Light Landscape Prints

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Original Las Vegas, Nevada American Airlines travel poster. Archival linen backed in very good Condition Grade A-. The post...

"Nihon Noir arose from my fascination with Tokyo and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

This is an exclusive handprinted limited edition cyanotype. "Fireworks Lights" is a minimal cyanotype diptych that shows path of the fireworks over the sky. Details: + Title: Firew...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

Title: Autumn Moon Year: 2022 Medium: Mixed media sculptural lamp Condition: Excellent Edition: 20, plus proofs Notes: AllRightsReserved, Hong Kong in collaboration with the artist. ...

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...

Wild West I by Frank Schott from a series of photographic observances around Monument Valley 27 x 40 inches / 68cm x 102cm signed edition of 25 48 x 71 inches / 122cm x 180cm sign...

Copper plate engraving on cream wove paper, 18 1/4 x 13 3/8 (462 x 338 mm), full margins. Signed in pencil, lower right. Edition of 20. First state (of 2). Minor uniform toning, and ...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Graham Bannister (born 1954) A Venetian Canal Screenprint 76 x 50 cm A screen...

LILIAN MILLER (1895 - 1943) LANTERN ON A HILL - NKKO - AUTUMN, 1934 (Brown 104) Color woodcut, signed and dated in ink in the image. Titled in pencil by the artist at lower sheet edge. Circular, 10 inches in diameter. Beautiful fresh impression In very good condition with full margins, sheet 10 5/8 x 10 1/2 inches. Miller carried on a tradition started by woman, Americans Helen Hyde, Berta Lum and Englishwoman Elizabeth Keith, who learned and used Japanese color woodcut making techniques in the first part of the 20th century. Illustrated in "Between Two Worlds - The Life and Art of Lilian May Miller...

Jacquette, Yvonne. EAST 15TH STREET. Faberman 8. Lithograph in five colors, 1974. Edition of 125. Signed and numbered in pencil. Printed by Paul Narkiewicz and Chip Elwell on Arches...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Title: Lunar Eclipse Year: 2022 Medium: Mixed media sculptural lamp Condition: Excellent Edition: 20, plus proofs Notes: AllRightsReserved, Hong Kong in collaboration with the artist...

ABOUT THIS PIECE: French artist Ludwig Favre traveled to California to shoot the state's most iconic landscape and architecture. ABOUT THIS ARTIST: Photographer Ludwig Favre was bor...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

Poster. Galaxy of Graphics LTD. Measures 24 x 36 inches and is Unframed. Good/Fair Condition-signs of wear primarily along the lower-border (please see secondary photos for details).

The Lost Ball' is a handmade linocut print by artist Colin Moore, featuring his signature graphic use of line and sophisticated colour palette. This handmade print uses layered tones...

Etching on Rives BFK paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Alternance, 1946. Published by Le Gerbier, Paris; printed by atelier Quesnevill...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Katie Edwards Little Jungle Limited Edition 3 Colour Silkscreen Print Edition of 100 Mounted Size: H 40.5cm x W 30.5cm x D 0.5cm Sold Unframed (Please note that in situ images are pu...

Chanson d'Automne (Autumn Song) by Kenneth Rowntree, 1984 Additional information: Medium: screenprint 67 x 49.5 cm 26 3/8 x 19 1/2 in signed and numbered in pencil Kenneth Rowntree...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

"Nihon Noir arose from my fascination with Tokyo and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Stephan Küthe Untitled IV Giclée on Hahnemühle Velvet Year: 2021 Signed, numbered and dated by hand Edition: 15 Size: 13.0 × 19.5 on 18.3 × 23.8 inches COA provided (gallery issued) ...

Michael Knigin, American (1942 - 2011) - Fireworks CCXVII, Year: 2006, Medium: Chromogenic Print on Canvas, signed and dated in pen lower right, titled on verso, Size: 30 x 68 in. ...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 3/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

"Cocktails" Photography 30" x 40" inch Edition of 5 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edi...

"Nihon Noir arose from my fascination with Tokyo and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Artist Commentary: Most people notice the LOVE sign first. I know I did when I came upon this scene. I had just finished photographing a wedding and was walking back to my car. I lov...

UNTITLED #5, 2021 Archival Pigment Print, Mounted on Aluminium Dibond, Framed with antireflective art glass 90 x 60 cm 91 x 61 cm - framed _ Overseas ship...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

In this captivating image, the grandeur of the Brooklyn Bridge is illuminated under the cloak of night, while a tumultuous thunderstorm rages overhead. The darkened sky crackles with...

This work is an archival giclée print sold unframed. Edition of 24. An edition of this work is currently exhibited at The Beverly Hills Hotel (9641 Sunset Blvd, Beverly Hills, CA ...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

This image is printed in an edition of 7, but comes in larger and smaller sizes. Each image is printed on archival paper, signed and numbered. Statement: This image of What I Remember is from Sarah Hadley's series Story Lines, which explores the female interior landscape. The series was inspired by the French New Wave films of the 60’s, which were shot in black and white on the street and which often portrayed the subconscious thoughts and feelings of ordinary women. These photo collages pay homage to the surrealists who first employed the technique of conjoining unrelated images to create startling and thought-provoking connections. Using backdrops...

"Coffee" Photography 29" x 40" inch Edition of 5 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edition of 5: 29" x 40" inch Ed...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 1/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

In this captivating image, a dark city skyline comes alive under the dramatic spectacle of lightning. The tallest building stands as a majestic beacon, capturing the electrifying ene...

available unframed. 15 3/8"x 20 1/2" edition of 10 The subjects of Ross Racine's works may be interpreted equally as models for planned communities or as aerial views of fictio...

Crowd Pleaser Series: West Street, Print by Lisa Stefanelli, 2019 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 30 x 45 ...

A Season of Litanies Series: Twilight Sparkle, Print by Lisa Stefanelli, 2016 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensio...

Crowd Pleaser Series: Grand Central, Print by Lisa Stefanelli, 2019 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 40 x 3...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...