Early 2000s Landscape Prints

"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...

Bright and bold screen print by Spanish artist Guido Lopez (Spain, 20th century). Titled "Poezia Marina", signed lower right "Guido Lopez', 12/150. Unframed. Image 22.5"H x 25"L, Mat...

Times Square I is a montage of large neon signs that dominate Manhattan's Times Square. This impression is pencil signed, titled and dated and is #40 ...

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...

Fresh snow on trees in Ashland, OR. Signed and numbered etching and aquatint, signed, titled and numbered from the edition of 200. Born in Berkeley, Cal...

‘Impressions of Pinnacle Peak, AZ Looking West From Dick & Sherry Miller's House’ is an artist’s proof giclée print after the original 2001 watercolor, s...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. His seascapes and ocean prints are from the California coastline. Sign...

12-color screen print on deckle edge paper of a collage of Moroccan street scenes including an orange stand, umbrellas, a motorcycle shop and a F...

Andreas FEININGER New York : Empire State Building, 2008 Quadrichromie original vintage poster On paper 92 x 68 cm (c. 36 x 27 in) Original poster for artist's exhibition in Fundati...

This is impression #12 from an edition of 45 Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed see more ....

Palm trees in Spanish landscape with architectural designs. This intaglio print was further developed with a watercolor wash and pencil embellishment. Smith-Harrison is known for h...

Quartet c. 2005 Silkscreen on Arches Paper (Edition of 175) 30 x 40 inches $5,000 This work is offered by ClampArt in New York City.

Ravaux used the rule of threes to show 3 pieces of Christmas ivy floating below three sources of light. Christine Ravaux is a Belgian artist who uses nature in much of her work whic...

Signed, titled and numbered in pencil from the edition of 40. Atmospheric mezzotint still life of two roses. Marina Lazareva was born in Moscow in 1961. She is a member of Union of ...

ABOUT THIS PIECE: This photograph is of a movie set diner and Joshua tree lost in the desert near a place called Lake Los Angeles, California. ABOUT THIS ARTIST: Noel Kerns is a Tex...

Donald Baechler, Blue Spruce, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint, on ...

Signed, titled and numbered from the edition of 25. This is the left image in the triptych of prints titled Memory and Presence. Werger created this image of the California coastline...

Anupam Sud - Etching on Paper How Does Your Garden Grow Edition 2 of 20 14.5 x 17.7 inches (Artwork size) & Paper Size 22.5 x 29.5 inches 2005 ( Unframed &...

The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings. Carol Wax originally trained to be a classical musician at the Manhattan School of Mu...

Signed, numbered and titled from the edition of 200. Smith-Harrision's work very often features architectural elements, along with trees. David Smith-Harrison studied at Utah Stat...

A "Pylon" of the Brooklyn Bridge with the Manhattan Bridge and Williamsburg Bridge visible in the background is captured in this powerful image by Frederick Mershimer. It is #77 in t...

Signed, titled and number from the edition of 30. Printed on hand-made paper. Image of a train emerging from the underground at the Taraval Station in San Francisco. A few years ago, while driving down...

Traveling away from his normal area of the Pacific Northwest, McMillan shows his ability to capture the essence of landscapes far afield. This print of the gondolas of Venice and the...

2006, aquatint with drypoint, 17 3/4 x 23 3/4 inches, edition of 34

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Urban cityscapes and nighttime skylines are common themes. This bird's...

In his "Symphony (TP)," 2002, Keiji Shinohara flattens a sunset landscape to its most essential visual elements in the tradition of Japanese woodcut, while updating the medium with t...

Etching in colours, 2000-2001, on Hahnemühle etching paper, signed and numbered from the edition of 46 (there were also 6 artist’s proofs), published by Paragon Press, London, sheet:...

Shed - Railroad Depot, from Richard Heeps series 'After the Gold Rush', named after the Neil Young song. The series captures former American mining towns that he visited on his journ...

Signed, titled and numbered from the edition of 10. This image was created by cutting the copper plates of a large trilogy of prints (Memory and Presence, which are also listed here)...

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

Robert Adams Harney County, Oregon 2005 Set of four photogravures Each image: 19 7/8 x 15 5/8 inches; 51 x 40 cm Each frame: 29 x 25 inches; 74 x 64 cm Edition of 30 Each signed, ...

‘Tulips, Hybrid, Hibiscus, Crane’s Bill & Peonies’ is an artist’s proof giclée print on watercolor paper after the 2003 original, signed by the artist in the lower right. Influenced ...

The present print, 'Spring Wildflowers,' is a giclée print on watercolor paper reproducing the artist's original watercolor painting. Deb Wright's approach to painting verges on phot...

Artist: Malcolm Morley, British (1931 - 2018) Title: Quartet Year: 2005 Medium: Screenprint, signed and numbered in pencil Edition: dedicated to Eric Image: 28 x 36 inches Size: 34 x...

Artist: Malcolm Morley, British (1931 - 2018) Title: Pictures from the Azores Year: circa 2005 Medium: Screenprint, signed and numbered in pencil Edition: dedicated to Eric Image: 29...

A beautiful soft landscape Giclee of a glowing meadow in the Sonoma Mountains by Donna McGinnis (American, 20th century). Signed "Donna McGinnis", titled "Sonoma Mountains", and numbered "5/195", lower edge. Limited edition Giclee, high resolution long life inkjet print, Edition 5/195, printed on Epson Somerset velvet cotton rag paper. Displayed in a custom mat and wood Italian classical frame. Image size 29"H x 39"W. Paper size, 32.5"H x 42.5"W. Donna McGinnis was born in Spokane, Washington. McGinnis grew up in an artistic family. Her mother was an artist, her grandmother a musician and her father a photographer. Drawing came naturally to her as she had very vivid memories of admiring her father’s black and white photography. These silvery prints inspired McGinnis. Through his love affair with the still image, McGinnis learned composition, chiaroscuro (light and dark tonality), form and line, in essence the basics of formal art theory. McGinnis had a childhood babysitter and mentor who taught her and her two sisters art...

This is impression #12 of 35 impressions Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed see more . . ....

Signed, titled, and number from the edition of 40. Printed at the Kala Art Institute in Berkeley, CA. Image of a bowl with beach balls reflected on its side. A few years ago, while driving down...

Artist: John Beerman, American (1958 - ) Title: Cedar Tree, Israel Year: 2008 Medium: Lithograph, signed and numbered in pencil Edition: AP 15 Image Size: 1...

Artist: Quinn, Marc Title: Portraits of Landscapes VIII Series: Portraits of Landscapes Date: 2008 Medium: pigment prints Unframed Dimensions: 39 3/8" x 29.5" Framed Dimension...

Bird House by Chinese/American artist Chase Chen depicts a barn on a hillside with birds flying into the sky from the roof and a small stream or irrigation ditch flowing downhill and a water pail sitting in the field. There is a blue above the hill. A limited edition [124/350] serigraph created in the year 2000, signed in pencil and in very good condition. Paper size 30.25 x 38.75 image 25 x 33.25. Born into a family of doctors and growing up during the cultural revolution Chinese...

Limited Edition Embellished Giclee on Canvas, AP 17/50 24 x 36 in. Signed by Artist, comes with Certificate of Authenticity Good Condition

Maurice Pasternak has created a surreal landscape that includes several spirit-like creatures seeming to wander in an unknown landscape He moves images around on the paper to create ...

Originally created in 1981, this edition was one of the finest in his flag series. This limited series glicée print on paper of Canadian and American flags dancing on a solid turquoi...

The present object is an original artwork by Catherine Holmburg, made from a giclée print on canvas with added hand embellishments in acrylic. In the image, the viewer is presented w...

Overlooking Wadi, Asir Province, Kingdom Of Saudi Arabia by His Majesty King Charles III, (created when he was HRH The Prince of Wales) - ...

‘Beaver Lake with Stargazer Lilies II (triptych),’ is an original mixed media giclée print on watercolor paper, signed by the artist in the right panel....

This series takes its title from Neil Young's song 'After the Gold Rush'. It captures former American Mining Towns he visited on his journey from Las Vegas to Bonneville. Stopping in...

There is something beautiful about the decay. Something ironic about the contrast of the shiny RV life. The RV is this thing which is mobile, here it's been frozen in salt, the manma...

There is something beautiful about the decay. Something ironic about the contrast of the shiny RV life. The RV is this thing which is mobile, here it's been frozen in salt, it has be...

Seasons Quartet II Lithograph AP 6 The fine French BFK Rives paper is 30 X 22 inches and the image is 17 X 17 inches. Seasons Quartet II is one of a series of the four seasons-Blue, ...

Seasons Quartet I Lithograph AP5 The French fine art paper is BFK Rives and is 30 X 22 inches. The image is 17 X 17 inches. This signed Artist Proof 5 depicts Sebastian Spreng's sig...

The Storm is an original lithograph on cream-colored paper realized by Martine Goeyens in 2002. This contemporary artwork, representing a seascape upset by a strong wind, with harmo...

Le Jour se Lève is an original colored lithograph on cream-colored paper print realized by Martine Goeyens in the 2000's. The contemporary artwork, representing a wonderful natural ...

Signed, titled and numbered from the edition of 25. This is the center image in the triptych of prints titled Memory and Presence. Werger created this image of the California coastl...

"Bill-Board-Walk, Burning/Coney Island" is a portrait of the vernacular signage and architectural wonder of the billboard attractions at America's most famous amusement park, Coney Island. The original art was created in cut paper, 50" X 37" and is in the collection of Chase Bank. It is part of Marano's "American-Dream-Land" series and was recently translated into a ltd ed. (25 ) archival pigment print, 30.5 x 24 inches. Bold, bright and with a daring figure diving in flames, this piece transcends location and time. Philomena is a daughter of Brooklyn, a master of cut paper and a former assistant to Robert Indiana where she learned the cut paper practice that she continues to explore in her work. She has been exhibited by Tabla Rasa...

"Anticipating Spring" is a giclee print on watercolor paper, printed from a scanned original watercolor by David Barnett. It is signed and dated by the artist in the lower right. Thi...