Contemporary Landscape Prints

Robert Greenhalf Shoverlers Limited Edition Print Woodcut on Paper Edition of 100 Paper Size: H 38.5cm x W 41 cm Image Size: H 27.5cm x W 27.5cm Sold ...

Civic Building – Manaus, Eliza Southwood Limited Edition Silkscreen Print of 20 Silkscreen Print on Paper Size: H 97cm x W 67cm Signed and titled Silkscreen Print – A printing techn...

Fiona Carver The Long Beach, Holkham Limited Edition Linocut Print Edition of 50 Image size: 29 x 24 cm Mounted size: 43.2cm x 37.5cm (approx) Sold Unframed, mounted in pale cream to conservation standard Please note that in situ images are purely an indication of how a piece may look. The Long Beach, Holkham is an original limited edition linocut by Fiona Carver. Hand printed using a victorian cast iron...

Donald Furst has created a series of 10 mezzotints based on Highway 421. U.S. Route 421 is a spur route of U.S. 21. It runs for 941 miles from Fort Fisher, North Carolina south of Wilmington to Michigan City, Indiana at U.S. 20. This image, "421 Nights: Reach", shows the reach of some storage tanks. This impression is #10 from an edition of just 30. A member of the faculty since 1985, Donald Furst is Professor of Art and former chair (2002-2009) of the UNCW Department of Art and Art History. He has received the following recognitions for teaching: University of North Carolina Board of Governors Award for Excellence in Teaching, 1999; University Distinguished Professorship, UNCW, 1996-98; Board of Trustees Teaching Excellence Award, UNCW, 1996; College of Arts and Sciences Excellence in Teaching, UNCW, 1992. Furst currently operates Ars Longa...

"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...

An idealized American suburb, but without an exit... Werger's mezzotint prints are masterful at capturing a mood and suggesting a story for the viewer to complete. He is known for h...

One of eight prints completed for this set based on Henry James Aspern Papers. Signed and numbered digital print from the editon of 75. Peter Milton is one of the most honored and respected printmakers in the world today. His work is in most major museums, and he continues to produce stunning and masterful prints in his 6th decade of printmaking. Since 2008 he has been a major proponent for digital printmaking. THE ASPERN PAPERS is a classic tale by Henry James of duplicity foiled and love denied. Taking place in Venice, this is one print from a portfolio set of eight prints...

Hand embellished giclee on canvas. Hand signed and numbered on front by the artist. Canvas is not stretched. Image size 16 x 12 inches. Artwork is in excellent condition. Certificat...

Jan Dingle Still Bloom Limited Edition Etching Print Edition of 180 Image Size: H 8cm x W 6.5cm Sheet Size: H 19cm x W 15.5cm Signed and Numbered Sold Unframed Please note that any i...

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...

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

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

Jan Dingle Far Seas Limited Edition Etching Print Edition of 180 Image Size: H 9cm x W 6.5cm Sheet Size: H 19cm x W 15cm Signed and Numbered Sold Unframed Please note that any insitu...

Talavie, Hopi desert landscape, village scene, blues, reds, by Dan Namingha hand pulled limited edition lithograph signed and numbered by the artist

Katie Edwards Exploring The Alpines Limited Edition Silkscreen Print Edition of 50 Size: H 40.5cm x W 30.5cm Free Shipping Please note that in situ images are purely an indication of...

Kate Heiss Curlew On the Beach – Lulworth Blue Series 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 Mounted Unframed Edition numbers may vary from the photo. Linocut Print – A relief printing technique where lino is cut, inked and rolled to create an inverse relief print, generating the image as seen. This work is sold mounted but not framed. Please note that in situ images are purely an indication of how a piece may look. Printed in a soft chalky Lulworth Blue* this print depicts a Curlew on the beach in front of Orfordness Lighthouse in Suffolk. The lighthouse is framed by a medley of wild flowers; sea holly...

‘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....

La Regata is an original artwork realized by the Belgian artist Martine Goeyens. Unique specimen. Digigraph print retouched by hand. On the back, the label of the certificate of au...

La Regata is an original artwork realized by the Belgian artist Martine Goeyens. Unique exemplar. Digigraphy. Retouched by hand. On the back, the label of the certificate of authen...

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...

iconic large format beach photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites an...

Kate Heiss Little Sparrow Limited Edition Linocut Print Edition of 100 Printed with oil based relief inks on 300gsm soft white Somerset velvet paper. Signed and dated on the front Im...

Archival pigment print Philomena Marano has spent decades “penetrat[ing] the soul of Coney Island to reveal its twin promises of candy-colored paradise and garishly ornate nightmare...

Cottonwood in Jemez Canyon by John Hogan mixed media monotype, New Mexico unique framed mixed media mono print John Hogan A graduate of Northeast Louisiana State University with a b...

Kate Heiss Hobbies at Ken Hill Limited Edition Print Edition of 30 Image Size: H 30cm x W 30cm Mount Size: H 40cm x W 40cm Signed Sold Unframed Please note that in situ images are p...

print, The photo was done during a last tennis afternoon, limited to 5, signed.

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, ...

Alluvions is an original artwork by the artist Paulette Humbert during the 1980s. Hand-signed on the lower right. Etching and drypoint on paper. Titled on the lower left. Edition o...

Intaglio on Somerset paper, edition of 4 The artwork is shipped unframed. Please message us directly if you are interested in purchasing the piece already framed. Bio // Katie Van...

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...

Robyn Forbes Powder Ride Limited Edition Screen Print Screen print on fine art Lambeth paper Image Size: H 21 cm x W 29.5 cm x 0.1 cm Sheet/Canvas Size: H...

COLLONGES la ROUGE is an original hand drawn stone lithograph by the American artist Bernard Brussel-Smith, hand printed by Master printer Joseph Kleineman, JK Fine Art Editions Co. ...

Sweet Thames, Mychael Barratt Unframed Limited Edition Etching Etching on Paper Image Size: H 50cm x W 100cm Paper Size: H 53cm x W 103cm Signed and titled Sweet Thames is a limited edition etching by Mychael Barratt. An anecdotal and historical map The title Sweet Thames is from the epic poem Prothalimion by Edmund Spencer...

STAGGERING is an original hand drawn lithograph(not a photo reproduction or digital print) by the artist Frank Licsko printed using traditional hand lithography techniques on archiva...

Hand signed by Artist. Lithograph on paper. Published by Associated American Artists. Image size 12.25 x 9.25 inches Custom framed as pictured. Edition of 250. Artwork is in excel...

Garden is a beautiful artwork realized by Orfeo Tamburi beetween 1973 and 1975. Mixed colored lithograph. Edited and printed by Graphis Arte, Livorno The artwork is from the portf...

Kate Heiss Punting at Cambridge – Saxe Blue Series Linocut Edition of 50 Printed with oil based relief inks on 300gsm soft white Somerset velvet paper. Mounted Unframed Signed and da...

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)...

'Beaver Lake Flowers' is an artist's proof giclée print after the 1996 original, signed by the artist in the lower right. Working in the organic and mutable hues of watercolor, Barnett's flowers emerge from out of the variegated undergrowth only to dissolve back into pure color just as quickly. Barnett's mastery over color and light reveals him as a student of the Impressionists, while his tendency towards abstraction highlights his appreciation of later Expressionists as well. Giclée print on watercolor paper after original 1996 watercolor painting...

Joanna Padfield One Winter’s Day Limited Edition print on paper Edition of 50 Image Size: H 30cm x W 40 Paper Size: H 38cm x W 53 cm Sold Unframed (Please note that in situ images ar...

‘London Gold II’ – Original Handmade Silk Screen Print on 24k Gold Leaf created by London artist, Katie Edwards. Sold UNFRAMED – framing ideas have been provided. (Please note that i...

An early rarely seen print from 1977, when Houtin was still developing his signature style of imaginary vegetation and symbols. Signed, titled and numbered in pencil from the edition of 20. François Houtin...

"Permafrost" by Alexis Kandra is a limited edition signed, titled, dated and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil (edition total of 5). The image features a surreal wildlife scene of a fantastical grouping of animals -- in the foreground of the landscape is a (now extinct) saber tooth tiger...

Mychael Barratt Wes Anderson’s Dog – Page Street Limited Edition Print Screen Print on Paper Edition of 50 Image Size: H 50cm x W 50cm Paper Size: H 68...

Sepia Seascape by Ian Laurie. Limited edition 5/25, signed and numbered Sepia view from the clifftops out to sea, pleasing work by this very well coll...

Color spitbite aquatint and aquatint with drypoint

Jayson Lilley St Pauls One Limited Edition Print Edition of 50 Image Size: H 28cm x W 28cm Signed Sold Unframed Please note that insitu images are purely an indication of how a work...

Chambre ave nuage No.3, 2009 24 color screenprint Edition of 200 35 x 40.5 in. (88.9 x 102.9 cm.) Guo Wei (Chinese, b.1960) was born in Chengdu, China, where ...

Mychael Barratt Anish Kapoor’s Dog Limited Edition Etching Edition of 100 Sheet Size: H 40cm x W 38cm Signed and titled Sold Unframed Please note that in situ images are purely an in...

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, ...

Mark A Pearce Great Gable and the Screes Limited Edition Linoprint Edition of 42 Image Size: H 46cm x W 46cm Sheet Size: H 58 cm x W 54cm Signed Sold Unframed Great Gable and the Screes is a limited edition print by Mark A Pearce. At school I spent most of my time in the art department. I then went on to do a one year foundation course at Carlisle College of Art. It was here that I learnt the art of printmaking and then continued my studies at the Norwich School of Art doing a degree in graphic design. Keen to move to London I found my first job as a graphic designer with John Nash and Friends and my second with Michael Peters and Partners. I went on to win a D&AD (Design and Art Directors Club of Great Britain) silver award for the very first greeting stamps issued by the Royal Mail. These featured smiles from the likes of Dennis the Menace...

Rob Barnes Summer Evening Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free Shi...

Colin Moore Blakeney Harbour Limited Edition 3 Block 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 ...

Sarah du Feu Swaledale 2 Original Monoprint Image size 40 x 65 cm Mounted size 51 x 77 cm Framed in solid oak wood frame Printed on acid free Somerset Velvet 280gsm paper This monop...

large scale original photograph of a billboard against ultramarine blue night sky from a series of conceptual motivational messages on iconic Americana signs and billboards in landsc...

I Bovi Tra Le Crete is a beautiful artwork realized by Orfeo Tamburi in the 1970's Mixed colored lithograph. Hand signed by the artist. Numbered on the lower left. Edition: 13/100 ...

Jan Dingle Neaves Mill Limited Edition Etching Print Edition of 100 Image Size: H 9cm x W 7cm Sheet Size: H 21cm x W 17cm Signed and Numbered Sold Unframed Please note that any insit...

Color lithograph, Edition 30. The artist describes this project: “In this work I defang the stereotypes of Native Americans depicted as primitive savages in the painting by Wimar. The mask and the Mayan head team up with a third character to form a fictitious, original, trans-continental Border Patrol. This work is a humorous reminder that all nations in the Americas were created by undocumented immigrants from Europe. Today, some politicians call refugees from Central America and other countries “illegal aliens” but for me they are no different from the Pilgrims or Daniel Boone...