Photography Landscape Prints

In 2007, Peter Doig (b. 1959) became a household name when his painting “White Canoe” sold for $11.3 million at auction, setting the record at the time for the highest auction price ...

Medium: Lithograph on vélin d'Arches paper Year: 1971 Paper Size: 26 x 20 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Dufresne, VI, Collection Pierr...

Lake of Dreams is a serigraph on paper with an image size 24 x 20 inches, signed 'Ricker' lower right and annotated lower left. Framed in a contemporary gold-tone frame. Numbered 86/200, from the edition of 500 (there were also 50 Roman on paper, 200 Arabic on canvas and 50 Roman on canvas). Framed in a contemporary silver-tone moulding. Ricker created four stunning images for a suite titled ‘Sacred Places’ – all powerful images of earthly splendor. The vistas he paints, almost desolate in a primeval way, are a chorus of voices that sing of the glory of nature. In a style which he calls ‘Epic Visionary,’ he presents a view that is at once new and fresh and yet as deep-rooted and enduring as the pristine landscapes themselves. In the images of ‘Sacred Places,’ Ricker’s harmonious layering and blending of colors, muted blues and greens, contrast with the jutting precipices and craggy outcrops of rock that punctuate each portrait. The effects of the elements are visible and beautiful, creating carved layers in the rock and earth, and weaving a ribbon of shimmering water as a central feature in each work. “…these places…are sacred places – they are sacred because their beauty is so deep and mysterious that we are stopped in our tracks…for the moment, we can’t imagine anything better on earth or in heaven.” – Bruce Ricker...

How Many Miles to Babylon, 1989 Paula Rego Etching with aquatint, on velin Arches Signed and inscribed ‘A/P’, apart from the edition of 50 From Nursery Rhym...

"Pensive" is a Limited Edition Lithograph (209/500) from the artist RINA SUTZKEVER (Russian, b. 1945). It measures 10 x 8.5 inches and is unframed. The ...

Oliver Hall Study of a Bridge Etching 19 x 14 cm Signed to lower margin Provenance: Family of the artist. Oliver Hall (1869–1957) was a British landscape painter and etcher celebr...

"Jamais Bredouille (Never Empty-Handed)" is a color lithograph after Jules Denneulin. It depicts a hunter showing his day's work to a farmer on a path at dusk. 20" x 26" art 40 1/4...

Ancient View of Birmingham 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 Capita...

Trient is an original modern artwork realized in Italy in the first half of the 19th Century. Original lithograph on Ivory Paper. Inscripted on the lower margin in Capital Letter...

"Tempio Della Pace" is an original engraving by Israel Silvestre. The title is printed below the miniature image. It shows a frontal view of the remains of the Temple of Peace in Rom...

With the invention of the halftone print process, photographic postcards like this became inexpensive to produce and became widely distributed in the first decades of the 20th centur...

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

Shiro Kasamatsu (Japanese, 1898-1991), "Yanaka Pagoda", Woodblock Print on Paper, Japanese character marks to left border, chop seal stamp lower right, wood frame. Image: 14.25" H x ...

Classic colour plate pencil signed by Sir Alfred J Munnings 'The Pytchley Huntsman- "Frank Freeman on Pilot" published 1930 by Frost & Reed London with a blind stamp (LL) Image Sz:...

Cuba 30 is a limited edition color photograph of a classic car taken in Cuba in 2016. It is 20x30 photograph. It is printed on 24x36 archival paper, framed. Edition of 15. Signed and Numbered. This is framed with a white frame. John Conn got his start as a Marine Combat photographer, and later earned his BFA at the School of Visual Arts in New York. As a freelance photographer and writer, he has captured a range of subjects photojournalism delving into political and social issues, nature and landscapes, architecture, and underwater images. His work has appeared in: New York Times Sunday Magazine; Time/Life Books; IMAX Films; Village Voice; Human Rights Magazine; Shutterbug Magazine; Hasseleblad Magazine; American Photographer; RangeFinder Magazine; LensWork Magazine; Ocean Realm; Dive Travel Magazine; Picture Magazine; Discover Diving Magazine; Picture Magazine; Popular Photography; Nikon World; Black & White Photography; B&W Magazine; Studio Photography, to name a few. Starting in 1970, John traveled to South Africa capturing images of the people and social divide of Aparteid. His iconic Subway series shot between the mid 1970’s and 1982 in New York City is part of the permanent collection of The New York Historical Society and Hoboken Historical Museum. In 2010, John Conn spent 45 days in Antarctica and Patagonia, traveling and hiking to capture the land and seascapes. He spent over 20 days journeying over 3,200 nautical miles in Antarctica before heading to Patagonia for the second part of his expedition. In 2014/15 John began a series of treks across the US photographing Americans, similar to what Robert Frank did in the late 1950’s. In 2015/16, he spent a month in Cuba photographing...

11" x 10" Limited Edition Print on Paper of 25 Hand Signed by Esther Merikanskas

"Drift 24" Landscape Photography 20" x 30" Edition of 10 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of...

Michael Wallner, Little London: St Paul’s (aqua blue), framed brushed aluminium print, 25 x 18 x 3 cm approx, limited edition of 30. I love the beautiful lines, shapes and intricate patterns in the dome of London’s most famous cathedral. This piece of art is created from my original photograph, digitally manipulated to trace the dome’s outlines and coloured by hand on a graphics tablet. The image is then printed directly on a small piece of brushed aluminium, which gives the piece an etched appearance. The design of the dome itself appear as aluminium lines. The metal print is floated in hand-painted waxed wood frame. The piece is from my Little London collection: “Celebrate the Big Smoke...

Hot Mass of Cacti [2020] limited_edition 7-colour screen print on somerset silk Edition number 100 Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:50 cm x W:50 cm...

Toe Head, The Isle of Harris, The Hebrides, Scotland by Alex Boyd Series: No Innocent Land This image, made on the Isle of Harris in the Outer Hebrides shows the hill of Ceapabhal on the Toe Head peninsula. Print details: © Alex Boyd, Courtesy MMX Gallery Archival Pigment Print from the Wet Plate Collodion, Artist Proof, Hand Signed by the Artist on recto Image: 82 x 58 cm Frame: 116 x 91 cm Frame; Original Frame, slightly distressed from being vintage out of the Scottish castle; the print accompanied with the mount board and finished with antireflective UV protective AR art glass. About the Artist: ALEX BOYD Alex Boyd's images represent a major addition to the tradition of modern landscape photography" – Robert Macfarlane, Author Alex Boyd is a landscape and documentary photographer, printmaker and writer. His work is primarily concerned with the Scottish landscape. As a photographer his work examines the role of early Scottish landscape photographers, often using antique processes such as the Victorian wet-plate collodion process using antique cameras in mountain environments. He is best known for his conceptual and figurative landscape photography which explores concepts of Scottish identity through historical and contemporary romanticism, neo-romanticism, Romantic nationalism and Spirit of Place. His work is largely concerned with depictions of the Celtic landscape, conservation and remote places, and is often characterised by its stark, poetic and introspective qualities. In 2019 he was awarded a Daiwa Foundation Scholarship to work and photograph the mountains of the Japan Alps centred on Mount Yari as well as shortlisted for the Hariban Award. He was the Mountain Photographer of the Year at the Kendal Mountain Festival in 2013, the UK’s largest mountain festival. His work on the Cuillin mountains on the Isle of Skye as the Royal Scottish Academy’s artist in Residence is in several National Collections. His work has been widely exhibited internationally with solo exhibitions at the Scottish Parliament, as well as group exhibitions at the Royal Academy, Royal Ulster Academy and the Royal Scottish Academy. His work is held in the collections of the National Galleries of Scotland, The Royal Photographic Society, the Royal Scottish Academy, the V&A in London and the Yale Centre for British Arts in the USA. His first book St Kilda – The Silent Islands was recently shortlisted for a Saltire Award. His second book The Isle of Rust, a collaboration with writer Jonathan Meades was, like his first book, named as a photography book of the year by The Scotsman. He is a Fellow of the National Library of Scotland, The Winston Churchill Memorial Trust, The Ballinglen Arts Foundation, and the Royal Society of Art. He is currently working on a PhD on Scottish Photography at Northumbria University, a selection of new books on The Faroe Islands, The Outer Hebrides. A collection of his Scottish and Irish collodion work is due out in 2021 as well as a solo exhibition ‘Hesperus’ at Stills, Scotland’s Centre of Photography, in June 2020. A contributing Arts Editor for The Island Review, Boyd has also written for Art North, The Modernist, Earthlines and many other publications. WORK REPRESENTED IN THE FOLLOWING COLLECTIONS: The National Galleries of Scotland, The Royal Scottish Academy, The Royal Photographic Society, The National Media Museum, The University of Glasgow, St Andrews University, North Ayrshire Council, Dumfries & Galloway Council, The Ballinglen Arts Foundation, Sabhal Mor Ostaig, The University of the Highlands & Islands, Highland Print Studio, Cape Farewell, The Scottish Maritime Museum, NHS Greater Glasgow & New South Glasgow Hospitals, BC Partners, Cigna, The Yale Center for British Art, The V&A *** NO INNOCENT LAND The series 'No Innocent Land' is a journey across the islands of Scotland using an antique process to document the dramatic landscapes of Scotland. Using a 100 year old camera...

This is a one of a kind original Linoleum block print piece by San Diego artist, Duke Windsor. It is a framed landscape piece and its dimensions a...

Eduardo Arroyo - Sphinx - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel

Images of sail printed by linocut on collage every print is in itself an original. Having cut a series of lino blocks, I prepare collage backgrounds. I handprint onto the collages, ...

After Angelica Kauffman (Swiss, 1741-1807), Two Figural Compositions, Mezzotints on Paper, each marked "Angelica Kauffman Pinx" to lower left and "Tho Burke Pecit" to lower right, ov...

See-saw, Margery Daw, 1994 Paula Rego Etching with aquatint and hand-colouring, on velin Arches Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford P...

John T. Faber Waukesha Beach Resort, Pewaukee Lake, 2002 Giclee print, after original postcard 8/13/1909 Waukesha Beach Resort, Pewaukee Lake, 2002 is a giclee print after the origi...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additional fees will be requested for this type of frame + shipping Hugo Pondz...

Canyon Rock is a serigraph on paper with an image size 24 x 18 inches, signed 'Ricker' lower right and annotated lower left. Framed in a contemporary gold-tone frame. Numbered 81/200, from the edition of 500 (there were also 50 Roman on paper, 200 Arabic on canvas and 50 Roman on canvas). Framed in a contemporary silver-tone moulding. Ricker created four stunning images for a suite titled ‘Sacred Places’ – all powerful images of earthly splendor. The vistas he paints, almost desolate in a primeval way, are a chorus of voices that sing of the glory of nature. In a style which he calls ‘Epic Visionary,’ he presents a view that is at once new and fresh and yet as deep-rooted and enduring as the pristine landscapes themselves. In the images of ‘Sacred Places,’ Ricker’s harmonious layering and blending of colors, muted blues and greens, contrast with the jutting precipices and craggy outcrops of rock that punctuate each portrait. The effects of the elements are visible and beautiful, creating carved layers in the rock and earth, and weaving a ribbon of shimmering water as a central feature in each work. “…these places…are sacred places – they are sacred because their beauty is so deep and mysterious that we are stopped in our tracks…for the moment, we can’t imagine anything better on earth or in heaven.” – Bruce...

Nachum Gutman was one of Israeli's leading impressionistic artists, who painted classic scenes of the landscape and images of the country. His works are in many museums and his work...

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in tube.

digital c print on plexiglass Please allow 3-4 weeks for printing and mounting. Price does not include any mounting or framing. Can be shipped in tube.

ARAQUÉM ALCÂNTARA Caraja girl portrait, Brazil, 2006 71 x 48 inches - Edition of 10 Archival Pigment Print - Wood box frame matt - Regular Plexiglas...

Going North in the Work of Jessica Houston By L. Sasha Gora Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...

Going North in the Work of Jessica Houston By L. Sasha Gora Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? He...

Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed 1975 hand signed and numbered

1 color lithograph, 2 color screenprint paper size 14" x 14" , frame size 16.75" x 16.75" Edition of 150 Signed by artist Framed

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

The Big Catch, Bavaria, 2015 C-print on Fujiflex paper 70.8 x 47.2 in (180 x 120 cm) Edition of 3 The photographer Ellen von Unwerth worked as a top fashion model for 10 years, before taking up the camera and becoming one of the world’s most in-demand fashion photographers. Her editorial work has featured in countless magazines, including Vogue, Interview, Vanity Fair, and i-D, while her major advertising campaigns include Victoria’s Secret, Banana Republic...

Alexis Fidetzis How to Brutally Construct an Absurd Sense of Pride digital print on paper 30 x 150 cm (7 pieces)