Modern Art Landscape Prints

Joanna Padfield Canada Goose Limited Edition Linocut Print on paper, hand-tinted with watercolour. Edition of 50 Image Size: 31cm x 20cm Paper Size: 28.5 x 39cm Sold unframed Please ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

HERB KORNFELD (American, 1915-2001). Poster-“Bonnieux I Love You”, New York Graphic Society. Copyright 1984 New York Graphic Society, Ltd. Plate signed. Measures 33.25 x 24 in. Unfra...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Hand signed and numbered. Blind stamped in lower left corner. Don't hesitate to ask any questions. Certificate of Authenticity included. Published by AMX Art Ltd., NY and printed by ...

Original Scotland – SAS, Scandinavian Airlines System. Linen-backed S.A.S. Travel poster for travel to Scotland (Orange version). Nilsen always showed one of the airplanes flying tiny in the sky, focusing on the destination. Scandinavian Airlines System. Certificate of Authenticity. Linen backed. This poster is in B+ condition, where a small amount of the bottom border was trimmed. Repair on the bottom corners. The main image is in excellent condition. The price reflects this issue. Experience the magic of mid-century travel with this exquisite original Scotland SAS Vintage Poster...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Artist: Peter Max (1937) Title: Liberty Head VIII Year: 2003 Edition: 455/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.43 x 2.62 inches Condition: Excellent Ins...

Héliogravure on Papeterie de Mandeure vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Alice's Adventures in Wonderland...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Offset Lithograph from an edition of unknown size. Signed (rf Lichtenstein) in pencil lower right.. Publisher Leo Castelli Gallery, New York. Printed by Graphic Industries Inc., New...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vo...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.85 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.5 x 19.25 inches; image size: 11.42 x 16.54 inches, with centerfold, as issued Inscription: Unsigned and unnu...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.5 x 19.25 inches; image size: 11.42 x 16.54 inches, with centerfold, as issued Inscription: Unsigned and unnu...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 9.5 x 12.375 inches; image size: 9.05 x 11.81 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

The Small Village is an original artwork realized by Jacques Beltrand in the first decades of the XX Century. Image dimensions: 17x20.5 cm. Original etching on paper. Hand-signed in pencil by the artist on the lower left corner. Signed on plate on the lower right corner. Numbered in pencil on the lower right corner. First edition of 30 prints...

Sailboat and Gull Ferol K. Sibley Warthen (American, 1890-1986) Color Woodblock Print Edition 31/31 7 x 7 inches 14 x 14 inches with frame Signed Lower Right Titled and Numbered Lower Left Born 1890, Died 1986...

"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...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 11.24 x 7.87 inches Inscription: Signed in the plate and unnumber...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 13.78 x 10.24 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Louisa Chase was born in Panama City, Panama. Seven years later, her family moved to Lancaster, Pennsylvania. She studied painting and sculpture at Syracuse University and at the Yal...

Taken on Hikkaduwa Beach, Sri Lanka as the sun was setting; casting its golden rays along the beach... The image endeavours to celebrate of the noble presence and elegant sway of the...

Archival pigment ink print on canvas Edition of 12 Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in Int...

Christo and Jeanne-Claude The Gates, New York City (hand signed), from the Estate of Jacob and Aviva Bal Teshuva, 2005 Offset lithograph (hand signed by Christo) Signed in graphite p...

Artist: Peter Max (1937) Title: Liberty Head I Year: 2001 Edition: 430/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscriptio...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 9.45 x 6.69 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 9.45 x 6.69 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 9.5 x 12.25 inches; image size: 7.48 x 9.05 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 6.69 x 8.27 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on vélin paper. Year: 1952 Paper Size: 12.25 x 9.5 inches; image size: 9.05 x 7.08 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From th...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 12.5 x 9.5 inches; image size: 7.48 x 8.27 inches Inscription: Signed in the plate and unnumbered, as...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Sunrise over Jerusalem Amos Yaskil Israeli (1935) Lithograph, signed and numbered in pencil Edition of 375 Image Size: 18 x 24 inches Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), 1913, Etching. Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 7.08 inches Inscription: Signed in the...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 6.69 x 7.87 inches Inscription: Signed in the...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.45 x 6.3 inches Inscription: Signed in the ...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.45 x 7.84 inches Inscription: Signed in the...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 5.51 x 3.54 inches Inscription: Signed in the...

Medium: Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.84 x 7.87 inches Inscription: Signed in the...