Early 2000s Landscape Prints

Spring Flowers is an original digigraph realized by Martine Goeyens in the 2000s. The artwork is hand-signed in pencil by the artist on the lower right. Hand-retouched by the artist...

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...

Michael Knigin, American (1942 - 2011) - Effect Unknown, Year: 2004, Medium: Chromogenic Print on Canvas mounted to board, signed, titled, numbered and dated on verso, and signed a...

Michael Knigin, American (1942 - 2011) - Chosen Journey II, Year: 2004, Medium: Chromogenic Print on Canvas mounted to board, signed and dated lower left and signed, titled, numbere...

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 ...

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.

Canoe - Peter Doig, Contemporary, 21st Century, Etching, Magic Realism, Limited Edition Edition of 500 Signed and numbered, accompanied by Certificate of Authenticity In mint conditi...

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...

Nelson Mandela, The Tennis Court, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for hi...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 48 x 72 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Zack Seckler's series, “Botswana,” is comprised of a series of exquisite aerial photographs taken in the Kalahari basin in south central Africa between 2009 and 2010. The body of work offers a quite different and almost magical view of the much-photographed and iconic landscape. In order to be able to capture these breathtaking images, Seckler enlisted the services of an expert pilot who flew a small, ultra-lightweight aircraft at low altitudes under 500 feet. Zack Seckler was born in Boston, and studied psychology at Syracuse University. Then, traveling solo with a point-and-shoot camera in northern India, his mind opened to the visual world. Upon returning to Syracuse, he took coursework in photography at the renowned Newhouse School. With an internship in a Hong Kong photo...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 48 x 72 inches (Edition of 3) This artwork is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Zack Seckler's series, “Botswana,” is comprised of a series of exquisite aerial photographs taken in the Kalahari basin in south central Africa between 2009 and 2010. The body of work offers a quite different and almost magical view of the much-photographed and iconic landscape. In order to be able to capture these breathtaking images, Seckler enlisted the services of an expert pilot who flew a small, ultra-lightweight aircraft at low altitudes under 500 feet. Zack Seckler was born in Boston, and studied psychology at Syracuse University. Then, traveling solo with a point-and-shoot camera in northern India, his mind opened to the visual world. Upon returning to Syracuse, he took coursework in photography at the renowned Newhouse School. With an internship in a Hong Kong photo...

Each hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Each sheet size: 38 x 37. Each image size: 32 x 32. Certificate of Authenticity included. Complete Suite, edition 69/100. Published by Greg Smith...

Deconstructing Seurat (turquoise green), 2004 Michael Craig-Martin A pair of screenprints in colours, on wove Each signed, dated and numbered verso from the edition of 40 Published ...

From his series "Sentences", Muntadas addresses through his works social, political and communications issues, the relationship between public and private space within social framewo...

Waiting 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)

Untitled XXII 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)

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

Untitled - Stairs and Ladders 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)

Untitled XXVI 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)

The Large seascapes, although not quite a series of drawings, were perfect testing grounds for the work I wanted to do, after drawing the first linear landscapes of the early years. ...

David Blackwood, Canadian, 1941-2022 Bragg's Island, 2007 etching, aquatint in colours 5.75 x 4.5 in ( plate size ) signed, titled, dated 2007 and numbered (edition of 50) in the lo...

Morning city 2005, paper, etching, 14x16 cm, 40/100 JEKATERINA GRYAZEVA Born in Latvia, Riga 1968 Education 1979 - 1986 J.Rozentals Secondary Art School (Riga). 1987...

Deluxe hand embellished enhanced canvas. Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 325. Stretched. ...

Nelson Mandela, The Walk, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his family...

Nelson Mandela, The Harbour, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his fam...

Ugo Rondinone, Stars Contemporary, 21st Century, Silkscreen, Limited Edition, Skyscapes Silkscreen Edition of 300 105 x 74.7 cm (41.3 x 29.4 in) Signed and numbered, accompanied by C...

Seasons Quartet IV Red Lithograph AP 6 The French fine art paper is BFK Rives and is 33 X 22 inches. The image is 17 X 17. This signed Artist Proof lithograph depicts Sebastian Spr...

"Beaver Lake Hybrids" is an original watercolor by David Barnett. The artist signed the piece lower right. It depicts a bed of brightly-colored flowers. 10" x 8" art 17" x 15" fram...

From the ' Ventanas' series. Lithograph on paper. Hand signed, dated and numbered by the artist. Edition PA of 12. Sheet size: 31.5 x 24. Additional images available upon request. Ce...

Series: Afterlife-New Jersey Shore Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Availa...

Series: Afterlife-New Jersey Shore Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Availa...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Series: Deep In A Dream-Central Park Print Type: Selenium, Sepia, & Iron Toned Gelatin Silver Printed on Bergger Prestige Fiber Based Paper Matted & Mounted 8ply Museum Board Avai...

Soody Sharifi, Archival Inkjet Print, Middle Eastern Artist. Framed artwork in excellent condition. Edition of 3. Signed and numbered by artist on verso.

Baumgartner deals with contrasts in her work. This is already evident in her choice of technique. Christiane Baumgartner uses one of the oldest techniques in the art of printing, the...

Baumgartner deals with contrasts in her work. This is already evident in her choice of technique. Christiane Baumgartner uses one of the oldest techniques in the art of printing, the...

Ballochbuie, Balmoral, April by HM King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HIs Majesty...

Created in 2007, this color soft ground etching with aquatint on paper is hand-signed and dated by Robert Bechtle (San Francisco, 1932 - Berkeley, 2020)...

The Sacramento River deltas and levees near Thiebaud’s studio became a source of inspiration starting in the mid-1990s where he would sketch en plein air and then work combined ideas...

Created in 2002, this Wayne Thiebaud Hill River, 2002 drypoint and aquatint in color on wove paper is hand signed by Wayne Thiebaud (Mesa, 1920 - Sacramento, 2021) in pencil in the l...

A wonderful and delicate portfolio by Christiane Baumgartner, artist from Leipzig/Germany. "Nachtfahrt" (night tour) consists of 9 woodcut prints on Zerkall laid paper. Each work has...

Highgrove by His Majesty King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associate...

Glengairn, Aberdeenshire, January by His Majesty King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been ...

Ben Avon, Near Braemar, January by His Majesty King Charles III (created when he was HRH Prince Charles, The Prince of Wales) - Hand Sign...

Balmoral Winter Scene by His Majesty King Charles III (created when he was HRH Prince Charles, The Prince of Wales) - Hand Signed Limited...

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

Hong Kong From HMY Britannia by HM King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated ...

1 color lithograph, 2 color screenprint paper size 14" x 14" , frame size 16.75" x 16.75" Edition of 150 Signed by artist Framed

Biei, Hokkaido, Japan 2004 Gelatin silver print (Edition of 45) Signed, dated, and numbered in pencil This artwork is offered by ClampArt, located in New York City.

Lith developed gelatin silver print, toned with sepia and gold Signed, titled, dated, and numbered, verso 13 x 13 inches (Edition of 15) 17 x 17 inches (Edition of 15) This artwor...

Lith developed gelatin silver print, toned with sepia and gold Signed, titled, dated, and numbered, verso 13 x 13 inches (Edition of 15) 17 x 17 inches (Edition of 15) This artwor...

Lith developed gelatin silver print, toned with sepia and gold Signed, titled, dated, and numbered, verso 13 x 13 inches (Edition of 15) 17 x 17 inches (Edition of 15) This artwor...

Lith developed gelatin silver print, toned with sepia and gold Signed, titled, dated, and numbered, verso 13 x 13 inches (Edition of 15) 17 x 17 inches (Edition of 15) This artwor...

Silver lith print Signed, titled, dated, and numbered, verso 14 x 11 inches (Edition of 9) 20 x 16 inches (Edition of 9) This artwork is offered by ClampArt, located in New York C...

Silver lith print Signed, titled, dated, and numbered, verso 14 x 11 inches (Edition of 9) 20 x 16 inches (Edition of 9) This artwork is offered by ClampArt, located in New York C...

Silver lith print Signed, titled, dated, and numbered, verso 14 x 11 inches (Edition of 9) 20 x 16 inches (Edition of 9) This artwork is offered by ClampArt, located in New York C...

Hand-painted multiple with lithography. Signed in pencil, inscribed 'Proof', a proof aside from the edition of 40. In a perspex presentation box. Published by Flowers Gallery, Lon...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 5) 45.7 x 54.3 inches (Edition of 5) 58.7 x 70.9 inches (Edition of 2) This artwork is ...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 5) 45.7 x 54.3 inches (Edition of 5) 58.7 x 70.9 inches (Edition of 2) This artwork is ...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 45.7 x 54.3 inches (Edition of 6) 58.7 x 70.9 inches (Edition of 2) This artwork is ...