21st Century and Contemporary Landscape Prints

Days Like These i [2021] limited_edition Screenprint with watercolour pencils Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these i is the first in a series of coastal print editions seeking to connect to memories of moments away from our busy urbane lives. For the aesthetic of reverie and reflection, a vintage colour palette is used to capture the feeling of Halcyon Days. This series capture a stillness and a sense of calm where we can pause and catch a breath. This small limited edition of 15 prints is hand printed with multiple layers, using blends and experimental techniques to achieve a piece that is reminiscent of a painting. For contemporary, fine-art print-maker, Emma Reynolds...

The Pattern of Denial print is an examination of image versus reality. The image is inspired by the sleek and idealized mid-century architecture of both deluxe homes and deluxe facto...

"Although I live in London the Big Apple is one of my favourite cities in the world and often the subject of my art. I love the city’s mix of historic buildings and modern skyscraper...

Walmer by Colin Moore Limited Edition Lino Print Edition of 100 Image Size: H 40cm x W 73.5cm Sheet Size: H 52.5cm x W 84.5cm Signed Sold Unframed Colin M...

Cambridge Market by Clare Halifax Limited Edition and hand signed by the artist Silkscreen Print on Paper Edition of 75 Image Size: H 12cm x W 25cm Sh...

Harmony by Susan Brown [2022] limited_edition and hand signed by the artist Giclée Print on Paper Edition number 150 Image size: H:40 cm x W:40 cm Complet...

Manhattan From Above 2 By Michael Wallner [2019] limited_edition Brushed aluminium Edition number 25 Image size: H:56 cm x W:91 cm Complete Size of Unframed Work: H:56 cm x W:91 cm ...

Laura Jordan Central Park NYC Limited Edition Print Edition 20 Image Size: H 49cm x W 54cm Sheet Size: H 59.5cm x W 59.5cm x D 0.1cm Sold Unframed Please note that in situ images ar...

C-Print on argentic paper Edition of 10 Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American bo...

Above the Sea [2022] limited_edition and hand signed by the artist Linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:45cm cm x W:45cm cm x D:5mmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Reduction linocut limited edition print. Inspired by a walk along the south west coast path from high up on Bolberry Down to Hope Cove. Ann Burnham...

Anna Harley Cornish Coastal Path, near Lamorna Limited Edition Silkscreen Print Edition of 12 Size: H 76cm x W 56cm x D 0.1cm Sold Unframed Please note that insitu images are purely ...

Katie Edwards Big Stick Limited Edition Silkscreen Print Edition of 50 Image Size: H 27.5cm x W 19.5cm Mounted Size: H 40.5cm x W 30.5cm x D 0.5cm Sold Unframed Please note that in ...

Jennifer Jokhoo Forest Hill SE23 (Yellow) Limited Edition Handmade Reduction Linocut Print Edition of 20 Sheet Size: H 20cm x W 20cm x D 0.1cm Sold Unfram...

"Sunny Day" Color Nature Photography by Shooting Star Designs Archival pigment print on museum fine art paper Edition of 7 Includes certificate of authenticity. Signed and numbered ...

Composition Homage to Laurin-Lam is a Digital Print and hand-retouched realized by Martine Goyens in 2023. Hand-signed on the lower right. With the certification on the rear. Good...

Mid Century Modern Palm Springs Architecture. Steve McQueen vintage car photographed for the first time at his pool in Palm Desert. A...

The present artwork is a vibrant and colorful example of the woodcut prints of Carol Summers. The image is dominated by the form of a red tropical flower, closely cropped around the petals like in the photographs of Imogen Cunningham and the paintings of Georgia O'Keeffe. The playfulness 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. 9.63 x 11.63 inches, artwork 21 x 23 inches, frame Edition 16/50 in pencil, lower right Titled in pencil, lower right Signed in pencil, lower center Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile gold gilded wood moulding. 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 non-western 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...

Beauté du XVIIIe siècle 2 by Agent X [2022] original and hand signed by the artist Original Digital artwork on Canvas Image size: H:147 cm x W:127 cm Complete Size of Unframed Work...

GUILLAUME CORNET (b. 1987, Paris, France) Guillaume Cornet is an artist working with illustration and painting, exploring notions of abstract geometry, influenced by surreal perspec...

Aerial View of Cambride is a limited edition print by Clare Halifax. It is a three colour silkscreen print depicting Cambridge. 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. In 2009 Clare Halifax completed an MA in Multi-disiciplinary printmaking at the University of the West of England, which saw her work develop into the production of limited edition prints and ceramic pieces. Having grown up in the South West of England, the inspiration for Clare’s work comes from the buildings that surrounded her and nostalgic reminisces of places and items of interest. Clare Halifax, artist, joins Wychwood Art selling art...

The Gift of Flight [2021] limited_edition and Hand signed by the artist Screen print Edition number 45 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screen print depicts a geometric bird inset with a set of shapes in Seven colours including Metallic Gold ink. The flying Bird artwork...

Artist: Richard Haas, American (1936 - ) Title: Guggenheim Bilbao Year: 2000 Medium: Lithograph and Silkscreen on Aluminum, signed and numbered Edition: 15...

Cliff Edge is a limited edition reduction linocut print by Ian Phillips. Ian Phillips is available online and in our gallery at Wychwood Art. My printing process starts today, as it’...

Wells Morning by Colin Moore [2022] limited_edition Linocut on Paper Edition number A/P Image size: H:42 cm x W:59 cm Complete Size of Unframed Work: H:51 cm x W:68 cm x D:0.1cm Sol...

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...

Darkening Sky by John Scott Martin [2021] original Linocut Print on Collage Image size: H:36.5 cm x W:36.5 cm Complete Size of Unframed Work: H:36.5 cm x W:36.5 cm x D:0.1cm Frame Si...

Jayson Lilley A little bit of the Thames Limited Edition City Scape Print Edition of 50 Screen Print with Gold Leaf, Pen and Ink on Museum Board Size: H 24cm x W 51cm Sold Unframed ...

Days Like These ii [2021] limited_edition Screenprint Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these ii is the second in a series of coastal print...

Mark was born in Yorkshire and studied photography at Wolverhampton Polytechnic before moving to London in 1991. He initially worked as a photographer before focusing more on illustr...

Color lithograph, Edition 30. The dense, tangled, and undulating forms of spaces and plants in Claire Sherman’s recent bodies of work address some of the complicated new environment...

The bright colours of the rainbow coloured Lifeguard hut seem a perfect fit for the Venice Beach lifestyle. I love the contrast of the hut's colours against the lightness of the sand...

Anna Harley Bluebird Limited Edition Silkscreen Print Edition of 36 Size: H 38cm x W 38cm x D 0.1cm Sold Unframed Please note that insitu images are purely...

Clare Halifax Whitstable Harbour Limited Edition Print Silk Screen Print Edition of 75 Image Size: H 23cm x W 23cm Paper Size: H 25cm x W 25cm Signed Sold Unframed Please note that ...

Tower Block, Car Park and Civic Building diptych Overall size cm : H291 x W201 Tower Block – Manaus, Eliza Southwood Limited Edition Silkscreen Print of 20 S...

Pandals Homage to Mirò is a Digital Print and hand-retouched realized by Martine Goyens in 2023. Hand-signed on the lower right. Good conditions.

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Cities 19 – Castle Rock, Edinburgh by Susan Brown. Hand signed by the artist Limited edition giclée print. The print edition is 150 The image size is 40 x 40 cm, overall size is 50 x 50 cm. Each print is signed and numbered by Susan Brown Sold unframed. Discover limited edition giclée prints online with Wychwood Art and in their Oxfordshire art gallery. Susan Brown (BAHons HonDArts. MCSD) is an interior architect and a painter,and has been involved in both disciplines for many years. The paintings are held in many collections including, The Royal Bank of Canada, HBOS, Universities of York and Sheffield, and the National Trust. The work has been represented and shown by many galleries throughout the UK, has been represented internationally in New York, Hong Kong and Singapore, the paintings have been included in many open exhibitions including the Royal Academy Summer Exhibition, and the Scottish...

C-Print on argentic paper Edition of 4 Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box...

Mark A Pearce Mergansers on Wastwater Limited Edition Reduction Linocut Edition of 46 Size: H 30cm x W 60cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indi...

Hair Wave - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself in ...

St Mary Le Strand, London by Susan Brown. Limited edition giclée print and hand signed by the artist The print edition is 150 The image size of print is 40cm X 40cm, the overall s...

Katie Edwards Little Jungle Limited Edition 3 Colour Silkscreen Print Edition of 100 Mounted Size: H 40.5cm x W 30.5cm x D 0.5cm Sold Unframed (Please note that in situ images are pu...

Waterloo Bridge Sunset. John Duffin Limited Edition Etching Printed on White 300g Somerset Paper Edition of 90 Signed – John Duffin Image Size: H 24cm ...

Snow Shadows by Alexandra Buckle [2021] limited_edition Linocut Edition number 20 Image size: H:30 cm x W:20 cm Sold Unframed Please note that in...

Mark A Pearce Dad’s Estuary View Limited Edition Reduction Linocut Edition of 58 Size: H 66cm x W 66cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indicatio...

Butterfly blossom by Anne Storno Limited edition print and hand signed by the artist Screenprint on paper Images Size: H:52 cm x W:40 cm Complete size of unframed work: H:52cm x L:40cm x D:0.1cm Sold unframed Please note that the insitu images are purely an indication of how a piece may look. I have always believed that butterflies are magical and that if one lands on you, you can make a wish! So delicate and beautiful, I adore them. They effortlessly glide from flower to flower embracing their opportunity for freedom and change. Signifying sunshine and beauty, butterflies are everywhere in our culture. Often people say how butterflies are inspiring and that they can motivate one to change for the better. Maybe it’s their stunning beauty, or the fact that through metamorphosis they inspire change in a short period. 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...

TSUNAMI is an archival digital print created in 2015. This original print was directly drawn into the computer by Peter Milton and printed digitally. It is signed, titled, and date...

Swallows over the Ley by Ann Burnham [2021] limited_edition linocut Edition number 1-10 Image size: H:16cm cm x W:30cm cm Complete Size of Unframed Work: H:28cm cm x W:48cm cm x D:3...

Midnight Observatory [2012] limited_edition etching and aquatint Edition number 69 Image size: H:20 cm x W:13.5 cm Complete Size of Unframed Work: H:37.5 cm x W:27.5 cm x D:.03cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look An etching and aquatint depicting the Royal Observatory at midnight in winter, printed from a copper plate in deep blue. This view of the Royal Observatory in Greenwich Park as seen from One Tree hill...

Mickey Myers is perhaps best known for her Pop art designs from the 1970s and '80s, where she would make vibrant compositions of Crayola crayons. In her l...

Richard Whadcock Hill View Limited Edition Giclee Print Edition of 75. Sold Unframed (Please note that in situ images are purely an indication of how a piece may look). Together wit...

National Theatre, Teal By Michael Wallner [2019] limited_edition Brushed aluminium Edition number 25 Image size: H:60 cm x W:145 cm Complete Size of Unframed Work: H:60 cm x W:145 c...

“AFTER HOURS” was created by the contemporary artist Peter Milton in 2019. This graphic depicting a scene outside of the Louvre in Paris was drawn on a spec...

Ronnie Scott’s [2020] limited_edition Etching on paper Edition number 110/150 Image size: H:38 cm x W:25 cm Complete Size of Unframed Work: H:56 cm x W:...

Butterfly Days [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:45 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.02cm Sold Unframed ...

Artist: Richard Haas, American (1936 - ) Title: Cities Services Building Year: 2005 Medium: Etching, signed and numbered in pencil Edition: 20 Image Size: ...

Wild Oats by Rob Barnes [2022] limited_edition and hand signed by the artist Linocut on paper Edition number 50 Image size: H:33 cm x W:44 cm Complete Size of Unframed Work: H:49 cm...

Woodland Walk by Kate Heiss [2022] limited_edition and hand signed by the artist Oil based inks on 300GSM Somerset Velvet Paper Edition number 30 Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This Limited Edition Linocut print features a little hedgehog foraging the woodland floor in preparation for hibernation. Fly agaric...