Square Landscape Prints

The artwork is print on silk and it is limited edition. Our theater of culinary extravaganza and everyday vaudeville. The worst thing is when you don’t know what's funniest to you t...

This image is #17 of an edition of 35 Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed see more . . . th...

70x70cm, print on canvas Edition 20 pcs.

"Hillside Fence Study 9 Teshikaga Hokkaido Japan" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted to...

Eve Stockton’s woodcut prints are inspired by close observation of nature and her eclectic interest in science. Her woodcuts depict nature at different scales, often simultaneously. ...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Frame: 37 x 37 in This is an artist's proof from the edition of 100 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

large-scale original art photography from a series of dramatic cloud atlas observations and abstract monochromatic skyscapes above the Mediterranean Sea C...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism Topiary I...

Beth Ganz, 'Mount St. Elias, Yukon, Alaska', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Mount Saint Elias, the second-highest mountain in Canada and the United States stands on the Yukon and Alaska border about 26 miles (42 km) southwest of Mount Logan, the highest mountain in Canada. The Canadian side of Mount Saint Elias forms part of Kluane National Park and Reserve, while the U.S. side is within Wrangell-St. Elias National Park and Preserve. Mount Saint Elias is notable for its immense vertical relief. Its summit rises 18,008 feet (5,489 m) vertically in just 10 miles (16 km) horizontal distance from the head of Taan Fjord, off of Icy Bay. The name of the mountain in Tlingit (indigenous peoples of the Pacific Northwest Coast of North America), Yasʼéitʼaa Shaa, means "mountain behind Icy Bay"; the Yakutat Tlingit occasionally call it Shaa Tlein "Big Mountain". It is one of the most important crests of the Kwaashkʼiḵwáan clan, who used it as a guide during their journey down the Copper River. Mount Fairweather, at the apex of the British Columbia and Alaska borders at the head of the Alaska Panhandle, is known as Tsalx̱aan; legend states that this mountain and Yasʼéitʼaa Shaa (Mt. St. Elias) originally stood next to each other, but had an argument and separated. Their children, the mountains between the two peaks, are called Tsalx̱aan Yátxʼi ("Children of Tsalxaan"). European explorers first sighted the mountain on July 16, 1741, with the arrival of the expedition commanded by Vitus Bering, a Danish explorer in service of Russia. While some historians contend that Bering named the mountain, others believe that eighteenth-century mapmakers named it after Cape Saint Elias when Bering left the peak unnamed. Mt. St. Elias was first climbed on July 31, 1897, by an Italian expedition led by famed explorer Prince Luigi Amedeo, Duke of the Abruzzi (who also reconnoitered the current standard route on K2 in 1909) and included noted mountain photographer Vittorio Sella. In 2007 Gerald Salmina directed an Austrian documentary film, Mount St. Elias, about a team of skiers/mountaineers determined to make "the planet's longest skiing descent" by ascending the mountain and then skiing nearly all 18,000 feet down to the Gulf of Alaska; the movie finished editing and underwent limited release in 2009. The climbers ended up summiting on the second attempt and skiing down to 13,000 ft (3,960 m). ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. His seascapes and ocean prints are from the California coastline. Sign...

A spectacular wave breaking under a stormy sky . Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Signed and numbered f...

Our very important pollinators bees and butterflies are the stars of this print. The bees are buzzing around the vibrant blue ceanothus shrub and a Red Admiral, Camberwell Beauty and...

The artwork will be sent unframed Linocut „Dawn” 2023 Linocut print technique Art print from 7 matrices Limited edition, print unique number 2/8 Paper Fabriano Rosaspina 220 g Prin...

large scale photograph of the iconic HOLLYWOOD sign in golden California sunlight with downtown Los Angeles in the distance HOLLYWOOD by Christian Stoll 48 x 48 inches (122 x 122c...

Beth Ganz, 'Mount Fuji, Japan', copperplate photogravure etching, edition 10, 2019. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi...

Sea Poppies and Linnets at Salthouse by Joanna Padfield [2022] Sea Poppies and Linnets at Salthouse is an original limited edition linocut print, printed in blue. All of my prints ...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism Topiary I...

Print on canvas The still life Inner World is dedicated to the inner world of a person. It can be hidden from our eyes, but it can be very deep, interesting, bright, fantastic, alwa...

Artist: Henri Matisse (after) Title: Lierre en Fleur Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Frame Size: 17" x 17" Sheet Size: 14" x 10...

Gordon Hunt Into the blue Limited edition print Image size: H 60cm x W 60cm Sheet Size: H 70cm s W 70cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indicati...

Artist: Jiang Tie-Feng (1938) Title: White Mermaid Year: 1988 Medium: Silkscreen on Vellum Rag paper Edition: LXX/LXXV, 293 Arabic Numerals, 75 Roman Numerals, plus proofs Size: 36 x...

This Limited Edition giclee landscape print by Bri Custer is an edition size of 195. It features a light green, blue, and mint green palette. Printed ...

Josif Elgurt (1924-2007) Born in 1924 in Kischinow in Romania. In 1947 resumed his art studies in Kischinow. Since 1952 he hase lived in Riga and until 1958 he studied at the Latvia...

The artwork is print on silk and it is limited edition. I clear the world layer by layer of verbal husk and silent contours of things appear like skeletons. "Library" by Natalia Ko...

large-scale framed original art photography from a series of mesmerizing cloud atlas observations and abstract skyscapes above the horizon line of the Medi...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool blue and green palette with warm yellow accents. The artist captures a...

This realistic limited edition print by John Harris captures a highly detailed, cropped view of water lightly rippling over river rocks in a cool blue palette. This Limited Edition...

This abstract landscape limited edition print by Ken Elliott is made with oil paint features a forest scene with a bold, contrasting palette of cool, deep blues that are accented by ...

Carel Weight was born in Paddington, West London in 1908. His mother, who was of German and Swedish descent, was a chiropodist, and his father was a cashier at a bank. As they both w...

Spring Thaw has vibrant fall colors with melting snow creating a strong contrast as the season is changing and a small section of a stream in the foreground.. Ray Vinella immig...

Joe Zucker The Relocation of Property by Natural Forces Rubber stamp print on Arches 88 paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper size: 8 x 8 in...

This realistic limited edition print captures a highly detailed, close up view of river water running over small, colorful rocks. Above the shapes, textures, and earthy colors of the...

The artwork is print on silk and it is limited edition. A stunning exploration of memory, legacy, and hidden worlds, "Comode" is a surrealist masterpiece blending fine art illustrat...

Monotype ev edition 3/4 with heavy hand coloring. The plate is 28 x 28 inches and the overall paper size is 33 1/2 x 32 inches. Signed, titled and dated. Kim Frohsin spend 12 years w...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This is impression #12 of 35 impressions Born in Charleroi, Belgium, Ravaux is an ...

This abstract landscape limited edition print by Ken Elliott features a warm, vibrant palette and captures a landscape with the sun just along the horizon. The painting has an impres...

Christine Ravaux created Deux Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted w...

This is a one of a kind aquatint printed in rich blacks. The image is 12 x 12 and is printed on a 20 x 20 piece of paper. The image depicts large trumpet flowers in a garden with d...

This abstract landscape limited edition print by Ken Elliott is made with oil paint features a forest scene with a bold, contrasting palette of cool, deep blues that are accented by ...

This abstract landscape limited edition print by Ken Elliott depicts an abstracted forestscape, with cool blue and violet trees and a yellow-green forest floor. The cool blues are co...

Christine Ravaux created Une Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted wi...

"Permafrost" by Alexis Kandra is a limited edition signed, titled, dated and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil (edition total of 5). The image features a surreal wildlife scene of a fantastical grouping of animals -- in the foreground of the landscape is a (now extinct) saber tooth tiger...

'Sister' , by contemporary printmaker and artist Rosie McLay (British) Edition 59 of 75 in total, handmade etching by the artist. Ink on paper layed on Dutch gold leaf. Hand etched ...

This contemporary abstract landscape limited edition print by Ken Elliott features a cool blue and violet palette, capturing rolling hills underneath thick, hazy clouds, with contras...

This abstract landscape limited edition print by Ken Elliott depicts an abstracted forestscape, with cool blue and violet trees and a yellow-green forest floor. The cool blues are co...

This Linocut print captures the energy and speed of terns fishing on the high tide with sailing boats riding the waves. Printed with oil based relief inks on 300gsm soft white Somers...

Champagne City, Aqua Blue Thames Clare Halifax Signed by the artist Limited edition of 10 Image size: H:48 cm x W:48 cm Paper size: H:56 cm x W:56 cm x D:0.1 cm Please note that insitus are purely an indication of how a piece may look. Champagne City, Aqua Blue Thames is a limited edition cityscape print by Clare Halifax. Champagne City, Aqua Blue Thames features hand gilded champagne gold leaf 22.5ct with aqua blue thames. This 2 colour screen print with hand finished gilding is printed by the artist and shows the view of the thames from sky garden, edition of 10, printed onto somerset satin 300gms with deckle edge. Clare Halifax, artist, joins Wychwood Art selling art online and in their art gallery in Deddington. Clare Halifax is offering exclusive Cotswold screen prints with Wychwood Art as well as scenes of London and Oxford. Clare Halifax graduated from the University of Loughborough in 2000 with a BA Hons in Printed Textile design and went on to sell her work internationally to the fashion and interior markets...

Original Title: Valtur, Dove l'Estate dura otto mesi. Edition of 120 pieces numbered and signed by the Artist. The name of the artist is Cintoli, but the artwork is signed under t...

This abstract landscape limited edition print by Ken Elliott features a forest-scape with bright yellow tree leaves which are mirrored by the yellow foreground, all of which is complemented by the light violet shadows between the trees and light...

The inspiration for this print is to capture the momentary spectacle when shafts of light cast themselves through a densely packed woodland canopy. The print boasts a vibrant array of four stunning colours, featuring an under-layer of metallic Gold ink and finished off with a subtle lush green overprint. Artwork printed...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

Hand-pulled screen print. printed on 290gsm Coventry Rag paper with deckled edges 61 x 61 cm 24 x 24 in Edition of 75 hand-signed and numbered on the front Cleon Peterson is a conte...

I loved the dark trees on the hill against the blue sky and white puffy clouds, a beautiful winter day. ADDITIONAL INFORMATION: Linocut on Paper Edition of 10 40 H x 40 W x 1 D cm (...

This abstract landscape limited edition print by Ken Elliott features a predominately cool violet palette, which is offset by the warm yellow trees in the foreground, which are refle...

Cropped and double exposed images of ski lift chairs, mountain terrain, pine trees and a rustic wood walkway are represented on 12 x 12 inch Red River photo p...

'Onto the rocks' is an original seascape painting by Gordon Hunt. Two children enjoying their holiday are climbing onto the rocks. They are having a great time playing in the clear s...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a silver floater frame ...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

The Sea and the Sky is an original Contemporary Artwork realized in 1974 by Claudio Cintoli, with the pseudonym of Marcanciel Stupro. Plate-signed on the center. Numbered on the lo...