Contemporary Landscape Prints

A print by Shepard Fairey. “Cincinnati Contemporary Arts Center” is a contemporary, popular culture offset print on paper in black, red, and white by American street artist Shepard F...

Color woodcut, Edition 30 The left panel of High Tide captures the reflections of the edge of a pond and surrounding trees and hills. The right panel depi...

This work is inspired by collage and surrealist artworks. I like combining images removed from their original narrative context and reconfigured into a new scenario. This screen prin...

Image size: 18 x 12 inches Sheet size: 15x22 inches Edition size: 21 Depicts farm worker contemplating his fields in Mexico. Dark brown ink on cream-colored 100% archival cotton-r...

L'Automne à Paris is a lithograph on paper with an image size of 2.75 x 3.75 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and rib...

Signed, titled and numbered in pencil, 28/30. Imaginary landscape with waterfalls, incredibly fine line work in this small etching. François Houtin was...

large format photograph of mesmerizing water and cloudscape SEASCAPE IX by Frank Schott 48 x 48 inches ( 122 x 122cm ) edition of 7 signed 5...

SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & **INSURANCE** Last Horizon, 1991 Bill Schenck Serigraph, Printers Proof Size: 27.75 x 29.75 inches UNFRAMED SHIPPING CHARGES INCLUDE...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama 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. Frame: 37 x 37 in This is an artist's proof from the edition of 100 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...

From a series of large format photographs capturing the soothing tones of nature's calming blue hour color palette 30 x 40 inches / 76cm x 102cm signed edition of 25 48 x 64 inches...

PROVINCETOWN FISHING NETS is a limited edition lithograph by the American artist/sculptor Chaim Gross. PROVINCETOWN FISHING NETS was printed using traditional lithography methods on ...

Medium: drypoint on chine collé Edition of 180 Image Size: 4.5 X 9 inches Signed, titled and numbered, from the edition of 180. A view of a bridge over the Seine River in Paris wit...

large format photograph of a sea of green sun umbrellas and yellow-green striped sun chairs, a Mediterranean pre-summer season study of Italian beach clubs in the iconic coastal resort town of Forte dei Marmi, Italy FORTE DEI MARMI by Frank Schott 48 x 72 inches / 122cm x 183cm edition of 7 signed 26.5 x 40 inches / 67cm x 102cm edition of 25 signed archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Michael Wolf, Gregory Crewdson, Ed Rusha...

Medium: linocut Year: 2023 Image Size: 18 x 24 inches Edition Size: 10 Image of a immigrants Walking along train tracks near the border between Mexico and the United States, moving ...

large-scale framed original art photography from a series of mesmerizing cloud atlas observations and abstract skyscapes above the horizon line of the Medi...

"Mauve, Red and Purple" by Eyvind Earle Type: Limited Edition Media: Serigraph on Paper Signed & numbered by the artist Edition: 188/275 Image Dimensions: 29 x 38" Year Produced: 198...

large scale original photograph from a series of conceptual motivational messages on classic Americana signs in landscape of the American West BACK IN ...

DAVIES, Peter (b.1953) ‘Solstice Sun’ 2019 Linocut on paper 15.0 x 10.0 cm (6 x 4 in.) Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical, rather than lyrical or painterly, approach. This probably puts my observational paint – by – numbers pictures at a creative and expressive disadvantage. But it doers prove conducive to a structural or compositional kind of drawing over which are applied layers of oil paint to deliver idiosyncratic textural and atmospheric effects. Furthermore, a Ben Nicholson – inspired dichotomy between foreground rooftops or architecture and a naturalistic marine or landscape background makes a chosen plastic and temperamental approach apt. So when in 2004 I was inspired by the much loved master relief printmaker John Liddell 1925-2005) to try my hand at linocut I found a process ideally suited to my mechanical bent it has been a love affair ever since. The workshop he founded in 1991 Poole Printmakers is a safe haven, an intimate co-operative near Poole Quay, and some of the most scenic terrain in Britain. It is also an area where my art career started in 1978 and inspired my early book Art in Poole and Dorset, published by Poole Historical Trust, 1987. Many blissful and absorbing hours over the last 13 years have yielded a large body of linocut prints in which I exercise those mechanical and reproductive qualities proper to the medium. Peter Davies...

AT YOUR SERVICE by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques(not a photo reproduction or digital print) on ar...

hand pulled lithograph edition 100 signed and numbered by the artist unframed

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architec...

These are two separate 11 x 8.5 inch (45 x 60 cm) hand-printed original cyanotype photographs sold sold together. They are the same image but one is printed from the negative and the...

This Linocut print captures the energy and speed of terns fishing on the high tide with sailing boats riding the waves. Printed with oil based relief inks on 300gsm soft white Somers...

Andrés Rueda (Spain, 1956) 'Tarde gris', 1997 silkscreen on canvas 21.3 x 28.8 in. (54 x 73 cm.) Edition of 75 ID: RUE1222-001-075 Unframed Hand-signed by author

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer an...

'Ray of Light', part of Richard Heeps Vietnam series 'This is Not America', this unusual photograph of trees has a spiritual quality. This artwork is a limited edition of 25, gloss...

London Bestiary by Mychael Barratt Limited Edition Etching: Edition of 100 Image Size: H 66m x W 99.7cm Complete size of Sheet: H 76.9cm x W 112.1cm x D 0.1cm Signed and titled Sold ...

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...

This print features a Blue Emperor Dragonfly flying over verbena and cornflowers. Printed in a palette of lilac, green and blue. It is a Hybrid Print - Tr...

Manufacturer: Obey Giant Edition Details: Year: 2014 Class: Art Print Status: Official Released: 08/12/14 Run: 98/450 Technique: Screen Print Size: 18 X 24 Markings: Signed & Numbere...

Lithograph on Magnani-Pescia paper. Paper size 50cm x 70cm, work size 43cm x 57cm. Excellent condition, no defects. Hand colored. Sigfrido Oliva was born in Messina in 1942 and grew...

a monochromatic photographic homage to artist Ed Ruscha from a series of iconic Americana roadside billboards and conceptual signage BILLBOARD by Frank Schott (2010) 25.5 x 40 inch...

Photographed in Atlantic City your eye takes you past the Boardwalk Empire facade down the atmospherically misty boardwalk. This artwork is a limited edition of 25, gloss photograph...

Night meetings is a contemporary artwork realized by the artist Dipas in the 1970s. Mixed colored screen print. Hand signed on the lower right margin. Numbered on the lower left m...

Dramatic, large scale black, white, green and grey Western American landscape with river, grassy banks, trees, and rolling clouds filling the sky. Hang in minimalist, modern, and con...

Richard Hricko has exhibited internationally in museums, galleries and juried competitions, including the National Academy Museum in New York, Glynn Vivian Art Museum in Wales, and G...

"Le Seuil" (The Threshold) is an image printed in 2006. This impression is Roman numeral X of XX. It is titled, dated, numbered and signed by the artist. Judith Rothchild, printma...

In The Forest is an original modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored serigraph. Hand signed on the lower right margin. Artist's proof (as repor...

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...

Inspired by a coastal walk looking over the cliff. ADDITIONAL INFORMATION: Linocut print on Paper Edition of 10 20 H x 20 W cm (7.87 x 7.87 in) Sold unframed Image size: Height: 2...

Urban Landscape with Sheeps is an artwork realized by Aldo Riso, 1970s. Color screenprint. 24 x 27 cm, with frame. Includes frame. Edition of 2000. Hand signed lower right. Go...

A limited edition woodcut on paper print by Mychael Barratt of Vincent Van Gogh with a lady on a walk in london, passing a grand tree and Great Pagoda. The print is compromised of blue, green, purple, pink and yellow tones Additional information: Mychael Barratt  Once upon a time in London, Afternoon [2023] Woodcut on paper Signed and titled in pencil Numbered from the edition of 100  Please note that insitu images are purely an indication of how a piece may look Please note sheet sizes may differ. Image size: Height: 28cm Width: 28cm Complete size of sheet: Height: 39.5cm Width: 38.3cm Depth: 0.1cm ARTIST BIO: Mychael Barratt was born in Toronto, Canada, however, considers himself to be a Londoner since arriving for what was supposed to be a two-week stay thirty years ago. He is a narrative artist whose work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves. He was an artist in residence for Shakespeare’s Globe Theatre...

Patty deGrandpre’s “Sitting on the Seawall with Sand in Your Suit (Devereux Beach)” is a contemporary 31 x 40 x 1 inch digital inkjet print on aluminum representing the coastline of ...

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

A solitary oak tree is backlit by the glow of sunrise at dawn along a trail. The scene is a hiking trail in the hills of Oakland, California. This is a one-off mini studio proof. A h...

Hand embellished giclee on canvas. Hand signed and numbered by the artist. Edition of 100. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticit...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

GERHARD RICHTER b. 1932 Born in Dresden 1932 (German) Title: Canary Landscapes I e Kanarische Landschaften I e, 1971 Technique: Original Hand Signed and Numbered Heliogravure in C...

Signed, titled and numbered by the artist. This print was made to accompany the deluxe version of the Catalogue Raisonne covering the years 1993-2002. One of his imaginary garden hut...

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...

Tower Bridge and Waves at Westminster diptych Overall sheet size: H55.8 X W52 Clare Halifax. Waves at Westminster- a Thames view of the houses of parliament and Big Ben. Limited Edition Print; edition of 100. Clare Halifax, artist, joins Wychwood Art selling art...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, wrote about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses t...

Scots Pine drypoint etching printed onto Japanese gampi tissue and backed onto German Hahnemule printmaking paper. This print depicts a mature pine tree, standing proud from the rest...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 450. Artwork is in excellent condition. Certificate of authenticity included. All reason...

Colin Moore Holkham Weather Limited Edition 3 Block Colour Linocut Print Edition of 150 Image Size: H 45cm x W80cm Sheet Size: H 57cm x W 90cm Sold Unframed (Please note that in situ...

German artist Udo Claassen created a dramatic landscape of this Icelandic scene in 1985 in an edition of 40. This is #33. Claassen was born in Itzehoe in the state of Schleswig-Hol...

Serigraph in colors on paper. Hand signed lower right by LeRoy Neiman. Hand numbered 317/350 lower left. Artwork size 37.5 x 42 inches. Custom framed as pictured with hand paint...

Natural Oasis is a very colorful artwork realized by Giuseppe Giannini in 1980. Colored lithograph on silver paper. The print is hand-signed and dated in pencil on the lower right....

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...

Urban Landscape is a mixed-colored offset by the Sicilian artist Franco Fontana. Sheet dimension: 80 x 60 cm. Good conditions.