Modern Landscape Prints

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 11.24 x 8.46 inches Inscription: Unsigned and unnumbered, as issued Notes: From the fo...

Urbino con la neve is an original artwork realized by an artist of the 17th century. Beautiful etching on ivory paper. Image Dimensions: 20...

Lithograph in colors on vélin de Rives BFK à la forme paper. Paper Size: 9.84 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Alice...

Antonio Frasconi created the color woodcut entitled "View of Venice I – San Giorgio" in 1968. It is signed, titled, dated, and inscribed “17/20” in pencil. The paper size is 24 x 36 ...

Lithograph in colors on vélin de Rives BFK à la forme paper. Paper Size: 9.84 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Alice...

House in the Sun is an original 1950 lithograph by renowned New Mexico modernist Kenneth Miller Adams. This striking black and white composition captures the timeless geometry and su...

Riding is an original print realized by an Anonymous artists of the 19th Century. Mixed colored lithograph. Good conditions except for some prepared rips. This lithograph represen...

Illustration II is an original etching by Maurice Chot Plassot (Neully-sur-Seine 1929). Hand- signed by the artist on the lower right corner and the title on the left corner. Imag...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Artist: Bertram George Buchanan (English, 1873-1962) Titles: "The Seven Sisters", "Rye from the Hills", and "Pett Level" *Each work is signed by Buchanan in pencil lower right Circa ...

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The Bridge is an original etching realized by the Italian master Bruno Croatto. Hand-signed on the lower right. '97 Good conditions except for some sma...

Aerial View on Malta is an original modern artwork realized in Italy in the first half of the 19th Century. Original woodcut on Ivory Paper. Inscripted in Gothic letters on the lo...

Landscape, Car, Palm Tree, Vintage Chevy El Camino, Mid Century Modern, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture Design. Tom Blachford, Palm Springs California. This is a limited edition print in a series of 10. Each pieces comes with a hand-signed certificate of authenticity. The latest and final release in Australian photographer Tom Blachford’s long-running project, Midnight Modern, will be exhibited for the first time at TOTH Gallery in New York. Loosening the shackles of Palm Springs and Mid Century, Blachford’s large scale works explores some of the outer reaches of the Modernist movement in Architecture, and captured using only the light of the full moon. Blachford's series is a surreal ode to the landscapes of California and its cache of pristine Modernist buildings. Shot entirely at night, bathed in moonlight, the homes, vintage cars, and foliage appear as they have been captured in another space and time. Recognizing the locations may be easy, but it is more difficult to identity when the image was actually taken, be this day or night, in the past, present, or future. The images act as portals in time where it seems these moments exist in all places at once. For Blachford these unique residences act as the sets for infinite narratives, both real and imagined, which the viewer is invited to script for themselves. Each image acts as a still frame for a story about to start and end simultaneously. California has a unique geography and climate, and this gives rise to a distinct deep blue sky: a hue of moonlight ideal for this approach to architectural photography. The long exposure allows the camera to capture a world just beyond our perception and distil it into a single moment. Midnight Modern has already included Palm Springs' most iconic properties; the Kaufman Desert House...

Landscape is an original lithograph on cardboard, realized by Mario Sportelli. The state of preservation is very good. Hand-signed on the lower right Artist's proof. Sheet dimens...

Artist: Christo Title: The Gates, Project for Central Park, New York City XIX Medium: Offset lithograph in colors on wove paper Date: 2004 Edition: Unnumbered Sheet Size: 28 1/4" x 4...

The Queen's Staircase is an original modern artwork realized in 1836 by the French artist François Alexandre Pernot (1793-1865). Original Lithograph on paper. The sheet is glued on ...

Prisoners is an Original Woodcut print realized by A. H. Laboureur. The artwork on a green paper is in good condition, glued on a page of magazine. No signature. Titled on the uppe...

Hans Falk (1918-2002) Sport au Soleil en Suisse Original Vintage Poster - lithograph (1957) 40x25" Signed in the plate, and showing a procession of brightly-coloured skiers heading ...

Garibald's House is an original lithograph realized by an anonymous artist of the 19th Century. In good condition. Passpartout: 34 x 49 cm. Image Dimensions: 15.5 x 13 cm. The ar...

The Factory is an original lithograph on paper realized in 1980 by Giuseppe Megna. Hand-signed and dated on the lower right, numbered on the lower left in pencil, edition of xx/xxv ...

Sheffield is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital Letters: Sheffi...

Richard Florsheim created this color lithograph entitled “Carnival” in 1972 in an edition of 30 pieces. Published by Associated American Artists and printed by Landfall Press, this i...

This Mechelen is an original etching realized by George Braun and Franz Hogenberg, as part of the famous "Civitates Orbis Terrarum". The “Civitates Orbis Terrarum” (Atlas of Cities ...

Paphy is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W woodcut print on Ivory Paper. Inscripted on the Upper margin in Capital Letters: Paph...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

Valletta From the Quarantine Harbour is an original modern artwork realized in Italy in the first half of the 19th Century. Original Lithograph on Ivory Paper. Inscripted in capit...

screenprint printed in color ink on wove paper. New York City subway station interior. Anthony Velonis (1911 – 1997) was an American painter and designer born in New York City who helped introduce the public to silkscreen printing in the early 20th century. While employed under the federal Works Progress Administration, WPA during the Great Depression, Velonis brought the use of silkscreen printing as a fine art form, referred to as the "serigraph," into the mainstream. By his own request, he was not publicly credited for coining the term. He experimented and mastered techniques to print on a wide variety of materials, such as glass, plastics, and metal, thereby expanding the field. In the mid to late 20th century, the silkscreen technique became popular among other artists such as Robert Rauschenberg and Andy Warhol. Velonis was born into a relatively poor background of a Greek immigrant family and grew up in the tenements of New York City. Early on, he took creative inspiration from figures in his life such as his grandfather, an immigrant from the mountains in Greece, who was "an ecclesiastical painter, on Byzantine style." Velonis attended James Monroe High School in The Bronx, where he took on minor artistic roles such as the illustration of his high school yearbook. He eventually received a scholarship to the NYU College of Fine Arts, into which he was both surprised and ecstatic to have been admitted. Around this time he took to painting, watercolor, and sculpture, as well as various other art forms, hoping to find a niche that fit. He attended NYU until 1929, when the Great Depression started in the United States after the stock market crash. Around the year 1932, Velonis became interested in silk screen, together with fellow artist Fritz Brosius, and decided to investigate the practice. Working in his brother's sign shop, Velonis was able to master the silkscreen process. He reminisced in an interview three decades later that doing so was "plenty of fun," and that a lot of technology can be discovered through hard work, more so if it is worked on "little by little." Velonis was hired by Mayor LaGuardia in 1934 to promote the work of New York's city government via posters publicizing city projects. One such project required him to go on a commercial fishing trip to locations including New Bedford and Nantucket for a fortnight, where he primarily took photographs and notes, and made sketches. Afterward, for a period of roughly six months, he was occupied with creating paintings from these records. During this trip, Velonis developed true respect and affinity for the fishermen with whom he traveled, "the relatively uneducated person," in his words. Following this, Velonis began work with the Public Works of Art Project (PWAP), an offshoot of the Civil Works Administration (CWA), where he was assigned to serve the different city departments of New York. After the formation of the federal Works Progress Administration, which hired artists and sponsored projects in the arts, he also worked in theater. Velonis began working for the federal WPA in 1935. He kept this position until 1936 or 1938, at which point he began working in the graphic art division of the Federal Art Project, which he ultimately led. Under various elements of the WPA program, many young artists, writers and actors gained employment that helped them survive during the Depression, as well as contributing works that created an artistic legacy for the country. When interviewed in December 1994 by the Library of Congress about his time in the WPA, Velonis reflected that he had greatly enjoyed that period, saying that he liked the "excitement" and "meeting all the other artists with different points of view." He also said in a later interview that "the contact and the dialogue with all those artists and the work that took place was just invaluable." Among the young artists he hired was Edmond Casarella, who later developed an innovative technique using layered cardboard for woodcuts. Velonis introduced silkscreen printing to the Poster Division of the WPA. As he recalled in a 1965 interview: "I suggested that the Poster division would be a lot more productive and useful if they had an auxiliary screen printing project that worked along with them. And apparently this was very favorably received..." As a member of the Federal Art Project, a subdivision of the WPA, Velonis later approached the Public Use of Arts Committee (PUAC) for help in "propagandizing for art in the parks, in the subways, et cetera." Since the Federal Art Project could not be "self-promoting," an outside organization was required to advertise their art more extensively. During his employment with the Federal Art Project, Velonis created nine silkscreen posters for the federal government. Around 1937-1939 Velonis wrote a pamphlet titled "Technical Problems of the Artist: Technique of the Silkscreen Process," which was distributed to art centers run by the WPA around the country. It was considered very influential in encouraging artists to try this relatively inexpensive technique and stimulated printmaking across the country. In 1939, Velonis founded the Creative Printmakers Group, along with three others, including Hyman Warsager. They printed both their own works and those of other artists in their facility. This was considered the most important silkscreen shop of the period. The next year, Velonis founded the National Serigraph Society. It started out with relatively small commercial projects, such as "rather fancy" Christmas cards that were sold to many of the upscale Fifth Avenue shops...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Mon ami Léger par André Maurois de l'Académie ...

Marina in Burrasca is a splendid etching realized by Carlo Carrà (1881- 1966) in 1924. Hand-signed, titled and qualified as an artist proof (Prova d'artista) on the lower margin by ...

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To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Walter Hoyle (1922 - 2000) King's College, Cambridge (Cambridge Series 1956 - 66) Linocut 61 x 80 cm Numbered 37/75 lower left, titled below, marked as artist's proof, and signed lower right, all in pencil. A blue- and grey-hued linocut of King's. A version of this print, owned by the Government Art Collection, hangs in the British Embassy in Tunis. Hoyle trained at Beckenham School of Art and the Royal College of Art. At the latter he was strongly influenced by Edward Bawden, one of Britain’s greatest linocut printers. Bawden had been commissioned by the 1951 Festival of Britain to produce a mural for the South Bank, and chose Hoyle to assist on account of his great talent. Hoyle moved to Great Bardfield in Essex, becoming a part of the Great Bardfield group of artists; diverse in style, they created figurative work, in stark contrast to the abstract art of the St Ives artists at the opposite end of the country. Hoyle taught at St Martin’s School of Art from...

“THE SHADOW OF THE BROOKLYN BRIDGE” Emilio Sanchez (1921-1999) created this color lithograph entitled “Shadow of the Brooklyn Bridge” in 1988. The image size is 21.38 x 30.50 inche...

TOM BLACHFORD Mid Century Modern Palm Springs Architecture. Steve McQueen. Classic Vintage 356 Porsche, Midnight Modern Series Architecture Palm Springs. Archival Inkjet Print on C...

Gordon Grant (American, 1875-1962) The Salt Bark - Gloucester, c. 1947 Lithograph Sight: 10 x 12 1/2 in. Framed: 15 x 19 x 3/4 in. Signed lower right in pencil Published in edition ...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

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Signed in plate lower left. Stamped title. Published by Lovera. Good condition.

Palm Springs Mid Century Modern Architecture, Vintage Classic Mercedes Benz SL, Palm Desert, Limited Series. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture ...

Medium: Lithograph on grand vélin d'Arches spécial paper Year: 1961 Paper Size: 14.8 x 22 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: Fr...

Savo Radulović, Serbian American (1911 - 1991) - Exodus, Medium: Hand colored Lithograph, signed, titled and numbered in pencil, Edition: 20, Image Size: 9.5 x 14.25 inches, Size...

A poster belonging to Erik Nitsche's second series for General Dynamics, promoting its nuclear research. Founded 1952, General Dynamics hired Nitsche as Art Director – a Swiss (1908 – 1998) educated at the Collège Classique in his birth town Lausanne and at the Kunstgewerbeschule in Munich. 1934 he emigrated to the United States and became an incredibly versatile graphic designer whose work became exemplary modernist. General Dynamics for its part focused on – amongst others – aerodynamics, aerospace, electronics and nuclear power. So here the company had a problem: Only a few years after Hiroshima and Nagasaki it wasn’t exactly the simplest thing to explore nuclear energy and not to be suspected of developing weapons of mass destruction. The International Conference on the Peaceful Uses of Atomic Energy 1955 in Geneva was a great opportunity to be seen as a provider of peaceful technology. The guys in charge chose Erik Nitsche to communicate this message. He created four poster series. Atoms for Peace was the first consisting of eleven posters. The second was made for the Conference 1958; these posters are titled Exploring the Universe and represent different aspects of technological research. The third series promoted General Dynamics’ departments. The last series of six smaller posters...

Bright and bold screen print by Spanish artist Guido Lopez (Spain, 20th century). Signed and titled, "Guido Lopez", 12/150. Unframed. Image 22.5"H x 25"L, Mat 31"H x 34.25"L.

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Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

Evening lights. Paper, screen printing, 18x18 cm Evening lights is an intriguing artwork created through the screen printing technique, capturing the essence of illuminated lights d...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 6.69 inches Inscription...

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Morris Cox (1903-1998) Crash! An Experiment in Blockmaking and Printing, AP 1 of 8 colour prints in varied techniques, Gogmagog Press 1963 Image: 16.5 x 23.0 cm Frame: 32.0 x 38.0 c...

Lithograph on vélin vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Résurrection de l'oiseau, Georges Braque, 1958. Publ...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller." Hart Ski Vintage Poster...

Pencil signed artists proof lithograph or serigraph. Shmuel Katz (Hebrew: שמואל כ"ץ‎) (August 18, 1926 – March 26, 2010) was an Israeli artist, illustrator, and cartoonist. A Holocau...

Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Monotype Monoprint (1990) Hand signed in pencil lower right plate: 16 x 16 inches frame dimensions: 35 1/8 x 29 1/8 x 1 5/8 inches, wood frame with glazing Provenance: Corporate Collection of Bank BNP Paribas Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts and Letters, National Endowment for the Arts, New York State Council on the Arts and the Tiffany Foundation. He has had over fifty one-person painting exhibitions in museums and galleries throughout the United States and Europe. His work is in the permanent collections of more than thirty museums, including the Whitney Museum of American Art, the Museum of Fine Arts in Boston, the Museum of Modern Art in New York and the Metropolitan Museum of Art. His work has the influence of both Abstract Expressionism and Pop Art in it, biomorphic forms in rich hues and thick textures with heightened colors and abstracted, organic forms, late American Modernism. He moved to New York in 1979, the artist rose to critical acclaim in the 1980s alongside Terry Winters, Bill Jensen, and Katherine Porter. The artist lives and works between New York, NY and his Hudson Valley residence. He works in woodcut, lithograph and monoprint techniques. He was a collaborating artist illustrating Bradford Morrow, Bestiary along with Joe Andoe, James Brown, Vija Celmins, Louisa Chase, Eric Fischl, Jan Hashey, Michael Hurson, Mel Kendrick, James Nares, Ellen Phelan, Joel Shapiro, Kiki Smith, David Storey, Michelle Stuart, Richard Tuttle, Trevor Winkfield, Robin Winters. Linoleum cuts with pochoir and woodcuts for the Grenfell Press, New York. Amenoff served as President of the National Academy of Design from 2001-2005. He is a founding board member of the CUE Art Foundation in New York City and serves as the CUE Art Foundation's Curator Governor. Amenoff has taught at Columbia for the last eighteen years, where he holds the Eve and Herman Gelman Chair of Visual Arts and is currently the Chair of the Visual Arts Division in the School of the Arts. He is currently the Vice-President of the National Academy. In 2011 he received the John Solomon Guggenheim Fellowship. Museum Collections Albright-Knox Art Gallery; Buffalo, NY Art Institute of Chicago; IL Baltimore Museum of Art; Brooklyn Museum of Art; Brooklyn, NY Butler Institute of American Art; Youngstown, OH Cleveland Museum of Art; Cleveland, OH Currier Gallery of Art; Manchester, NH Frances and Sidney Lewis Foundation; Richmond, VA Hood Museum of Art; Hanover, NH Honolulu Academy of Art; Honolulu, HW Kemper Museum of Contemporary Art; Kansas City, MO Maier Museum of Art; Lynchburg, VA Metropolitan Museum of Art; New York, NY Milwaukee Museum of Art; Milwaukee, WI Minneapolis Institute of Art; MN Muscarelle Museum of Art, College of William and Mary; Williamsburg, VA Museum of Fine Arts; Boston, MA Museum of Modern Art; New York, NY National Museum of American Art; Washington, DC Neuberger Museum, State University of New York at Purchase; NY New York Public Library, Spencer Collection...

'Winter Silhouettes,' a small and delicate print, is an original offset lithograph by the Milwaukee artist Schomer Lichtner. The composition displays registers of foliage, emerging from the white of the paper as though emerging from the snow-covered ground. The artwork is thus plays with the materials of printmaking; the paper is both the support and the primary indication of the season. The subtle texture of the tooth of the paper also adds life to the image, giving the snow a wind-swept, creature trodden surface. The free forms of the grasses and leaves resemble the lyrical mid-century works of the French artist Henri Matisse, which combined with these material concerns demonstrate Lichter's modern sensibilities. 3.75 x 2.75 inches, image 5.5 x 4.5 inches, paper 10 x 8 inches frame Signed and dated in the stone, lower right Framed to conservation standards in a shadow-box style mounting, using 100 percent rag matting, museum glass, and housed in a cherry wood moulding Overall excellent condition; some toning to edges of paper; some minor abrasions to frame Milwaukee artist Schomer Lichtner was well known for his whimsical cows and ballerinas and abstract imagery. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller. Lichtner and his wife, Ruth Grotenrath (1912-1988), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. Lichtner’s impressive production, perseverance, longevity, and positive approach to his life and art made him and his work distinctive and much loved by his many admirers. His work is currently represented in collections at the Milwaukee Art Museum, the John Michael Kohler Art Center, the West Bend Museum, and in the collections of many individuals. Books on the lives and art work of both Lichtner and Grotenrath are in progress and it is anticipated that they will be published next year. Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Prints from the Mourlot Press, 1964. Published by Fernand Mourlot, Par...

Artist: Lebadang, Vietnamese (1922 - 2015) Title: Red Boats on Orange Year: circa 1970 Medium: Lithograph on Japon Paper with Remarque Drawing, signed in pencil Edition: EA Size: 29 ...