sailboat poster art prints

Sailboat Art - Canvas Prints

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Sail Away II

Set To Sail

White Whale Square

Sail Regatta

Regatta at Argenteuil,...

Adela, 1908

Magnificence

Sailboat Navy Blue Patent...

1930s Single Catamaran On...

Wave (Night)

Sail Away I

Cape Cod Sail

Starry Night Seascape

Wind And Waves VII

Dogs & Sailboats

Antique Ship Blueprint II

At the Regatta I

Nautical Love (Sail Boat II)

Sailboats racing in the...

Into The Distance

Ship In A Bottle

Nautical, Sailboat

Sea Diamonds

The Lights And The Silent...

Sailboat Vintage Patent...

Seaside III

Sailboat 4 Red Patent...

Sailboat Green Patent...

Sailboat 4 Vintage Patent...

Night Odyssey Square

The Storm on the Sea of...

White Whale

Sailboats at Sunrise

Seascape Near Les Saintes...

Cliffs and Sailboats at...

Coastal Glow

Clipper Ship Surprise

Waiting for the Sun

Breezing Up ( A Fair...

King Of Cups

Black Pearl Ghost Ship

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Boats in the Haze

Intrepid sailing through the water, newport reflections, group sail iv, ft. lauderdale, fl - new river view & drawbridge, san pedro sunrise, ca. 1913, the stevedores in arles, 1888, vincent van gogh (fishing boats on the beach at saintes-maries) art poster print, view of tower bridge, london, c1964, seascape in suruga, 1858, sloop sailboat underway, circa 1909, clipper ship, sailboat, woods hole, massachusetts, calm morning, portland harbor, tenture de la dame à la licorne : le goût, lobster-boat unloaded along a maine pier, circa 1880, caramel wind, quebec chateau frontenac, full sail ii, bayside harbor i, the boats, or regatta at argenteuil, breezing up (a fair wind), 1876, san sebastian vintage poster - europe, the golden horn with the suleimaniye and the faith mosques, constantinople, fishing boat in a harbor, the seine at argenteuil, 1874, horizon light, the golden horn with the suleimaniye and the faith mosques, constantinople, sailing oldtimers, bay of palms, liberty island, new york harbor, 1883, venice-the giudecca, 1903, yachta tachta, view of billingsgate wharf with oyster boats, city of london, 1830, red sail boat salcombe - gouache - 2008, yacht race, graphics, at the regatta iii sail sq, poster advertising egypt. (printed by the institut graphique egyptien), dayton sails, destiny - sailboat, a canoe of the sandwich islands, late 18th century, hooper strait lighthouse - st. michaels, md, yacht "america," first winner of the america's cup race, in a later rig, wainting on a new day, stonington sail boats, maryland - sailboat scene, niijuku no watashi, the schooner juliet, the bridge at argenteuil, 1874, six metre r class sailing, berlin olympics, 1936, french men taking horse ride on sunday in yokohama (yokohama kyujitsu furansujin uma yuko), bay's landing, the entrance to the grand canal and the church santa maria della salute, venice, blue couta 2, blue water adventure ii.

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Purchase museum-quality art prints from the world's greatest living artists and iconic brands.   Choose from 50 different print sizes and seven different papers.   Each art print is produced using archival inks guaranteed to last for 75 years without fading or loss of color.

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Purchase art prints from the world's greatest living artists and iconic brands.   All art prints are printed at one of our global production facilities using premium papers and archival inks and may be customized with hundreds of different frames and mats.

Choose from 15 different print sizes starting a 6" x 6" and going all the way up to 50" x 108".

Square, rectangular, panoramic - we have them all.

Customize your art print with hundreds of different frame and mat options.

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Fine Art America is the largest art print manufacturer in the world.   We have 16 fulfillment centers located in five different countries and produce museum-quality art prints for hundreds of thousands of artists, photographers, and iconic brands.

Our expert staff produces each art print using archival inks which are designed to last for 75 years without fading.

Your art print will be ready to ship within 2 - 3 days after you place your order, and you can ship it to any destination in the world.

Every print includes a 30-day money-back guarantee.   If you're not happy with your art print, for any reason, you can send it back for a refund.   Don't worry - you're going to love it!

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Customize your art print with one of our 150+ frames.

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Hundreds of Mats

Customize your art print with one of our 250+ mats.

Mats are available in wide variety of colors and textures, and we offer both single mats and double mats.

Your art print will arrive rolled in a tube, by default. If you customize your print with a frame, then your framed print will arrive fully assembled with everything that you need to mount it on your wall.

Small framed prints (less than 20" x 16" in size) include a saw-tooth hanger on the back, and medium to large framed prints include a hanging wire or D-clips.

You'll also receive a small plastic bag containing mounting hooks and nails.

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Our art prints are produced using archival inks which are designed to last 75 years without fading or loss of color.

As long as you don't place your art print outdoors where it will be subjected to high humidity, extreme temperatures, and/or direct rain, your print will last a lifetime!

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Your art print will be produced by our expert staff at the fulfillment center that is located closest to your destination shipping address.   Your art print will be ready to ship within 2 - 3 days after you place your order, and then standard UPS / FedEx shipping times apply.   You can ship your print to any destination in the world.

Every art print includes a 30-day money-back guarantee.   If you're not happy with your purchase, for any reason, you can send it back for a refund.   Don't worry - you're going to love it!

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How the French Revived a Classic Japanese Art Form

Ahead of TEFAF Maastricht, Tamio Ikeda, of the Paris gallery Tanakaya, shares the complex history behind the woodblock print, and how mutual admiration may have saved it.

By Vivian Morelli

Reporting from Tokyo

A stroll through St.-Germain-des-Prés, on the Left Bank of Paris, can feel like a walk through another era. Centuries-old monuments abound, famed creative haunts — Café de Flore, Les Deux Magots, Brasserie Lipp — dot the street corners, and galleries and antique shops beckon aesthetes. One of them, on rue Saint-Sulpice, is Tanakaya. It specializes in original woodblock prints, paintings, and antique items from Japan.

“It all began some 40 years ago with the creation of my personal collection of Japanese prints,” Tamio Ikeda, the gallery’s owner, said in a phone interview. Born and raised in Tokyo, Mr. Ikeda came to Paris in the early 1980s to study theater with Étienne Decroux and, later, with Marcel Marceau. Soon, Mr. Ikeda opened Tanakaya. “It enabled me to pursue and amplify my love for this art form,” he explained.

Why Paris? “Because Europe, in a way, saved Japanese prints,” he said, referring to the paintings and prints depicting the daily life and interests of the common people that flourished from the 17th to the 19th century, known as Ukiyo-e (literally “pictures of the floating world”). Today, Mr. Ikeda welcomes many loyal customers in his gallery, which has occupied the small, welcoming space since its opening, in 1988. “Woodblock prints have so much history,” he said.

Japan and France, a love story

“Art is nourished by exchanges, knowledge, and influences,” Mr. Ikeda explained. However, in the early days of woodblock printmaking, there was not much exchange going on between Japan and France.

In the late 1600s, Japanese leadership had instituted a major crackdown on non-Japanese influences, which continued, for the most part, until United States warships entered Edo Bay in 1853 and again in 1854. That kicked off a period when Japan opened up to the world. During that time, toward the end of the 19th century, Mr. Ikeda explained, “numerous prints were imported, some by excellent dealers such as Tadamasa Hayashi in Paris. Impressionist painters such as Monet and van Gogh were fascinated by works from Japan, which had a strong influence on them.”

The admiration was mutual. Even before 1854, some Western art had entered Japan by way of Deshima, a small island used for trade. Vincent Lefèvre, the director of collections at the Guimet National Museum of Asian Arts , wrote in an email that an authorization to import European works via Deshima “enabled certain Japanese artists to discover another form of aesthetics, and in particular a different treatment of perspective.”

“The influence of Japanese prints on Western painting, however, is much more pronounced,” he added, citing the collections of prints that built up rapidly in Europe. This led to the development of Japonisme, a Western love for — and interpretation of — Japanese art. Japonisme invaded art studios and schools at the end of the 19th century and profoundly influenced the work of the Impressionists.

“The craze, particularly in Paris, was considerable,” said Mr. Ikeda. What ensued was a complicated relationship based on not only admiration and respect, but appropriation as well.

However, Mr. Ikeda noted, after World War II, printmaking had been largely forgotten in Japan itself, but Europe, and France in particular, revived the art form. “For a time, Japan had a short memory when it came to prints, but the West was putting them back on its radar. As is so often the case, Japan realized from Europe’s behavior that its art could have value, and so took a renewed interest in it.”

Today, museums such as the Guimet in Paris, the British Museum in London, and the Museum of Fine Arts, Boston and the Metropolitan Museum of Art in New York “have gradually built up collections of several hundred, if not thousands, of Japanese prints,” said Mr. Ikeda.

Woodblock print technique

Making Japanese woodblock prints usually involves a team of people: The artist, who creates the design in black ink, on a very thin sheet of washi, traditional Japanese paper; the engraver, who carves the wood with fine chisels; the printer, who inks the wood with colored pigments and passes a blank piece of paper from one wood to the next, soaking up each color until the final result is achieved (one wood is used for each color, so they don’t mix on the wood); and finally, the publisher, who manages the process and distribution of the prints.

“You can use the same wood for between 150 and 200 copies maximum, no more, because the wood absorbs the ink,” Mr. Ikeda explained. When that happens, the images are less sharp. Since the original drawing is glued to the wood that is then engraved, original prints are very rare. “Every print is unique,” Mr. Ikeda said. “There are always a few nuances that are different. I always look for first editions, superior quality prints.”

Mr. Ikeda noted that in Europe, particularly in Paris, it is possible to find very good 18th- and 19th-century prints, still in good condition. “They are often found in the midst of copies and, alas, reproductions, of which there are many, but our task is precisely to find them and offer them to enthusiasts. It’s not always easy, but it’s essential,” he said.

TEFAF Maastricht

Tanakaya has been participating in TEFAF Maastricht since 2010. “It’s a very specialized clientele, they’re connoisseurs,” said Mr. Ikeda. “I make a point of selecting only works of indisputable quality” for the fair.

This year, the focus will be on prints and paintings by eminent 20th-century artists. “My aim is to show significant works by great Japanese artists, past and present,” Mr. Ikeda said, adding that he hopes it’s “a reflection of the Japan that fascinates collectors.”

One print, “Zojoji Temple, Shiba,” by Kawase Hasui (1883-1957) depicts the temple of the Shiba district of Tokyo, built in 1393 — one of the most visited and photographed temples in the city.

“The snowed-in temple gives off a very Japanese image and atmosphere,” said Mr. Ikeda. “Hasui was nicknamed by his contemporaries the ‘Snow Artist’ because of his perfect mastery of depictions of snowy landscapes.” The print, one of Mr. Hasui’s most famous, dates from 1925 and belongs to the Tokyo Nijukkei (“Twenty Views of Tokyo”) series. “This is a first printing,” Mr. Ikeda explained, “as evidenced by the edition stamp in the right-hand margin, the relief on several parts of the paper and the fine gradations of color.”

Mr. Ikeda will also be presenting another print by Mr. Hasui, “Snow over Zojoji Temple,” depicting the same temple, seen from a different angle, but created much later, in 1953. “The juxtaposition of the two prints, created twenty-eight years apart, is very interesting in that it shows a profound evolution in Japanese society,” said Mr. Ikeda, noting that costumes had changed, and streetcar tracks had appeared.

Works from the 1920s and 1930s by Torii Kotondo (1900-76), an artist known for his representations of feminine beauty and sensitivity, will also be displayed by Tanakaya. One is “Kamisuki” (“Combing the hair”), a work from 1933. Mr. Ikeda notes that, in the work, which shows a woman combing her hair, “the facial expression is perfectly drawn and rendered, and the engraving for the hairstyle is of great finesse.”

Tanakaya will also present two works by Toko Shinoda , a painter and calligrapher who died in 2021 at the age of 107. “She was one of Japan’s most renowned 20th-century artists, both inside and outside the country, particularly in the U.S.,” Mr. Ikeda said, adding “being a woman artist in the first half of the 20th century was not without its difficulties, but this did not prevent her from producing work of exceptional quality along the way.”

(In 1991, Ms. Shinoda was invited to paint several sliding partitions at the Zojoji Temple in Tokyo, which appears in Mr. Hasui’s prints).

Tanakaya will also be exhibiting a painting by Rey Camoy (1928-85). Unlike Ms. Shinoda, Mr. Camoy is little known in the West. The piece, “Pierrot” (1969), done in charcoal and pastels on paper, shows the face of Pierrot, a stock Commedia dell’Arte character, after the show is over.

“He’s an emptied, exhausted, worn-out being, whose tortured features make you imagine how much he’s given of himself,” said Mr. Ikeda. “Suddenly, nothingness reaches him. It’s beautiful, touching and dramatic all at once. The human soul.”

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Barry Blitt’s “Slappenheimer”

By Françoise Mouly

Art by Barry Blitt

The 2024 Academy Awards, which will take place on March 10th, will almost certainly extend the friendly feud that has existed between “ Oppenheimer ” and “ Barbie ” ever since their same-day release last summer. For the cover of the March 11, 2024, issue, the cartoonist Barry Blitt transposed the rivalry between the blockbuster films of 2023 onto the moment when, during the 2022 Oscars, the actor Will Smith walked onstage to slap the comedian Chris Rock across the face. “It’s been a great year for movies,” Blitt said. “This Oscars ceremony ought to be worth watching—even if nobody gets smacked onstage this time around.”

See below for more Oscars covers:

“ Oscar Closeup,” by Lorenzo Mattotti

“ A Star Is Born,” by Ian Falconer

“ Behind the Lens,” by Malika Favre

Find Barry Blitt’s covers, cartoons, and more at the Condé Nast Store .

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Moscow, Kremlin, View from the Moskwa Bridge, by Night

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