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Size: Miniature
Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art
Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art

Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art

By Treadway Russell Nash

Located in Saint Augustine, FL

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Reference: Upcott III, page 1330 Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

Category

1780s Old Masters Landscape Prints

Materials

Laid Paper, Engraving

Dusk at Sedgwick Knoll
Dusk at Sedgwick Knoll

Dusk at Sedgwick Knoll

By James Groleau

Located in Palm Springs, CA

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century...

Category

21st Century and Contemporary Contemporary Landscape Prints

Materials

Mezzotint

Evening Light Aquatint Etching of Mt Shasta, Signed, Edition of 50
Evening Light Aquatint Etching of Mt Shasta, Signed, Edition of 50

Evening Light Aquatint Etching of Mt Shasta, Signed, Edition of 50

By Art Werger

Located in Palm Springs, CA

Spectacular view of Mt Shasta as seen from the Trinity Wilderness in northern California. Soft evening light as the sunset fades leaving mountain ridges highlighted. Medium: aquatin...

Category

2010s Contemporary Landscape Prints

Materials

Etching, Aquatint

"Ivray, chemin de fer" original etching

"Ivray, chemin de fer" original etching

By Charles Heyman

Located in Henderson, NV

Medium: original etching. This impression on laid paper was printed in 1912 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 4 1/4 x 9 1/2 inches (110 x 24...

Category

1910s Landscape Prints

Materials

Etching

SNOWBOUND

SNOWBOUND

By Frances H. Gearhart

Located in Santa Monica, CA

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

Category

1920s American Impressionist Landscape Prints

Materials

Color, Linocut, Woodcut

NATURE - Flock of Birds - Facsimile, Ltd /450
NATURE - Flock of Birds - Facsimile, Ltd /450

NATURE - Flock of Birds - Facsimile, Ltd /450

By M.C. Escher

Located in Paris, IDF

M.C. ESCHER (1898-1972) Flock of Birds, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 45 x 3...

Category

20th Century Modern Landscape Prints

Materials

Color

Notre-Dame Cathedral from the Seine
Notre-Dame Cathedral from the Seine

Notre-Dame Cathedral from the Seine

Located in Middletown, NY

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

Category

Early 20th Century French School Landscape Prints

Materials

Etching, Drypoint

NATURE -  Flight of birds - Facsimile, Ltd /450
NATURE -  Flight of birds - Facsimile, Ltd /450

NATURE - Flight of birds - Facsimile, Ltd /450

By M.C. Escher

Located in Paris, IDF

M.C. ESCHER (1898-1972) Flight of birds, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 45 x ...

Category

20th Century Modern Landscape Prints

Materials

Color

Le Cours La Reine, from the series Rouen Illustré
Le Cours La Reine, from the series Rouen Illustré

Le Cours La Reine, from the series Rouen Illustré

By Maxime Lalanne

Located in Middletown, NY

Paris: A. Salmon, 1883. Etching with engraving on white laid paper, 6 1/8 x 9 3/4 inches (156 x 247 mm); sheet 9 1/4 x 12 1/2 inches (235 x 318 mm), full margins. In very good condi...

Category

Late 19th Century French School Landscape Prints

Materials

Laid Paper, Etching, Engraving

'The Plaza, Sunset Glow' — 1920s Signed Drypoint, Central Park, NYC
'The Plaza, Sunset Glow' — 1920s Signed Drypoint, Central Park, NYC

'The Plaza, Sunset Glow' — 1920s Signed Drypoint, Central Park, NYC

By Walter Tittle

Located in Myrtle Beach, SC

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

Category

1920s American Impressionist Landscape Prints

Materials

Drypoint

Broad Street (Wall Street)
Broad Street (Wall Street)

Broad Street (Wall Street)

By Bror Julius Olsson Nordfeldt

Located in Myrtle Beach, SC

B.J.O. Nordfeldt, 'Broad Street (Wall Street)', etching, edition not stated, c. 1915. Signed in pencil. A superb impression, with rich burr, selectively wiped plate tone, and inky plate edges, on cream wove paper; the full sheet with margins (3/4 to 1 1/4 inches), in excellent condition. Printed by the artist. Matted to museum standards, unframed. Impressions of this work are in the permanent collections of the Fine Arts Museums of San Francisco, Princeton University, Smithsonian American Art Museum. A view looking down Broad Street past the New York Stock Exchange Building on the right with the columned Federal Hall...

Category

1910s American Impressionist Landscape Prints

Materials

Etching

Fir Play Intaglio Print, American Modern, Artist Proof #4/5, 2010+
Fir Play Intaglio Print, American Modern, Artist Proof #4/5, 2010+

Fir Play Intaglio Print, American Modern, Artist Proof #4/5, 2010+

By Carol Wax

Located in New Orleans, LA

A series of prints was commissioned by the Metropolitan Museum in New York in a regular edition of 40. This impression is from an edition of 5 artist proofs. This impression is #4/5. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

Category

2010s American Modern Animal Prints

Materials

Intaglio

Let's Clay - Werner Bronkhorst - Tennis
Let's Clay - Werner Bronkhorst - Tennis

Let's Clay - Werner Bronkhorst - Tennis

By Werner Bronkhorst

Located in London, GB

Werner Bronkhorst Let's Clay, 2026 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FSC-ce...

Category

2010s Contemporary Landscape Prints

Materials

Giclée

San Jacinto Color Woodcut Print, American Impressionist, Circa 1926
San Jacinto Color Woodcut Print, American Impressionist, Circa 1926

San Jacinto Color Woodcut Print, American Impressionist, Circa 1926

By Frances H. Gearhart

Located in Santa Monica, CA

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

Category

1920s American Impressionist Landscape Prints

Materials

Woodcut

Low Country (South Carolina)

Low Country (South Carolina)

By Elizabeth Verner

Located in Middletown, NY

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

Category

1930s American Modern Landscape Prints

Materials

Drypoint, Etching

Manhattan, Industry, Coal, 1911, Earl Horter
Manhattan, Industry, Coal, 1911, Earl Horter

Manhattan, Industry, Coal, 1911, Earl Horter

By Earl Horter

Located in Fairlawn, OH

Coal Pockets and Viaduct, New York (Viaduct at 130th Street, NYC) Etching & Drypoint, 1911 Unsigned Provenance: Estate of the Artist New York Financial Institut...

Category

1910s American Realist Landscape Prints

Materials

Etching

Winter Trees — Sōsaku Hanga Japanese Woodblock Print, Signed
Winter Trees — Sōsaku Hanga Japanese Woodblock Print, Signed

Winter Trees — Sōsaku Hanga Japanese Woodblock Print, Signed

Located in Myrtle Beach, SC

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

Category

21st Century and Contemporary Contemporary Landscape Prints

Materials

Woodcut

Maison Romaine, by Francois Houtin
Maison Romaine, by Francois Houtin

Maison Romaine, by Francois Houtin

By François Houtin

Located in Palm Springs, CA

Signed, titled and numbered by the artist, edition of 30. This Imaginary building shows the move toward more elaborate landscape images Houtin started doing in the early 1980's. Fr...

Category

1980s Contemporary Landscape Prints

Materials

Etching

Bamboo Wood, Jizuri Seal, Japanese Woodblock Print
Bamboo Wood, Jizuri Seal, Japanese Woodblock Print

Bamboo Wood, Jizuri Seal, Japanese Woodblock Print

By Yoshida Hiroshi

Located in Grand Rapids, MI

Hiroshi Yoshida (Japanese, 1876-1950) Signed: Hiroshi Yoshida, (in pencil, lower, right " Bamboo Wood ", 1939 (titled, lower, left) Woodblock print in colors 14 7/8" x 9 3/4" im...

Category

Early 20th Century Landscape Prints

Materials

Washi Paper

The South West Prospect of London – English School 18th century
The South West Prospect of London – English School 18th century

The South West Prospect of London – English School 18th century

Located in Middletown, NY

A stunning 18th century optical view of London from the Thames. London: 1760. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular wate...

Category

Mid-18th Century English School Landscape Prints

Materials

Watercolor, Handmade Paper, Engraving

'Die Architektur' (Architecture) — Bauhaus Modernism, Signed Woodcut
'Die Architektur' (Architecture) — Bauhaus Modernism, Signed Woodcut

'Die Architektur' (Architecture) — Bauhaus Modernism, Signed Woodcut

By Lyonel Feininger

Located in Myrtle Beach, SC

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition – proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, richly-inked impression, on off-white Japan paper, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collections of: the Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), and the Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

Category

1920s Bauhaus Landscape Prints

Materials

Woodcut

'Taos Placita' — American Southwest Masterwork, Signed Color Woodcut
'Taos Placita' — American Southwest Masterwork, Signed Color Woodcut

'Taos Placita' — American Southwest Masterwork, Signed Color Woodcut

By Gustave Baumann

Located in Myrtle Beach, SC

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Category

1940s American Modern Landscape Prints

Materials

Woodcut

Belshazzar’s Feast - Etching by John Martin - Mid 19th Century

Belshazzar’s Feast - Etching by John Martin - Mid 19th Century

By John Martin

Located in Roma, IT

Mezzotint engraving realizd by  William Greatbach after the celebrated painting by John Martin. A dramatic nineteenth-century mezzotint depicting the biblical scene of Belshazzar’s ...

Category

Mid-19th Century Modern Figurative Prints

Materials

Etching

Canal aux Martiques
Canal aux Martiques

Canal aux Martiques

By Adolphe APPIAN

Located in Middletown, NY

Paris: 1872. Etching with drypoint on laid Japon paper, 4 1/2 x 8 1/8 inches (115 x 207); sheet 9 3/4 x 12 7/8 inches (248 x 327 mm), full margins. In good condition with some minor...

Category

Mid-19th Century French School Landscape Prints

Materials

Handmade Paper, Engraving, Etching

Barn Owl Beautiful Quality British Wildlife Artist Limited Edition Signed Print
Barn Owl Beautiful Quality British Wildlife Artist Limited Edition Signed Print

Barn Owl Beautiful Quality British Wildlife Artist Limited Edition Signed Print

By Adrian Rigby

Located in Cirencester, Gloucestershire

"The Barn Owl" limited edition color print, unframed very thick fine quality paper/ card. Adrian Rigby (British, b. 1962) signed in pencil to the lower corner numbered out of 250 pu...

Category

21st Century and Contemporary English School Animal Prints

Materials

Color

The Day Begins, Cyanotype, 5 x 7 in., Ed. 2of 3, Contemporary Landscape
The Day Begins, Cyanotype, 5 x 7 in., Ed. 2of 3, Contemporary Landscape

The Day Begins, Cyanotype, 5 x 7 in., Ed. 2of 3, Contemporary Landscape

By Christine So

Located in Oakland, CA

This is from the small run of mini 5 x 7" hand-printed editions made expressly for the Postcard Art 2026 Exhibition in the Hague, The Netherlands. I printed a larger version as well ...

Category

2010s Contemporary Landscape Photography

Materials

Paper, Archival Paper, Rag Paper, Photogram

Werner Bronkhorst - Swing
Werner Bronkhorst - Swing

Werner Bronkhorst - Swing

By Werner Bronkhorst

Located in London, GB

Werner Bronkhorst Swing, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FSC-certifi...

Category

2010s Contemporary Landscape Prints

Materials

Canvas, Giclée

Solstice, by Stephen McMillan
Solstice, by Stephen McMillan

Solstice, by Stephen McMillan

By Stephen McMillan

Located in Palm Springs, CA

A mountain cabin obscured by mist on a snowy mountain top surrounded by trees. Based on a view of Heather Meadows, Mt Baker Ski Area, WA. Signed titled and numbered in pencil from th...

Category

2010s Contemporary Landscape Prints

Materials

Etching, Aquatint

Topiaire Sujet No. 1, by Francois Houtin
Topiaire Sujet No. 1, by Francois Houtin

Topiaire Sujet No. 1, by Francois Houtin

By François Houtin

Located in Palm Springs, CA

Signed, titled and numbered by the artist, edition of 30. This Imaginary topiary and garden scene is the smallest size that Houtin created . François Houtin was born in Craon en Ma...

Category

1970s Contemporary Landscape Prints

Materials

Etching

Pacific Cove, California Coatal landscape
Pacific Cove, California Coatal landscape

Pacific Cove, California Coatal landscape

By Stephen McMillan

Located in Palm Springs, CA

A view north from Big Sur. This image of the mountains and coast of California are very representative of the artist's work. He spends a great amount of time backpacking and hiking t...

Category

2010s Contemporary Landscape Prints

Materials

Etching

Low Country (South Carolina)
Low Country (South Carolina)

Low Country (South Carolina)

By Elizabeth Verner

Located in Middletown, NY

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...

Category

Early 20th Century American Modern Landscape Prints

Materials

Archival Paper, Drypoint, Etching

Mist and Snow
Mist and Snow

Mist and Snow

By Billy Childish

Located in London, GB

Mist and Snow, 2025 Archival print on heavy matt stock paper 30.5 x 30.5 cm Edition 62 of 200 signed and numbered by the artist Billy Childish is a prolific British artist, musicia...

Category

2010s Contemporary Landscape Prints

Materials

Archival Pigment

Delayed (Bus is late, the umbrella up and the long walk home thru rain begins)
Delayed (Bus is late, the umbrella up and the long walk home thru rain begins)

Delayed (Bus is late, the umbrella up and the long walk home thru rain begins)

By Art Werger

Located in New Orleans, LA

The bus is delayed and the night is cold and rainy as a lone woman raises her umbrella to brave the shadowy walk home after giving up on her ride She has just left the bus shelter a...

Category

21st Century and Contemporary American Modern Figurative Prints

Materials

Mezzotint

Untitled Composition (Poligrafa, Redfern, Catalan, Landscape, 70% OFF - MUST GO)
Untitled Composition (Poligrafa, Redfern, Catalan, Landscape, 70% OFF - MUST GO)

Untitled Composition (Poligrafa, Redfern, Catalan, Landscape, 70% OFF - MUST GO)

By Joan Hernandez Pijuan

Located in Kansas City, MO

Joan Hernandez Pijuan Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 1000 Size: 10 x 7.325 inche...

Category

1970s Modern Landscape Prints

Materials

Lithograph