Archival Paper Landscape Prints

Aspen Study I by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

Aspen Study II by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Celebration B, Lino-cut on Drawing paper Edition: 3 of 5, 2005 Image size: 47 x 39 cm / Sheet size: 79 x 55 cm Unframed Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

Lithograph by artist Tony Khawam, high quality archival ink on bond paper 11”x14” bevel cut matte mounted on white matte board with options to choose between white or black frame 16x...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 110, published by Derr...

Lithograph by artist Tony Khawam, high quality archival ink on bond paper 11”x14” bevel cut matte mounted on white matte board with options to choose between white or black frame 16x...

Lithograph by artist Tony Khawam, high quality archival ink on bond paper 11”x14” bevel cut matte mounted on white matte board with options to choose between white or black frame 16x...

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a minty light teal greenish blue and pale yellow background. The monotype brings to mind the t...

This is a large Limited Edition, truly brings impact to your space! wowing the visitors and delight your daily life. A Limited Edition of only 10 is offered as an alternative to this...

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a minty light teal greenish blue and pale yellow background. The monotype brings to mind the t...

Suffolk Beach Huts, Painting by Fiona Carver Anyone who has been to Southwold in Suffolk will recognise this gorgeous row of beach huts looking out to sea. They nestle along the edge of the grassy dunes in a typically British seaside scene. Additional information: The print is hand pulled using oil based inks on archival paper. It uses 6 lino blocks. Limited edition of 50 Image Size: 33 x 20cm Mounted size: 47.3cm x 34.5cm Size: H:34.5 cm x W:47.3 cm Fiona has been creating things since she was a tiny girl when her grandmother would encourage her to draw elaborate chalk pictures on her kitchen floor. She went on to study Design and Applied Arts at Edinburgh College of Art, graduating in 1999. Here she combined her love of drawing and painting with three-dimensional disciplines such as furniture and ceramics. She now pursues this interest in both flat and more hands on work through lino printing, enjoying the different stages of drawing, gouging lino and inking up and printing which she does with her antique cast...

Grazing by the Estuary, Painting by Fiona Carver Grazing by the Estuary is an original limited edition linocut by Fiona Carver illustrating sheep grazing gently on the banks of a typical Cornish Estuary. The lovely pink hydrangeas are growing and, as you’d expect in Du Maurier country, the dark trees reach down the hill to the water’s edge. It is hand printed using four lino blocks on archival paper. Edition of 50 Fiona Carver is a painter and printmaker from the Rutland/Leicestershire border. She trained at Edinburgh College of Art graduating with a BA (hons) in 1999 and now creates contemporary oil paintings and linocuts of the land and sea. She is interested in capturing an impression of a place, the atmosphere, colours and emotion experienced at that time. Her paintings are completed mostly ‘en plein air’ meaning they are painted outdoors, usually in one sitting. That way she can capture the light and weather, getting the brush marks down before it changes. The challenges of painting in wind or rain, with moving subjects and changing views adds to the exhilaration of finishing a painting, stepping back, stretching and absorbing what is on the canvas. The process of creating a linocut makes a nice contrast for Fiona with it’s slow, methodical planning. She cuts multiple blocks for each print, one for each colour, and layers them to build up the image. She usually has a good idea of what the finished piece will look like but this can change as the image progresses and Fiona will often adapt it as she goes along. She is interested by the process of etched lino and experiments with this to create texture and energy in her practice. Additional information: Limited Edition Landscape Print Linocut hand printed using oil based inks on archival paper Image Size: 24 cm x 29 cm Mounted size: 37.5cm x 43.2cm Sold mounted and not framed Free Shipping Please note that in situ images are purely an indication of how a piece may look. Fiona has been creating things since she was a tiny girl when her grandmother would encourage her to draw elaborate chalk pictures on her kitchen floor. She went on to study Design and Applied Arts at Edinburgh College of Art, graduating in 1999. Here she combined her love of drawing and painting with three-dimensional disciplines such as furniture and ceramics. She now pursues this interest in both flat and more hands on work through lino printing, enjoying the different stages of drawing, gouging lino and inking up and printing which she does with her antique cast iron press...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Jetty 2, Lino-cut on German Ivory paper Edition: 3 of 5, 2005 Image size: 47 x 39 cm / Sheet size: 79 x 55 cm Unframed 'What mesmerised me was the meeting of the sea and the mountain peak. Where the Jetty, a special curved wooden staircase leading to one end and the deep crystal clear sea at a distance. These scenes were amazing to me.' Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Jetty 1, Lino-cut chin- coll’e on German Ivory paper Edition: 3 of 5, 2005 Image size: 50 x 33 cm / Sheet size: 79 x 55 cm Unframed ''What mesmerised me was the meeting of the sea and the mountain peak. Where the Jetty, a special curved wooden staircase leading to one end and the deep crystal clear sea at a distance. These scenes were amazing to me." Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a light blue and pale grayish lilac background. The monotype brings to mind the tradition of J...

A beautiful abstracted landscape, mixed media print and painting, in soft pastel hues by California artist Katherine Chang Liu (American, 20th-century). Signed and dated "Katherine C...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

Dancing Moon Cottages is a limited edition print by Anya Simmons, inspired by her travels across the United Kingdom. This Giclée limited edition print is created using archive quali...

This black and white print by Ross Racine presents an abstract view of a suburban neighborhood. The roadways and sidewalks have been distorted and intertwined in a knot pattern that...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

A striking woodcut landscape print from Edgar Dorsey Taylor's series of prints depicting his adventures in Baja California in 1963 (American, 1904-1978). Also, the book titled "Baja ...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...