Large Landscape Prints

"Biltmore" Photography 30" x 40" inch Edition of 5 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edition of 5: 30" x 40" inch ...

Sold with wooden frame in black color or others : 100 x 90 x 5 cm - 39,4 x 35,4 x 1,9 in, ed. 1/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

Digital print on canvas with dissolved ink and pigments, edition 1/5, 70 x 90 x 3 cm, 2018 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Par...

Digital print on canvas with dissolved ink and pigments, edition 1/5, 90x 70 x 3 cm, 2018 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Park...

Photographic print by California artist Susan Goldsmith. Susan Goldsmith (b. 1955, Los Angeles, CA) attended the California College of the Arts in Oakland, CA, where she completed a...

"Chateaux De La Loire" is a signed original lithograph by Robert Abel. It depicts a view of one of the most iconic houses on the Loire River in France. Left ...

John Thompson, American (b.1950), Dollis, circa 2014. Titled lower left: "Dollis"; signed and dated lower right: "John Thompson 2014". A fine impression in fine condition. Dimensions...

Cuba 30 is a limited edition color photograph of a classic car taken in Cuba in 2016. It is 20x30 photograph. It is printed on 24x36 archival paper, framed. Edition of 15. Signed and Numbered. This is framed with a white frame. John Conn got his start as a Marine Combat photographer, and later earned his BFA at the School of Visual Arts in New York. As a freelance photographer and writer, he has captured a range of subjects photojournalism delving into political and social issues, nature and landscapes, architecture, and underwater images. His work has appeared in: New York Times Sunday Magazine; Time/Life Books; IMAX Films; Village Voice; Human Rights Magazine; Shutterbug Magazine; Hasseleblad Magazine; American Photographer; RangeFinder Magazine; LensWork Magazine; Ocean Realm; Dive Travel Magazine; Picture Magazine; Discover Diving Magazine; Picture Magazine; Popular Photography; Nikon World; Black & White Photography; B&W Magazine; Studio Photography, to name a few. Starting in 1970, John traveled to South Africa capturing images of the people and social divide of Aparteid. His iconic Subway series shot between the mid 1970’s and 1982 in New York City is part of the permanent collection of The New York Historical Society and Hoboken Historical Museum. In 2010, John Conn spent 45 days in Antarctica and Patagonia, traveling and hiking to capture the land and seascapes. He spent over 20 days journeying over 3,200 nautical miles in Antarctica before heading to Patagonia for the second part of his expedition. In 2014/15 John began a series of treks across the US photographing Americans, similar to what Robert Frank did in the late 1950’s. In 2015/16, he spent a month in Cuba photographing...

"Synchronicity (part 3)" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2021 ABOUT Rob Woodcox Rob Woo...

Hand signed and numbered. Edition of 150 prints. Excellent condition.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in a tube.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing.

Please allow 1-2 weeks for printing. Price does not include any mounting or framing. Can be shipped in a tube.

"Blue Ridge Mountains" Photography 30" x 40" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2012 ABOUT Rob Woodcox ...

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in a tube.

This work is an archival giclée print sold unframed. Edition of 18. An edition of this work is currently exhibited at The Beverly Hills Hotel (9641 Sunset Blvd, Beverly Hills, CA ...

This work is an archival giclée print sold unframed. Edition of 24. An edition of this work is currently exhibited at The Beverly Hills Hotel (9641 Sunset Blvd, Beverly Hills, CA ...

This work is an archival giclée print sold unframed. Edition of 24. An edition of this work is currently exhibited at The Beverly Hills Hotel (9641 Sunset Blvd, Beverly Hills, CA 90...

14" x 40" Unframed Limited Edition Silkscreen of 195 Hand Signed by Bruce Herchenrader 1999 “This tranquil setting of water lilies belies the challenges we faced that day that I saw...

30"x40" archival pigment print signed on reverse by the artist. This composition is created entirely of cut paper, and then is photographed by the artist. The white paper in his as...

34 1/2"x34 1/2" paper size, image size 31 1/2"x31 1/2" : signed and editioned on reverse, limited edition of 5. This limited edition print by Montreal artist, Ross Racine, depicts a...

34.5"x34.5" paper size, image size 31.5"x31.5" : signed and editioned on reverse, limited edition of 5. This limited edition print by Montreal artist, Ross Racine, depicts an abstra...

Hand signed, titled and numbered by the artist. Image size approx 24 x 36 inches. From the roman numeral edition of 150 (CL). Artwork is in excellent condition but please note due t...

Hand signed and numbered by the artist. Silkscreen on Arches paper. Framed size approx 38 x 45 inches. Image size 30 x 40 inches. Artwork is in excellent condition. Certificate of Au...

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in a tube.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in tube.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in a tube.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in tube.

A Season of Litanies Series: Twilight Sparkle, Print by Lisa Stefanelli, 2016 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensio...

Crowd Pleaser Series: Grand Central, Print by Lisa Stefanelli, 2019 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 40 x 3...

A Season of Litanies Series: Red Tree, Print by Lisa Stefanelli, 2013 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 36 ×...

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

U.S. Open at Oakmont Leroy Neiman (American, 1921-2012) Signed in pencil lower right Edition 63/300 lower left 27.5 x 39 inches 39.25 x 51 inches with frame Known for his bright, co...

Baumgartner deals with contrasts in her work. This is already evident in her choice of technique. Christiane Baumgartner uses one of the oldest techniques in the art of printing, the...

Cove at Vintage Leroy Neiman (American, 1921-2012) Signed in pencil lower right Edition 237/375 lower left 34 x 36.5 inches 43 x 45.5 inches with frame Known for his bright, colorful paintings and screen prints of famous sports stars...

Donald Baechler Tree, 1988 Woodcut in stenciled handmade paper print in colors 35 x 34 1/2 inches (88.9 x 87.6 cm) each Edition 12/22

The complete portfolio of Romare Bearden's "Prevalence of Ritual" suite. In 1969, the Art Workers Coalition (AWC) submitted a list of demands to MoMA in New York. Included in this li...

Created in 2007, this color soft ground etching with aquatint on paper is hand-signed and dated by Robert Bechtle (San Francisco, 1932 - Berkeley, 2020)...

The Sacramento River deltas and levees near Thiebaud’s studio became a source of inspiration starting in the mid-1990s where he would sketch en plein air and then work combined ideas...

Created in 2002, this Wayne Thiebaud Hill River, 2002 drypoint and aquatint in color on wove paper is hand signed by Wayne Thiebaud (Mesa, 1920 - Sacramento, 2021) in pencil in the l...

GLADIOLUS HARVEST is a hand drawn, limited edition lithograph by the South Carolina artist JONATHAN GREEN printed using hand lithography techniques on archival Arches paper, 100% aci...

This work by Le Parc from 1983 is part of the portfolio "Against Apartheid". In this year, many renowned artists decided to create a portfolio of printmaking works to set a sign against the Apartheid. There was also a touring exhibition. The complete project was supported by the United Nations Special Committee against Apartheid. Please scroll through our seller storefront...

We are very happy to present this beautiful 4-part series by Rhys Coren. This British artist, born in 1983, has developed a very own and unique pictorial language, driven by color an...

Technical Information: Alex Katz Tree 8 2022 Woodcut and Lithograph 39 3/4 x 39 1/4 in. Edition of 60 Pencil signed and numbered

Technical Information: Alex Katz Tree 10 2022 Screenprint 37 1/2 x 38 in. Edition of 60 Pencil signed and numbered

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

Model in a black Leotard hiking up a Snowy Mountain in Red High Heels attached to a pair of Ski, photographed by Tony Kelly in 2018. All prints are limited...

TECHNICAL INFORMATION: Andy Warhol Brooklyn Bridge, FS 11.290 1983 Screenprint on Lenox Museum Board 39 1/4 x 39 1/4 in. Edition of 200 Pencil signed & numbered Accompanied with CO...

Billy Schenck (American, b. 1947) Hurry Sundown, 1985 Edition 19/60 Serigraph 21 x 38 inches Signed, Titled, Dated, and Numbered Lower Margin Billy Schenck is a contemporary artist ...

TECHNICAL INFORMATION Alex Katz Yellow Flags 3 2020 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 33 x 22 in. Edition of 15...

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...

Hand-painted multiple with lithography. Signed in pencil, inscribed 'Proof', a proof aside from the edition of 40. In a perspex presentation box. Published by Flowers Gallery, Lon...

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...

Jean Dufy "Montmartre et La Basilique du Sacre Coeur" c. 1950s Color Lithograph Signed in Pencil Lower Right Numbered 78/250 Lower Left Image Size: approx...

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 Stranger 1983 Lithograph 30 x 22 1/2 in. Bon A Tirer (B.A.T.) from an edition of 7 Pencil signed and annotated B.A.T. Accompanied with COA by Gregg...

Archival Pigment Print on canvas Edition size: 10 plus 2 artist proofs Each canvas is hand painted by the artist Available in the following sizes: 20" x 40" • 30" x 60" • 36" x 72" • 47" x 96" “American Icon” examines the world’s perception of America. It combines quintessential American imagery to create a depiction of this nation as seen through the eyes of the world. From the Founding Fathers to Facebook, Cowboys and the Wild West; The Wright Brothers to PanAm; Mickey Mouse to Marilyn Monroe, John Wayne, Frank Sinatra, Elvis; Babe Ruth to Hank Aaron...

ROBERT COTTINGHAM Blues, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...