21st Century and Contemporary Landscape Prints

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

This Limited Edition giclee coastal landscape print by Molly Doe Wensberg is an edition size of 195. The print features a green and light lavender palette, and captures a scene of a ...

This is an exclusive handprinted limited edition cyanotype. "Blustery Clouds" is an cyanotype of the semi-abstract patterns of clouds in the sky after a storm. Details: + Title: Blu...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. 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. Art: 8 x 11 in Frame: 17 x 19 in 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...

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood...

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...

This stunning Artist's Proof is an one-off, oil hand-painted, signed at front and on the back label too; each proof is 80% hand painted by Shizico Yi, because the nature of hand mixe...

This print considers how we view the contemporary sublime landscape and how easy it can be to experience when we take the time to look. We often don’t have to travel far: parks in ci...

large format photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Cala Conta...

Drypoint print onto photolitho printed kitakata with subtle gold ink and mounted onto Hahnemule printmaking paper. This print of a tree uses litho printed kitakata chine collé to dep...

Artist: Peter Max (1937) Title: Great Wave with Doves Year: 2002 Edition: 495/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent ...

Medium: Mezzotint Year: 2023 Edition: 50 Image Size: 11.75 x 17.5 inches Pedestrians sheltering from the rain under umbrellas in an urban downtown setting, Art Werger’s prints show...

Artist: Peter Max (1937) Title: Liberty & Justice for All Year: 2002 Edition: 152/300, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 12.5 x 9 inches Condition: Excellen...

This is an exclusive handprinted limited edition cyanotype. "Dark Beach Sunrise" is a handmade cyanotype print portraying beautiful sunrise reflection on the beach. Details: + Titl...

ABOUT THIS PIECE: Continuing the story of polar melt, which is the main cause of rising seas, I followed the meltwater from the Arctic to the equator. I spent September 2013 in the M...

Medium: lift-ground etching and engraving Edition: 15 Year: 1961 Plate: zinc 9 x 15 inches (22.9 x 38.1 cm) Paper: Murillo, 16 x 21 inches (40.6 x 53.3 cm) Signed, titled and number...

Edition : 29/50 Publisher : Galerie-F Edition Very good condition Handsigned by the artist in pencil

"Chateau Marmont" Photography 14.5" x 20" inch Edition 2/20 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edition of 5: 30" x ...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

This grand mural unveils a mesmerizing Baroque-style etching that commands attention with its celestial drama. The expansive sky serves as a vast canvas, adorned with flowing circula...

Offset lithograph in colours, on smooth wove paper Edition of 300 71 cm (D) (28 in) Signed and numbered on front Mint. Minor imperfections may appear due to the nature of the materials.

Giclee print on archival cold press cotton rag, edition 10 of 25 with 5 APs. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signa...

This Limited Edition giclee abstracted coastal landscape print by Bri Custer is an edition size of 195. It features a blue palette with warm pink and orange accents throughout. Prin...

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Jeremy Geddes' "Monument," a stunning archival pigment print, epitomizes his unique blend of hyper-realistic detail and surreal, dream-like compositions. This signed and numbered limited edition print, produced in 2024, measures 28.3 by 24 inches and is printed on 100% cotton, 300gsm Hahnemuhle Matt photo rag fine art paper using Epson SureColor P7070 and P9070 printers. The result is a piece that captivates with its striking imagery and profound depth, making it an essential acquisition for discerning collectors and art enthusiasts. Jeremy Geddes, born in Wellington, New Zealand, and now residing in Melbourne, Australia, has garnered international acclaim for his meticulously detailed and hauntingly beautiful works. Initially pursuing a career in video game art, Geddes transitioned to painting full-time, honing his technical skills at the Victorian College of the Arts. His work often explores themes of isolation, suspension, and the juxtaposition of the mundane with the extraordinary, making his pieces both thought-provoking and visually stunning. Geddes' paintings have been exhibited in prestigious galleries around the world, including the Jonathan LeVine Gallery in New York and the Merry Karnowsky Gallery in Los Angeles. His accolades include winning the Spectrum Gold Award for his piece "A Perfect Vacuum," and his work has been featured in numerous publications such as Juxtapoz, Hi-Fructose, and Spectrum. Geddes is particularly renowned for his series of astronaut paintings, which have become iconic in contemporary art circles. "Monument" exemplifies Geddes' ability to capture the delicate balance between reality and the surreal. The piece features a solitary figure suspended in a moment of stillness, evoking a sense of introspection and otherworldly calm. Every brushstroke showcases Geddes' masterful use of light, shadow, and texture, making this print a striking addition to any art collection. As a signed and numbered print from a limited edition, "Monument" represents a unique investment opportunity...

Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Contemporary colorful figurative surrealistic print on paper by Polish artist Rafal Olbinski. This print shows woman ballerina dancer with skirt shaped like a tabletop with teapot an...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

Tokyo Lights is a limited edition cityscape print by Laura Jordan. The process in which Laura creates her work is that she produces lots of small illu...

Katie Allen Somewhere Inbetween Limited edition giclee print Katie’s artwork is based on the natural world, their changing seasons and shades, which she transforms into a rich textile of patterns, forms and colours. “As well as numerous western artists, I am greatly influenced by Indian art and architecture, calligraphy, Arabic art...

Peter Blake A Walk in the Tuileries Gardens, 2004 26 colour Screenprint with Silver leaf and 3 Glazes Hand signed and numbered 28/200 by artist on lower front 30 1/5 × 22 1/2 inches The work is matted on board and unframed as it had been removed from its original frame. Measurements: Board: 30 1/8 x 22 1/2 inches Sheet: 24 x 20 inches Unframed A Walk Through the Tuileries Gardens is based on a memory of a stroll in Paris distilled through the ephemera he found along the way. ' The legendary Peter Blake, the father of British Pop Art, is renowned for his love of gathering and collecting the ephemera of life, of memories, of dreams and whimsies, sometimes mingled with those of other historical fantasists. Possessions he regards as symbolic of his relationships with his world, carefully questioning the personal significance of each object in this respect. The scraps of tickets, fragments of plastic, driftwood, pebbles and sycamore leaf in A Walk Through the Tuileries gardens are evocative and ephemeral souvenirs, gathered at the time and collated later perhaps with a whiff of romance. His image takes us, in turn, on a stroll down the wide gravel, under the autumnal trees, a lingering taste of saucisson and red wine on our palate and with a sudden impulse to take a turn on the Caroussel. This whimsical Peter Blake print would make a great gift for any Blake fan. Legendary British Pop Art pioneer British Blake was born in 1932, and after his formal training at the Gravesend School of Art, then at the Royal Academy of Art, he broke away from tradition, producing work from 1960 on that would come to define the British Pop Art Movement. He came to be known as the Grandfather of Pop Art, and his art achieved iconic status with his sleeve for The Beatles’ Sgt Pepper’s Lonely Hearts Club Band. Blake’s art draws on imagery from the popular culture of the past and present, as well as from the canon of fine art, thus creating an alternative, more democratic visual aesthetic. He freely mixes the ‘high’ with the ‘low’, ultimately inviting us to see beyond such distinctions. Always playful, and at times irreverent, he sets up the most unlikely juxtapositions across time and space, creating conversations and ‘parties’ to which all are invited. An abiding theme is an investigation, and celebration, of England and Englishness. Collage has always been a hallmark of Blake’s work, allowing him to freely mix found objects and images of people and other artworks; screenprinting, with its use of stencils and layers, lends itself perfectly to this technique, and indeed it was Pop Art that fully realised the potential of screenprinting as a medium for complex replication. More about Peter Blake: Sir Peter Thomas Blake...

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 ...

Alex Katz Purple Irises on White 2023 Archival pigment ink print, on Innova Etching Cotton Rag 315 gsm 24 x 30 inches (61 x 76 cm) unframed Signed and numbered edition of 100 Alex K...

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

The Art of Modern Living is a digital pigment print on paper, image size 24 x 38.5 inches and framed in a contemporary light wood frame. Signed 'RENÉ LALONDE' lower right and annotat...

ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Deta...

"Scotland 0030" Photography 18" x 24" Edition of 20 by Ben Cope Unframed - ships rolled in a tube Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture ...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light grass green, yellow, sky blue and dark violet...

The limited editions are made of Giclee printed on the best quality of aluminium and then hand painted and finishing with original paints by artist Shizico Yi. Signed and numbered, c...

This realistic limited edition print by John Harris captures a close up view of water rippling over rocks in a riverbed. Natural light reflects off the surface of the water, enhancin...

Damien Hirst H13-2 Kingsdown Beach, 2023 Laminated Giclée print on aluminium composite panel. Hand-signed on the label and numbered. This artwork can be hung any way up. 120 × 90 cm ...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Medium: mezzotint Year: 2018 Edition: 30 Image Size: 19 x 19 inches Signed, titled and numbered in pencil by the artist Montage of scenes of the street below as seen from the artist...

Artist: Peter Max (1937) Title: Two Hearts Year: 2001 Edition: 63/300, plus proofs Medium: Silkscreen on Fabriano Rosapina paper Size: 19 x 26.5 inches Condition: Good Inscription: S...

Lee Wells Ephemeral Elegance (EOW L3) End of the World Party Series 2023 Archival pigment print Edition of 1 Signed, dated and numbered by the artist Caption: Ephemeral Elegance: Am...

This is an exclusive handprinted limited edition cyanotype. "Abstract Ripples Under Moonlight" is a handmade cyanotype print portraying the subtle movements and abstract ripples of t...

Offset lithograph in colours, on smooth wove paper Edition of 300 71 cm (D) (28 in) Signed and numbered on front Artwork in excellent condition.Minor handling creases on very edges

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts and different exposures using uv-light. Details: + Title: Asian Totem...

Large format photograph of a summer beach scene on the Mediterranean island of Lampedusa, from an earlier body of works (2012) by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Lampedusa (2012) 61.25” x 81.7” / 156 cm x 207,5 cm limited edition of 6 + 2AP (signed, titled and dated on certificate of authenticity) last available edition: AP1 original archival photography print with diasec (acrylic glass) face mount in contemporary white lacquered gallery frame Each limited edition original Massimo Vitali photograph is printed in Italy under artist supervision in strictly limited edition (6 + 2AP) , signed/titled/dated upon final inspection and expertly framed at renowned European art framing facility Disclaimer of authenticity: although it is possible to acquire (small size) single page offset prints from the book "A Portfolio of Landscapes and Figures" (published by Steidl) in the secondary market, the artist studio strongly dissuades collectors from purchasing these single page prints outside of the context and authenticity of the complete portfolio. About the artist: Massimo Vitali was born in Como, Italy, in 1944. He studied photography at the London College of Printing, in the 1970s initially working as a photojournalist, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. Vitali worked in cinematography for film and television before beginning a fine art practice in 1995. Over the next two decades, he would gain recognition for his highly detailed, epic-scale panoramas — sociopolitical observations of the natural habitat of humankind at leisure. Vitali’s iconic series of beach panoramas, captured from a distance with an elevated large-format camera platform, began in the light of drastic political changes in Italy. Drawing inspiration from Renaissance and Old Flemish masters, in which the central space is fully exploited and the urban or natural landscape becomes the background, Vitali’s photographs grasp the viewer by capturing highly detailed observances of the recreational habitats of modern civilization. Vitali’s work has been collected in six monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, Swimming Pools, Short Stories and Entering A New World. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris and the Museo Luigi Pecci in Prato. Massimo Vitali lives and works in Lucca (Italy) and in Berlin (Germany). __________________________ SOLO EXHIBITIONS 2025 94/22 Zander Galerie, Cologne 2024 Photolux Festival - Il bel paese? Palazzo Ducale, Lucca, Italy 2023 La Grande Oasi - The way we live, now OCA, Oasy Contemporary Art, Pistoia 2023 Standing Still Cortona On The Move, Arezzo, Italy 2022 Massimo Vitali PhotoESPANA Biblioteca Central Cantabria, Santander 2022 Endless Summer Edwin Hook Gallery, New York 2022 Massimo Vitali: Leporello 2020 Melbourne 2022 Ti ho visto Mazzoleni Gallery, Turin 2021 PienoVuoto Forte di Belvedere, Florence 2021 No Country For Old Men Visionarea Art Space, Rome 2020 'Human Constellations' Museo Ettore Fico, Turin 2019 Massimo Vitali: Short Stories' Mazzoleni, London 2018 'Coastal Colonies' Spiral, Tokyo 2017 ‘Disturbed Coastal Systems’ Benrubi Gallery...

Artist: Peter Max (1937) Title: Flag on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 8 x 10 inches Condition: Excellent Inscription...

observation of a Mediterranean beach scene in Nice, France, on a hazy summer day Nizza by Frank Schott 48 x 75.5 inches (122 x 192cm) signed edition of 7 44 x 69 inches (122 x 17...

Trojan Horse Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Artist: Peter Max (1937) Title: Umbrella Man at Sunrise Year: 2001 Edition: 303/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excellent In...

Contemporary colorful figurative surrealistic print on paper by Polish artist Rafal Olbinski. This print shows woman with dress shaped like an umbrella from under which it rains. The...

This abstract landscape limited edition print by Elwood Howell features the artist's signature high horizon line. Lush, green abstracted land extends the width of the composition, wi...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

A rare chance to collect a signed and numbered limited Edition by Shizico Yi at the best price possible with highest quality! Start your collection with an Edition! -A Limited Editi...