates the eruptio...

Landscape Campi Phlegraei - Plate XIII - View of Capri is an original colored etching realized by Pietro Fabris between 1776 and 1779. This beautiful ...

Etching, 1907. Image Dimensions: 10 x 18.5 cm. Hand signed. Edition of 30 prints. Jean-Émile Laboureur was a French painter, illustrator and engraver who spent his life between Par...

This is being sold unframed. Reception in Miami. Born to Lithuanian Jewish parents, Levine grew up in the South End of Boston, where he observed a street life composed of European i...

To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See all from this seller" - or sen...

Hand Signed. Edition of 150 prints.

Finely detailed late 19th century chromo-lithograph portrait of a violinist street musician by John George Brown (British, 1831-1913). Many of Brown’s paintings were reproduced in lithography (Chromo-lithograpy), as is the case with the one offered here. Presented in a rustic antique Oak wood frame with giltwood fillet. Image, 15.63"H x 10.63"W. John George Brown was a British citizen and an American painter born in Durham, England. His parents apprenticed him to the career of glass worker at the age of fourteen, in an attempt to dissuade him from pursuing painting. He studied nights at the School of Design in Newcastle-on-Tyne while working as a glass cutter there between 1849 and 1852, and evenings at the Trustees Academy in Edinburgh while working at the Holyrood Glass Works between 1852 ad 1853. After moving to New York City in 1853, he studied with Thomas Seir Cummings at the National Academy of Design where he was elected a National Academician in 1861. Brown was the Academy’s vice-president from 1899 to 1904. Around 1855, he worked for the owner of the Brooklyn Glass Company, and later he married the daughter of his employer. His father-in-law encouraged his artistic abilities, supporting him financially, letting Brown pursue painting full-time. In 1866, he became one of the charter members of the Water-Color Society, of which he was president from 1887 to 1904. Brown became famous for his depictions of street urchins found of the streets of New York (bootblacks, street musicians, posy sellers, newsboys, etc.). Brown’s art is best characterized as British genre painting...

This is an exclusive handprinted limited edition cyanotype. Exquisite landscape of a "Mystic Louisiana Marsh". Details: + Title: Mystic Louisiana Marsh + Year: 2024 + Edition Size:...

Jean-Baptiste VALADIE Modern Marilyn Original lithograph Handsigned in pencil Limited /199copies On vellum 76 x 56 cm (c. 30 x 22 in) Excellent condition

SEATED SEAMSTRESS is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism...

Hunting dog speaking to the rabbit: "Be Quiet". Humor in art is rare! Titled and pencil signed by the artist Paul Wood. Published in France by Paris Etching Society. "Made in Fra...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

Vintage David Hockney poster for the XIV 1984 Olympic Games in Sarajevo published as part of the official 1984 Olympic Fine Art Posters Series. The Olympic Committee commissioned 15 ...

Paper Size: 26 x 36 inches ( 66.04 x 91.44 cm ) Image Size: 22.5 x 32 inches ( 57.15 x 81.28 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...