Contemporary Landscape Prints

A Walk on the Beach By Tim Southall [2021] Limited Edition Silkscreen print Edition of 50 Image size: H:40 cm x W:60 cm Complete Size of Unframed Work: H:50 cm x W:7- cm x D:0.1cm So...

Ancient Trackway 5 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed W...

Untitled (Nr. 0189) Landscape Photography 36" x 44" Edition of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culminatio...

Fiona Carver Gorse at Borthwen Limited Edition Linocut Print Edition of 50 Image size: 13.5 x 13.5cm Mounted size: 27 x 27cm (approx) Sold Unframed, mounted in pale cream Free Shippi...

Colin Moore Portland Bill Limited Edition Linocut Print Edition of 100 Image Size: H 42cm x W 59.5cm Sheet Size: H 51cm x W 67cm x D 0.1cm Sold Unframed Pl...

Winter Moon 4 By Sarah Brooks [2022] limited_edition Mixed media Edition number 40 Image size: H:29.7 cm x W:42.5 cm Complete Size of Unframed Work: ...

Kate Heiss In the Sand Dunes Linocut Edition of 50 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velvet Paper Signed and dated on the front ...

Early fascinations with photography and science have inspired Don Dudenbostel throughout his extensive career. As a young student interested in Science, Dudenbostel was always trying...

Clare Halifax London! Limited Edition Print Image Size:H50cm x W49cm Sheet Size: H64cm x W56cm (Please note that in situ images are purely an indication of how a piece may look). Lo...

"Drift 01" Abstract Photography 30" x 40" Edition 1/5 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of th...

Lithograph in colors on paper.. Hand signed Bennett / Benedetto (Tony Bennett's family name) and numbered. Image size 23.75 x 33.5 inches. Sheet size approx. 29 x 38 inches. Frame ...

Title: “THE NEXT WAVE” Artist: JOHN VAN HAMERSVELD Medium: 4 color SERIGRAPH Substrate: COVENTRY RAG 320 GSM Edge: DECKLED Paper Size: 44″ x 34.25” Image Size: 40” x 30” Signed and N...

Katie Edwards Woodland Walks Original Silkscreen Print Edition of 59 Size: H 40.5cm x W 30.5cm Free Shipping Please note that in situ images are purely an indication of how a piece m...

From a series of conceptual motivational roadside signs in iconic California landscapes, captured with a large format camera to allow epic scale print sizes with incredible image det...

The School of Hard Knocks is a lithograph on paper, 7.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 129/275 (there were also 100 Roman a...

The collagraph technique was used to make the matrix for this intaglio print. This piece was created during the 1970's when the artist and his family visited the Southwest over many...

to bow and bend 2025 Woodcut on handmade paper Ed. 1/1 18 x 10 inches Framed: 23 x 15.5 x 1.5 inches

Ordinary Time 2024 Four-layer reduction linoleum block print on Somerset paper Ed. 17/23 6 x 5 inches Framed: 11 x 10 x 1 inches

Last of the Snow and Sidewalk 2025 Three-layer reduction linoleum block print on Reeves BFK with acrylic Ed. 2/15 6 x 6 inches Framed: 11 x 10 x 1 inches

Home Education 2025 Four-layer reduction linoleum block print on Reeves BFK paper Ed. 1/55 6 x 5 inches Framed: 11 x 10 x 1 inches

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

Bob Dylan Sidewalk Cafe, 2011 Giclee on Hahnemuhle 350gsm Museum etching paper hand-signed and numbered by the artist Framed: 85 x 68 cm Sheet: 70 x 56 cm Image: 54.5 x 40 cm Edition...

Artist: Donald Sultan Title: Orange and Green, June 17, 2021 Year: 2021 Medium: Silkscreen with overprinted flocking on Rising 4-ply Museum Board Sheet: 36 x 72 inches (91 x 183 cm)...

Intaglio and acrylic on Saunders Waterford, St Cuthberts Mill paper. Paper size: 37 x 25 inches. Inscription: Hand signed and numbered, 43/175, as issued. Notes: Published and printe...

Wahini #2 - 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 ...

"Drift 10" Landscape Photography 30" x 40" Edition 1/5 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of t...

Lithograph on Rives BFK paper. Hand signed and dated on front by Robert Andrew Parker. Hand numbered 147/200. Artwork size 30 x 22.25 inches. From America: The Third Century por...

Wolf Kahn Untitled, 1982 Original Etching 10 × 15 inches Edition AP (aside from the regular edition of 90) pencil signed, dated and inscribed to Cynthia Frame included: Ships framed ...

Agra is a serigraph on paper measuring 27 x 30 inches, signed 'McKnight' lower right and annotated lower left. Framed in a contemporary, black frame. Numbered 176/200 from the editio...

Serigraph printed in colors on paper. Hand signed, dated and numbered by Melanie Taylor Kent. Remarqued lower margin. Printer's Proof edition. ...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

Giclee print on archival cold press cotton rag, edition 9 of 25 with 5 APs. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signag...

"Sometimes, as an antidote to fear of death, I eat the stars....". Inspired by 'Antidote to Death', a poem by Rebecca Elson Angelica’s multi-layered works are informed by her ongoin...

"The Fence, Private Keep Out" is an original linocut print on yellow paper by David Barnett. The artist signed the piece lower right, wrote the title lower center, and wrote the edit...

"SF DRIVE 0045" Landscape Photography 44" x 36" Edition of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic ...

Christo and Jeanne-Claude Surrounded Islands, 1980 - 83, 2009 Medium: 7-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper Dimensions: 32 x 175 cm (12½ x...

an homage to the photo realism + pop art color palette of artist David Hockney Beach Goals by Erik Pawassar 29 x 40 inches (74 x 102cm) signed edition of 25 48 x 67 inches (122 x...

Digital print on paper, edition 1/30, 60 x 80 x 0,1 cm, 2018 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Park around Keswick and Grasmere,...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

This print presents a fictitious encounter between contemporary colonial forces and Native Americans who are defenders of immigrant refugees and displaced populations. The artist de...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

DRUID POINT is an original hand drawn limited edition lithograph by the Iowa born artist Jim Buckels printed using hand lithography techniques on archival Arches printmaking paper, 100% acid free. DRUID POINT presents a finely detailed fantasy landscape scene depicting a modern architecture cliffside house set high on a hill overlooking sparkling moonlit water and a deep blue night sky full of stars. Dramatic shades of dark blue, light purples, turquoise, greens, light beige, gray, black and touches of white create an intriguing nighttime ambience which keep the viewer's imagination engaged. DRUID POINT is a beautifully detailed picturesque architectural evening landscape with an aura of mystery and fascination. Print size - 27." x 27" unframed, excellent condition, vivid colors, full bleed image, no margins, square size format, pencil signed by Jim Buckels Year published - 1988 Edition size - 350, plus proofs Printer - JK Fine Art Editions Co. NY DRUID POINT is a very impressive, hand crafted original limited edition lithograph not a photo reproduction or digital print! JIM BUCKELS Artist statement- "On one level, I think of myself as a decorative artisan, or at best a scene painter. I don't mind this distinction, because many of my heroes never achieved much more. It's a modest but honorable aspiration. The artists who have influenced me are quite dissimilar and usually less prominent in the pantheon of art history: Canaletto, the Flemish scene painters, the Hudson River artists...

"Shaman Ângelo Barcelos, Yanomami Indigenous Territory, State of Amazonas, Brazil" by Sebastião Salgado Sebastião Salgado spent six years traveling through the Brazilian Amazon, pho...

Color lithograph. Edition 30. Claire Sherman is a painter who made her first lithographs at Shark’s in the summer of 2018 including the prints Underbrush and Tree and Water. Her paintings and prints propel the viewer into a claustrophobic and unstable world through a perspective that shimmies between representation and abstraction. Her works reference idealistic visions of the sublime, while the medley of imagery presented eliminates the need to identify the actual places – these works do not seek to portray a specific view or experience. They address the ubiquity of imagery we associate with the genre of landscape, nullifying a sense of particularity. Claire Sherman is an Associate Professor at Drew University in New Jersey. She has completed residencies at the Terra Foundation for American Art, the MacDowell Colony, the Marie Walsh Sharpe Art Foundation, Yaddo, The Albers Foundation, and the Lower Manhattan Cultural Council’s Workspace program. Recent exhibitions include solo shows at DC Moore...

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...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. 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: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 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 nonwestern 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...

This offset lithograph in colors from the Project for Central Park, New York City, was created by the artist in 2004. One of 300 hand-signed by the artist in pencil from an unnumbere...

Nelson Mandela, The Lighthouse, 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. He spent time with an art tutor and learnt to draw. In 2002, when creating the The Lighthouse print...

Signed and titled by the artist from the edition of 20. This woodcut is a bold graphic depiction of the Lockheed Constellation airplane, which was made in Southern California Romero...

** Larger prints are available for purchase. Please feel free to contact us if you're interested. Enchanted by the intricate symphony of nature's rhythms, the alluring dance of urba...

New. A nearly 30 inches (29 5/8") hand-printed version of the smaller landscape of the same name. There are just 5 editions of this largest size. All are unframed. The tree is a na...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...