Unframed Landscape Prints

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Medium: Lithograph on vélin paper Year: 1972 Paper Size: 20.5 X 26.4 inches Catalogue raisonné reference: Cramer, illustration 155 Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Pablo Picasso, La Chute D'Icare, Décoration du Foyer des Délégués Palais de l'UNESCO à Paris, Suite d'études préparatoires en noir et en couleurs réalisées du 6 décembre 1957 au 29 janvier 1958, 1972. Published by Albert Skira, Éditeur, Genève; printed by Roto-Sadag S.A. Genève, December 20, 1972. Excerpted from the folio (translated from French), This album contains the series of preparatory tests in black and VII color studies, reproduced, made by Pablo Picasso for the decoration of the home of the delegates at the Palais de l'UNESCO in Paris, was completed to print on December 20, 1972 on the presses of Imprimeries Roto-Sadag S.A. and Atar S.A. in Genève. The edition of this album is as follows: CXXV examples numbered from I to CXXV, XXV examples, out of commerce, numbered H.C. I to XXV, reserved for the artist and the publisher. Each of these albums contains an etching by Pablo Picasso, signed and numbered...

Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

Christo The Wrapped Reichstag at Night (Hand Signed), 1993 Offset Lithograph Hand signed by Christo on lower right front 40 × 25 1/2 inches Unframed and affixed to matting (as it ha...

Medium: etching and aquatint Edition of 120 Year: 2023 Image Size: 4 x 5 inches Signed, titled and numbered by the artist. The view west from Cypress Island off the coast of Washin...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-Lautrec, 1950. Published by Librairie Au Pont des Arts, Paris; rendered by Daniel Jacomet; and, printed by Ateliers Daniel Jacomet et Cie, Paris, Monday, October 30, 1950. Excerpted from the folio (translated from French), This album, including all the prints dedicated by Toulouse-Lautrec to Yvette Guilbert, was printed for the Librairie Au Pont des Arts, by D. Jacomet. The color state of the Colombine plate in Pierrot and the twenty-seven plates of the French and English series were executed according to the original lithographs (before the letter for the French suite) from the Toulouse-Lautrec workshop and kept in the Cabinet des Stampes of the National Library. The collection includes three plates in color and twenty-eight plates in black. All copies also include a lithograph: Colombine à Pierrot, taken, after special authorization from the Musée d'Albi, on the original stone of Toulouse-Lautrec, by Lucien Détruit. It was taken from this album: A non-trade and nominative example; L examples on a large vélin of Rives including: III proofs of the lithography Colombine à Pierrot printed...

This is an exclusive handprinted limited edition cyanotype. "Pacific Foamy Shoreline" is a handmade cyanotype print portraying a smooth wave reaching the shore. Details: + Title: Pa...

Artist: Peter Max (1937) Title: Liberty Head on Blends Year: 2005 Edition: 452/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 12.75 x 10 inches Condition: Excellent...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

"Valley of Mystery" by Eyvind Earle Type: Limited Edition Media: Serigraph on Paper Image Dimensions: 24" x 36" Year Produced: 1973 Edition Number: 177/188 Hand signed and numbered b...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 149, published by Aimé Maeght, Éditeur...

Susan Davidoff Night Walk 3 (Natural Structures, Shifting Daylight) Year: 2013 Medium: Lithograph Edition: 36 Paper: Rives BFK, White Paper Size: 22″ x 21.75″ Image Size: 16″ x 15.25...

Artist: Ralph Fasanella, American (1914 - 1997) Title: Bridges Year: 1974 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 250, AP 25 Image: 25 x 34 inches...

Hand signed, dated and numbered lithograph on paper. From the edition of 300. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will be ...

LEVON WEST (1900 - 1968) (Untitled) - HUNTERS with REFLECTIONS. ca 1925 Etching, signed and numbered 22, lower left. Plate, 13 1/2 x 10 1/2 inches. Sheet 15 3/4 x 11 3/4 inches. ...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Rigoletto Year: 1985 Medium: Embossed silkscreen with foil stamping on wove paper Edition: 188/300, plus proofs Size: 38 x 31.25 in...

Lithograph in Colours on Vélin d'Arches paper. Edition: 350, plus proofs. Signed in the plate by the artist; hand signed in pencil by the printer, Fernand Mourlot. Good Condition; never framed or matted. Notes: From the suite, Les Enfants Trouvés de Magritte, 1968. Published by A.C. Mazo et Cie, Paris; printed by Fernand Mourlot, Paris, 1968. Les Enfants Trouvés de Magritte comprised twelve coloured lithographs, four of which, Ma Mère l'Oye, Pierreries, La Belle Captive...

Contemporary colorful figurative surrealistic print on paper by Polish artist Rafal Olbinski. This print shows a woman sitting on chair with her feet on a Moon. There is parisian arc...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

TAGGED TREE is a rarely seen, hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on ...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 158-159, 1966. Published by Aimé Maeght, Éditeur, Paris...

Artist: Jonas Wood Title: Large Shelf Still Life Year: 2017 Medium: Poster Technique: Offset lithograph printed in colours on wove paper, the full sheet printed to the edges Classifi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 147. Published by Aimé Maeght, Éditeur...

Urbain HUCHET Paris : Opera Square, c. 1980 Original lithograph Handsigned in pencil by the artist Numbered / 350 copies On Arches velllum 14 x 18 cm (c. 6 x 7 in) Excellent condition

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marc Chagall, Dessins Pour La Bible, Verv...

MIMOSA, SEPT 29, 2021 2021 Silkscreen with enamel inks and flocking on Rising 4-ply museum board 42 x 42 inches (107 x 107 cm) Edition of 40 Signed and numbered DONALD SULTAN (b. 1...

Portfolio: Rufino Tamayo 15 aguafuertes 1979 Date: 1979 Etching, signed and numbered in pencil Edition of 61/99 Image Size: 20 x 28 inches Size: 22 x 30 in. (55.88 x 76.2 cm) Printer...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Digitalis rubra floribus albis maculatis. Digitalis angustifolia flore fe...

BUBBLE is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches pa...

This is an original antique colored botanical mezzotint and line engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 2. Mauze, Baradis-feigen", p...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Original Avenge December 7th vintage poster. Linen backed; excellent condition. Artist: Bernard Perlin. Office of War Information, Washington, D.C., U.S. Government Printing Office: 1942-O-491978 Dramatic original World War II poster depicting a sailor with his fist raised, standing above a scene of an exploding battleship, with the words “Avenge December 7” in red across the middle of the poster. The striking image on OWI “Poster No. 15,” memorializing the events of December 7, 1941, was created by artist Bernard Perlin. U. S. Government Printing Office. Year: 1942 As a Life Magazine war art correspondent living in Europe during the 1940s and 1950s, Perlin continued to document social change uniquely. An American painter primarily known for creating many American posters during WWII and for magic realism...

London Bestiary by Mychael Barratt Limited Edition Etching: Edition of 100 Image Size: H 66m x W 99.7cm Complete size of Sheet: H 76.9cm x W 112.1cm x D 0.1cm Signed and titled Sold ...

Etching on antique cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm), full margins. Signed in pencil, lower margin. Laid down to non-archival board, general age tone and some ma...

The little that is know about the painter and printmaker Stewart Wheeler indicates that most of his career was spent in Philadelphia, Pennsylvania. And...

Central Park, New York City is the locale for this subtle etching by Harold Altman. It is yellowing a bit around the corners due to natural aging process, however the coloring of th...

Original poster, Marine Nationale. Engagements, devancements d'appel. Service des engagements de la Marine: 3, avenue Octave Greard, Paris VII “Bureau d'engagement, LYON, Caserne de la Part-Dieu". Archival linen backed in Grade A condition, ready to frame. Images shown are...

Vibrant Karl Lagerfeld vintage 100% silk designer scarf, floral patterning with "KL" monogram in center and printed "Karl Lagerfeld" signature along ...

'The Fountain of Job', tinted lithograph after David Roberts RA. Signed in stone lower right. Printed title below the image. Roberts travelled throug...

Royal Hotel - New Orleans 1920s Depression Art Lithograph in Ink on Paper Dramatic street scene with a man wearing a trench coat and hat by Robert J We...

Richard Long (British, b. 1945) Two Sahara Works, 1988 Medium: Set of 1 grano lithograph and 1 silkscreen, on rag paper Dimensions: each 63 x 93 cm (24¾ x 36½ in) Edition of 75: each...

"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...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

This is a 16th century original hand-colored copperplate engraved map of Frankfort, Germany entitled "Francenbergum, vel ut alij Francoburgum Hassiae Opp" by Georg Braun & Franz Hogenberg, from their famous city atlas "Civitates Orbis Terrarum", published in Cologne, Germany in 1595. This is an English translation of an excerpt from the original text in the atlas: "Frankenberg or, according to others, Francoburgum, a town in Hesse. Charlemagne vested the town of Frankenberg with many freedoms and privileges, which it still enjoys to this day, and on account of its valiant and victorious soldiers awarded a signet, upon which there formerly appeared a golden castle with a tower, together with the letter F and a golden crown. Frankenberg, seen here from the northeast, lies on a hill above the River Eder. The hillside is covered with fields neatly separated by bushes and fences. Soaring above the town is the massive Liebfrauenkirche, which was modelled on St Elizabeth's church in Marburg. The New Town was founded in 1335 at the foot of the hill (right) and merged with the Old Town as late as 1556. Frankenberg was founded by Conrad of Thuringia in 1233/34 to prevent the archbishops of Mainz from expanding their sphere of influence...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with publisher’s folds, as issued. Notes: From the volume, Verve: Revue Artistiqu...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Verve: Revue Artistique et Li...

A market scene; the spot on which the execution of Joan of Arc took place. London: R. Bower, 1825. Aquatint with hand-coloring in watercolor on cream wove paper, 10 3/4 x 13 5/8 inc...