Contemporary Landscape Prints

Boats is a contemporary artwork realized by Enotrio Pugliese in 1968. Mixed colored etching. Hand signed, dated and numbered on the lower margin. Edition of 74/80. Includes frame.

House in Kyoto Color woodcut, 1963 Signed in white brush bottom left of image, along with the artist's red stamp (see photo) Titled, dated and numbered in pencil bottom margin (see p...

Own a piece of history with this rare and limited edition poster from the MCA! Commemorating Christo's iconic exhibition "Wrap In Wrap Out," this poster is a true collector's item. T...

Christo and Jeanne-Claude LIMITED EDITION - CHRISTO ET JEANNE-CLAUDE | EXHIBITION CATALOGUE From July 1st to October 19th, the Centre Pompidou is hosting Christo and Jeanne-Claude, ...

Duomo (Florence) Etching & aquatint , 1965-66 Signed, titled and annotated "artist's proof" (see photos) Edition: 100, this impression an artist's proof Reference: Silvie Turner. Julian Trevelyan Catalogue Raisonne of Prints.November 1, 2010. Reprint, Lund Humphries, 2010., No. 174 Provenance: Elizabeth Carrol Shearer, former President of the Print Club of Cleveland He moved to Paris to become an artist, enrolling at Atelier Dix-Sept, Stanley William Hayter's engraving school, where he learned etching. He worked alongside artists including Max Ernst, Oskar Kokoschka, Joan Miró and Pablo Picasso. In 1935, Trevelyan bought Durham Wharf, beside the River Thames in Hammersmith, London. This became his home and studio for the rest of his life and was a source of artistic inspiration to him. He became a confirmed Surrealist and exhibited at the International Surrealist Exhibition, held at the New Burlington Galleries in London. From 1950 to 1955, Trevelyan taught history of art and etching at the Chelsea School of Art. From 1955-63, Trevelyan worked at the Royal College of Art and became Head of the Etching Department. Because of his enthusiasm in his work and the desire to share it with others, Trevelyan became a highly influential teacher, with students including David Hockney, Ron Kitaj...

"Vierwaldstätter See" (Lake Lucerne) is a striking rendition within Gerhard Richter's iconic seascape series. Born in 1968, this piece is emblematic of Richter's artistic journey exp...

Screenprint in colors on wove paper. Hand signed, dated and numbered 'AP' by the artist (main edition of 150 plus 10 artist proofs made). Image size 19.5 x 37 inches. Sheet size 25.7...

Fine print from the 1960's London. Embackment in London, by the Thames. City side with Houses of Parliamant looking west. Fine piece of history. Banham made many works of Central London...

Own a piece of history with this rare and limited edition poster from the MCA! Commemorating Christo's iconic exhibition "Wrap In Wrap Out," this poster is a true collector's item. T...

Seascape With A Boat is a Screen print realized by Enotrio Pugliese in the 1960s. Hand-signed by the artist on the lower. Numbered, Limited edition of 21/60 prints. Very Good cond...

Navona Square is an etching realized in the 1960s by Giuseppe Malandrino . Original hand-colored print. Hand-signed by the artist in pencil on the lower right corner. Numbered, e...

Way of Scylla is a woodcut print realized by Enotrio Pugliese in 1962. Limited edition of 125 copies numbered and signed by the artist. Good condition on a cream colored cardboard....

Landscape is a Screen print realized by Enotrio Pugliese in the 1960s. Hand-signed by the artist on the lower. Numbered, Limited edition of 2/60 prints. Good conditions. Enotrio ...

Landscape Under The Moon is an Screen print realized by Enotrio Pugliese in 1960s. Hand-signed by the artist on the lower. Numbered, Limited edition of 15 prints. Good conditions...

House in Kyoto Color woodcut, 1963 Signed in white brush bottom left of image, along with the artist's red stamp (see photo) Titled, dated and numbered in pencil bottom margin (see p...

BACK TO EARTH is an original hand drawn lithograph by the American woman artist printmaker Margo Humphrey printed using hand lithography methods on archival Arches printmaking paper ...

From Above (original title "dall'alto") is an original Contemporary Artwork realized in the Second half of the 20th Century by the Italian Contemporary artist Vittore Frattini (b. 19...

An original vintage poster designed by Philip Roberts, British (1937 - 2004) to promote a Tourism around London. Printed by The Baynard Press, P...

The Vineyard is an original etching realized by Leonardo Castellani in 1960. The etching is part of an edition of 100 specimens, numbered and sigled. Hand-signed by the artist on t...

Original linen-backed LUFTHANSA: Your lift to the Alps vintage ski poster. Excellent condition original German ski poster. The image has two women with skis resting on their sho...

Marittima is an original black and white etching realized by Enrico Paulucci in 1964. Hand signed on the right margin. Numbered on the lower left. Edition of 102 copies (16/102), e...

Frederick Kiesler "Frederick Kiesler: An Exhibition of Architecture and Sculpture (Endless House, Model)" Yale University School of Art and Architecture, New Haven, c. 1967 Exhibitio...

"Jungle" is an important, rare color lithograph signed by Carol Summers from the early years of his production. The image offers a landscape of a dark jungle, printed mostly in black ink. In the center, a blue pool of water is shaded by two trees. Summers' technique in this print renders a painterly quality to the image: the grasses and leaves of the scene are all created with playful, energetic swiping motions much like watercolor paint. This technique and the use of fields of color predict the style Summers would adopt in the coming decades, making this an important early work. 30 x 22 inches, artwork Numbered 14 of the edition of 27 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...

Landscape is a beautiful black and white etching and aquatint on paper, realized in 1962 by the Italian artist Fiorella Diamantini (Cingoli, 1931-2019). Signed and dated in pencil on the lower right margin and with the autograph note "Prova di stampa" in pencil on the lower left margin. Our original etching, an artist proof, confirms the artist's love for classic style in the wake of another great artist from the region Marche: Luigi Bartolini. In this original rpint everything is defined by a fabric of lines that thickens for the contours, and it is made rarer for the shadows. She seems to draw her landscapes from absolute white, where the edges of the real irrepressible by a single line are defined by grey backgrounds. A real skilled hand demonstrates a full mastery of the artistic technique and a real suggestive landscape that has something of the geometrical rigor and of the unmaterial of memory. In very good conditions, this is a very touching landscape, a landscape with the typical emotions of the memory places. Fiorella Diamantini was born in Cingoli in 1931 and graduated from the Book School of Urbino and the Academy of Fine Arts in Rome. She studied engraving with Leonardo Castellani in Urbino and Mino Maccari in Rome. Since 1958, she has taught in Rome Techniques of Engraving, first assistant of Mino Maccari, then of Arnoldo Ciarrocchi. From 1951, she lived in Rome. In 1980, she moved to Umbria, in Spello. She has been invited to the most important engraving reviews: the Venice Biennale (1956), the Venice Black and White Biennial, the Rome Quadrennial and the national and international exhibitions organized at the National Chalcography of Rome. His works have been presented at the Michel Gallery in Paris, at the Stockholm National Museum, at the National Chalcography of Rome, at the International Rossetti Library in Rome, at the Prandi Library in Reggio Emilia. Her works are present at the InClub Publishing House in Florence and the Galaverni Saletta in Reggio Emilia. The following wrote about Fiorella Diamantini: Mino Maccari, Italo Cremona, Valeria Vecchia, Arnoldo Ciarrocchi, Lorenza Trucchi, Alberto...

"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...

Hand signed and numbered. Edition of 20 prints in Roman Numerals. Artist's proof. Trimmed margins. Image Dimensions: 46.5 x 37 cm