Paper Landscape Prints

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper, 9 5/8 x 12 3/4 inches (243 x 322 mm), full margins with thr...

This is an exclusive handprinted limited edition cyanotype. Lovely scene of a hidden pond in a Scandinavian forest. Details: + Title: Scandinavian Enchanted Forest + Year: 2022 + Edition Size: 50 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Printed on Exhibition Photo Plantine 310gsm Paper Using Pigmented Ink Edition of 20 Troy was raised in his family’s photography studio in Iowa. He didn’t call on photography – it ca...

Cake Shop, woodblock print by Clifton Karhu, red, yellow, black, framed, Japan hand signed and numbered

Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed 1975 hand signed and numbered

Kinkakuji Rain, woodblock print by Clifton Karhu, framed, green, orange, black hand signed and numbered by the artist 16/100

Shoji, woodblock print by Clifton Karhu, round, framed, brown, white, yellow framed woodblock print hand signed and numbered by the artist

Shishimai, woodblock print by Clifton Karhu, figurative, red, blue, Japan, frame AP6 Hand signed and numbered by the artist slight smudge on bottom of frame

Patty deGrandpre’s abstract contemporary monoprint titled “Coppertone” incorporates cropped and deconstructed images of a 10 speed bike, a sandy coastline, a chaise lounge beach chai...

Scott Kahn Chrysler Building Signed lower right Etching and aquatint on paper Sheet: 21 1/2 x 18 inches Edition 18/40 Scott Kahn (born 1946 in Springfield, Massachusetts) is an Amer...

2019 Inkjet print in colors, on wove paper 34 x 43 in. (86.4 x 109.2 cm) Edition of 35 Signed, dated and numbered in pencil, lower margin

Cropped and double exposed images of palm trees, ocean views, Hawaiian Island scenery, and the facade of an abandoned Hawaiian hotel are represented on 14 x 11 inch Awagami Kozo Japanese paper in Patty deGrandpre’s contemporary abstract monoprint titled “Kauai: Island View Through Sunny Windows ”. Hues of yellow, green, sepia, and pink are thoughtfully combined and layered to create this deconstructed tropical landscape. The windows of the vintage structure...

The Grand Canyon in Arizona from Hermit Rim by Thomas Moran. Early 20th century vintage color lithograph printed in 1912, signed and dated within plate lower left, titled lower cent...

A large pair of early nineteenth century Empire Period copper plate engravings, depicting scenes of the surroundings of Paris. Set in Period gilded frames in the Classical taste, beh...

1980 Lithograph in colors on Arches Cover paper Sheet: 10 1/2 x 9 in. Edition of 1000 Signed, dated and numbered in pencil, lower margin Framed, excellent condition

This is an exclusive handprinted limited edition cyanotype. Exquisite landscape of a "Mystic Louisiana Marsh". Details: + Title: Mystic Louisiana Marsh + Year: 2021 + Edition Size:...

2013 Lithograph in colors, on wove paper Sheet: 29 x 28 in. (73.7 x 71.1 cm) Edition of 60 Signed, dated and numbered in pencil, lower margin Unframed, mint condition

Limited edition maritime print of the Cumbrae Ferry from the Pencil Monument in Largs, Scotland by Robert Barbour (Scottish, 1937-2012). Hand signed "Robert Barbour" lower right, and numbered "59/100 A.P. " lower left. Titled "Largs Connections" lower center. Published by Gryffe Fine Art, Bridge of Weir. Unframed. Displayed in a light blue mat that has some age toning. Image size: 7.5"H x 21"W. Robert Barbour was a highly talented architect and artist, specialising in watercolours. He helped design landmark buildings in Glasgow and London and painted the last official picture of the Royal Yacht Britannia while she was in service. He spent his early years in Knightswood in Glasgow, attending Bankhead Primary School and then Victoria Drive Senior Secondary School in Scotstoun, now long gone. At school he showed early promise in drawing and painting, a talent that he was later to use fully. His father was the chief draughtsman for Simon and Lobnitz, builder of dredgers at Renfrew, and the young Barbour inherited his father's skill in design and draughtsmanship. After gaining his Highers at VD, as he used to joke about the school's name, he joined Jack Holmes and Partners as an apprentice architect studying at Glasgow School of Art and the Tech, now Strathclyde University. After qualifying as an associate of the Royal Institute of British Architects and joining the Royal Incorporation of Architects in Scotland he became involved in a number of major projects including the construction of award winning multi-storey flats at Anniesland. Later, as a partner with King, Main and Ellison, he also had responsibility for the landmark Scottish Amicable building in St Vincent Street, Glasgow. Mr Barbour was also involved with Corunna House in Glasgow and the Barbican Building in London. Between his time with Jack Holmes and King, Main and Ellison, he worked for two and a half years from 1970 for Lambert and Innes at Pulls Ferry, Norwich. One of their clients was Colin Chapman of Lotus Cars...

TECHNICAL INFORMATION Alex Katz Twilight, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 40 x 88 i...

TECHNICAL INFORMATION Alex Katz Sunset 3, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 39 x 70 i...

Technical Information Alex Katz Sunset 2, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 42 x 46 i...

TECHNICAL INFORMATION Alex Katz Sunset 1, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 E...

TECHNICAL INFORMATION Alex Katz Sunrise, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 in...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Andrew Wyeth "Dogwood" 1983 Collotype Ed. 115/300 Signed and Numbered Lower Right Image Size: 21 x 28 3/4 inches Framed Size: approx. 29 x 36.5 inches A painter of landscape and figure subjects in Pennsylvania and Maine, Andrew Wyeth became one of the best-known American painters of the 20th century. His style is both realistic and abstract, and he works primarily in tempera and watercolor, often using the drybrush technique. He is the son of Newell Convers and Carolyn Bockius Wyeth of Chadds Ford, Pennsylvania, and was home-schooled because of delicate health. His art instruction came from his famous-illustrator father, who preached the tying of painting to life--to mood and to essences and to capturing the subtleties of changing light and shadows. The Wyeth household was a lively place with much intellectual and social stimulation. Because of the prominence of N.C. Wyeth, persons including many dignitaries came from all over the country to visit the family. Andrew's sisters Carolyn and Henriette became noted artists as did his brother-in-law, Peter Hurd. The non-art oriented brother, Nathaniel Wyeth...

New Year’s festivities are indicated by the flying kites as well as the two battledores tossing the shuttlecock that floats in the middle sky. Note that the women holding the battled...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

TECHNICAL INFORMATION: Ed Ruscha Cash For Tools 2, from Rusty Signs 2014 Mixograph on handmade paper 24 x 24 in. Edition of 50 Pencil signed, dated and numbered Accompanied with CO...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Toile #3 (Black Locust) Edition 4/5 36 x 36 in Archival Pigment Print on Ilford Pearl 2008 Amelia Bauer’s work is a series of discrete investigatio...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...