Nature Figurative Prints

Winter Moon 4 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed Work: ...

Moongazers by Rebecca Denton [2018] limited_edition Etching and aquatint Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Wor...

Waning by Sarah Duncan [2021] limited_edition Etching print on paper Edition number 10 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:0.2cm Sold...

Overview Effect by Sarah Duncan [2021] limited_edition Etching on Paper Edition number 10 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:0.1cm S...

Evening Light over Torcross by Ann Burnham [2021] limited_edition linocut Edition number 1 -10 Image size: H:15cm cm x W:35cm cm Complete Size of Unframed Work: H:55cm cm x W:75cm c...

US World Cup Skiing Jim Jonson, American (1928–1999) Date: 1977 Lithograph, signed and numbered in pencil Edition of 300, AP Image Size: 18 x 25 inches Size: 22 in. x 30 in. (55.88 c...

The large view of St Mark's Square in Venice was created by Federica Galli from five different etched plates and as many points of view of the lagoon city. She overcame these difficu...

Skier Allan Mardon, Canadian (1931) Date: Circa 1980 Lithograph, signed and numbered in pencil Edition of 300 Size: 29 in. x 21 in. (73.66 cm x 53.34 cm)

19" x 25.5" Unframed Limited Edition Lithograph of 175 Hand Signed by Alan Kingsland

Fei Alexeli Lac Rose Limited Edition Print Giclee Print Edition of 20 Image Size : H 32cm x W 51cm Sheet Size: H 40cm x W 60cm (Please note that in situ images are purely an indicati...

Dusk at Morston – Large Canvas Print Limited edition canvas prints by Michael Sanders. These stunning prints are created using fine art archival quality inks and canvas with three la...

Anna Harley Land’s End: Cornish Coastal Path Series Limited Edition Screen Print Hand signed by the artist Edition of 30 Sheet size H 56 x W 56 x D 0.1cm Sold Unframed Please note that the insitu images are purely an indication of how a piece may look. Discover new works by Anna Harley available to buy online and in our art gallery. Anna Harley is a professional fine art screen-printer, making prints at Spike Print Studio in Bristol. She has a Masters Degree in Multi-Disciplinary Printmaking and lives in South Bristol...

Low Tide at Hope Cove [2022] limited_edition Linocut Edition number 1-10 Image size: H:21 cm x W:45 cm Complete Size of Unframed Work: H:45cm cm x W:80 cm x D:3cm Sold Unframed Plea...

Ian Phillips Clouds Rest on Aran Fawddwy Limited Edition Linocut Print on Paper Edition of 8 Image Size: H 38cm x W 56cm Sheet Size: H 41cm x W 64cm x D 0.01cm Sold Unframed Free Shi...

Evening at Soar Mill Cove [2022] limited_edition Linocut Edition number 1-10 Image size: H:15cm cm x W:30cm cm Complete Size of Unframed Work: H:20 cm x W:60 cm x D:3mmcm Sold Unfra...

Lithograph on Magnani-Pescia paper. Paper size 60cmx80cm, work size 47cmx68cm. Excellent condition, no defects. Gino Guida - Born in Naples in 1932, died in Zagarolo 2017, He moved ...

Skies know no borders by Jennifer Jokhoo [2021] limited_edition Reduction linocut print Edition number 14 Image size: H:43.5 cm x W:27.5 cm Complete Size of Unframed Work: H:50 cm x...

Magenta Sky [2021] original Etching on Paper Image size: H:15 cm x W:20 cm Complete Size of Unframed Work: H:15 cm x W:20 cm x D:0.1cm Sold Unframed Ple...

Reflections, New York [2021] limited_edition Etching on Paper Edition number 75 Image size: H:16 cm x W:20 cm Complete Size of Unframed Work: H:16 cm x W:20 cm x D:0.1cm Sold Unfram...

House by the Sea [2020] limited_edition linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:30cm cm x W:30cm cm x D:3mmcm Sold Unframed P...

To the Beach by Ann Burnham [2021] limited_edition linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:40cm cm x W:40cm cm x D:2mmcm Sold...

Waters Edge by Jennifer Jokhoo [2021] limited_edition Reduction linocut print Edition number 20 Image size: H:30 cm x W:60 cm Complete Size of Unframed Work: H:35 cm x W:66 cm x ...

Between full and last quarter moon, late at night or in the early morning, you may see the moon in its waning gibbous phase: less than full but more than half-lighted. A full moon ri...

Jörg Olberg (*1956 Dresden), Agony, 1987. etching, E.A. (edition of 30), 24 x 17 cm (image), 46 x 37 cm (sheet), each signed in pencil lower right "Olberg" and dated "IX [19]87", inscribed lower left "E.A. [Epreuve d'Artiste]". - minimal crease and dust stains in the broad margin - The architecture of decay - About the artwork Jörg Olberg draws here the sum of his artistic study of the Berlin ruins, which were still present in the cityscape well into the 80s. With his work "Agony" he creates an allegory of decay. Positioned in the landscape of ruins, a ruined house grows before the viewer, rising like the Tower of Babel into the sky, its roof and gable brightly illuminated by the sun. But already the roof shows mostly only the rafters, and as the gaze is drawn further down, the building visibly disintegrates, the beams protruding in all directions looking like splintered bones. Slowly but inexorably - in agony - the house will collapse in on itself and become nothing more than the burial mound of itself. At the same time, the small-scale stone composition and the plaster form a pattern-like ornamentation of decay. The tension in the picture is fed by the counter-movement of growth and collapse, which is heightened by the dramatic formation of clouds. The swirls of clouds are reminiscent of a world landscape...

Michael Sanders. A beautiful seascape print of Daymer Bay situated in North Cornwall, England. This print is in an edition of 250. It is signed by the artis...

Back to Square One is a lithograph on paper, 7.75 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 139/275 (there were also 100 Roman and 20 A...

Graham Sutherland was a painter of imaginative landscapes, still life, figure pieces and portraits. He was born on 24 August 1903 in London. He abandoned a railway engineering app...

"Meditation" is an original linoleum print by Schomer Lichtner, signed in the lower right hand corner. It features a man in the middle of a project, in quiet meditation. Image: 6" x 8" Framed: 14.5" x 14.37" Lichtner and his wife, Ruth Grotenrath (1912-1988), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. Lichtner’s impressive production, perseverance, longevity, and positive approach to his life and art made him and his work distinctive and much loved by his many admirers. His work is currently represented in collections at the Milwaukee Art Museum, the John Michael Kohler Art Center, the West Bend Museum, and in the collections of many individuals. Books on the lives and art work of both Lichtner and Grotenrath are in progress and it is anticipated that they will be published next year. Recipient of the 2006 Wisconsin Visual Artist Lifetime Achievement Award The late Milwaukee artists, Schomer Lichtner and Ruth Grotenrath, created original silkscreen prints as a part of their Christmas celebration starting in the 1940's. The subjects and colors varied from year to year but they laboriously printed these little gems themselves. Ruth Grotenrath, 1912-1988, and her husband, Schomer Lichtner, (1905-2006), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. From the outset, Lichtner and Grotenrath were determined to become full-time artists. Ruth Grotenrath and Schomer Lichtner began their careers by creating numerous murals for the WPA (Work Projects Administration), primarily post offices. A wonderful example can be seen in the Sheboygan, Wisconsin post office. Even during the Great Depression they worked producing Post Office murals under the Treasury Department's Section of Fine Arts (SFA). According to James Auer, former Milwaukee Journal Sentinel art critic, "As art and economic trends evolved, the couple’s palettes brightened and warmed. Both fell under the spell of the Mexican social realists, notably Diego Rivera, and modernists such as Matisse and Dufy. The couple’s perspective changed further after they became friends with philosopher Alan Watts...

Fire Crackers is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 136/275 (there were also 100 Roman and 20 AP). Fr...

The Shell Game is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 223/275 (there were also 100 Roman and 20 AP). F...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

The Pipe Dream is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 96/275 (there were also 100 Roman and 20 AP). Fr...

Julian Trevelyan (1910-1988) Father Thames (1969) Etching and aquatint, signed, numbered 53/75 35x48cm Nephew of the historian G M Trevelyan he was educated at Bedales and Trinity C...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awf...

Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer an...

Radicofani is a contemporary artwork realized by Bettino Craxi in the first years of the 1980s.  Original Etching on cardboard.  Good conditions.  Beautiful etching depicting the ...

Swimmer is an original contemporary artwork  realized by Kim Hyang in 2008 Mixed colored lithograph Hand signed and numbered on the lower margin Realized in occasion of the Olympi...

Catching Fire is a lithograph on paper, 9.5 x 5.5 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 170/275 (there were also 100 Roman and 20 AP). ...

23" x 31" Unframed Limited Edition Lithograph of 400 Hand Signed by Alan Kingsland 1996

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008 Mixed colored lithograph Hand signed and numbered on the lower margin Realized in occasion of the Olympic Games in...

Bright Woods - 21st Century Contemporary Photographic Print - Black & White Polaroid, Polaroid Original, Shadow Gapped Frame - Photographic Print on Alumin...

Joyeux Noel is a lithograph on paper with an image size of 3.5 x 2.5 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and ribbon' mou...

Les Moutons de Claudine is a black and White etching realized by Jules Herau in the Late 19th Century.  Titled in the lower Image Size: 23x31 Very good impression. Realized by Ca...

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008 Mixed colored lithograph Hand signed and numbered on the lower margin Realized in occasion of the Olympic Games in...

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008. Mixed colored lithograph. Hand signed and numbered on the lower margin. Realized in occasion of the Olympic Games...

Moutons en Plaine is a black and White etching realized by Ferdinand Chaigneau in the 1860s.  Titled in the lower Image Size: 32x23 Very good impression. Realized for the "Sociét...

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008 Mixed colored lithograph. Hand signed and numbered on the lower margin Realized in occasion of the Olympic Games i...

Publisher GKM. Unframed. Edition of 150 ex. Signed by the artist. Free shipment worldwide. Reality or fantasy? What is the difference between fantasy and fact, between night and da...

Digital print on canvas with dissolved ink and pigments, edition 1/5, 90 x 120 x 3 cm, 2017 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Pa...

Terni Waterfall is a lithograph on paper realized in the 19th Century. The artwork is represented in a well-balanced composition with strong strokes. Very good condition.

Toblino Castle is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the l...

Castel-Campo in Tyrol is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, o...

The Kelly Girls is a treasure trove of historical importance. First is the medium, color xerox printing. For anyone who worked in the alternative photography media, color xerox had a...

This artwork titled "Lanscape with Pond" is an original color serigraph by noted Bosnian artist Anton Sipos, b.1938. It is hand signed and numbered 225/275...

Michael Knigin, American (1942 - 2011) - Bit of Gold, Year: 2006, Medium: Giclee print on paper signed, numbered and dated in pencil, Edition: AP, Image Size: 17 x 25 inches, Siz...

Michael Knigin, American (1942 - 2011) - Blind Courage, Year: 2006, Medium: Giclee print on paper signed, numbered and dated in pencil, Edition: AP, Image Size: 17 x 17 inches, S...

Michael Knigin, American (1942 - 2011) - 53 Stations of Tokaido, After Hiroshige, Year: 2004, Medium: Archival Pigment Print, signed, numbered, dated, and titled in pencil, Edition...