Photography Landscape Prints

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...

Barbara Rosiak is a Polish painter and graphic designer born in 1955 in Lodz. From 1974 to 1979, she studied at the National Superior School of Fine Arts at the Faculty of Painting a...

Lee Wells Poolside Countdown (EOW L22) End of the World Party Series 2023 Archival pigment print Edition of 5 Signed, dated and numbered by the artist Caption: Poolside Countdown: A...

David Blackwood, Canadian, 1941-2022 Captain Jesse Winsor Home in Wesleyville, 1975 etching, aquatint in colours 50.25 x 19.75 in 127.6 x 50.2 cm Inscriptions signed, titled, dated ...

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...

Dragons is a serigraph on paper with an image size 13 x 13 inches, signed 'Ricker' lower right and annotated lower left. Framed in a contemporary gold-tone frame. Numbered 29/200, 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...

"Ilsee's Palace" and "The Princess's Creation" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 67 & 68 of "...

"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 ...

"When Day is Done" is an original etching and aquatint signed lower right in pencil by the artist John Edward Costigan. It depicts a man and a woman with their young child at the end...

Adored by collectors and art lovers around the globe, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-makin...

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

"Untitled (Nr. 0457)" Landscape Photography 18" x 24" in Ed. 5/20 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culminatio...

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...

This mythological woodland hints at the enigma and emotions of nature with a masterful use of chiaroscuro. Robert Longo, Forest of Doxa Contemporary, 21st Century, Pigment Print, Li...

Business cards like this fall into the category of what art historians today generally refer to as "ephemera." Ones like this were produced for companies in the late 19th century, pr...

"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...

16" x 11" Unframed Limited Edition 3-D Serigraph Numbered of 475 Hand Signed by Charles Fazzino

Gold Ring is a lithograph on paper with an image size of 2 x 2 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver...

River of Mystery is a serigraph on paper with an image size 8 x 15 inches, signed 'Ricker' lower right and annotated lower left. Framed in a contemporary gold-tone frame. Numbered XVII/L, from the edition of 500 (there were also 200 Arabic on paper, 200 Arabic on canvas and 50 AP 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...

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...

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...

Mountain Meadows is a serigraph on paper with an image size 35 x 29 inches, signed 'Ricker' lower right and annotated lower left. From the edition of 500, numbered 155/200 (there were also 50 Roman on paper, 200 Arabic on canvas and 50 AP on canvas). Framed in a contemporary silver-tone moulding. An alum of the Berkeley School of Architecture in the sixties, Bruce Ricker...

Clouds behind clouds II and Cloud 2 by Simon Tozer [2022] original Screenprint on paper Image size: H:24 cm x W:21 cm Complete Size of Unframed Work: H:24 cm x W:21 cm x D:0.1cm ...

Complete size of diptych: H:100cm x W:100cm x D:0.1cm Hills 12 and Hills 4 are a limited edition diptych by artist Susan Brown. Limited edition giclee pri...

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

Michael Wallner, Little London: Albert Bridge, framed brushed aluminium print, 18 x 25 x 3 cm approx, limited edition of 30, Albert Bridge – my favourit...

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...

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, ...

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...

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:...

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...

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...

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...

"Drift 39" Landscape Photography 30" x 20" Edition of 10 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube D...

"Blue Ridge Mountains" Photography 30" x 40" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2012 ABOUT Rob Woodcox ...

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

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...

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.

SWEETGRASS CARRIERS is a hand drawn, limited edition lithograph (not a photo reproduction or digital print) by the renowned American artist JONATHAN GREEN printed in 17 colors using hand lithography techniques on heavyweight archival Arches paper, 100% acid free. SWEETGRASS CARRIERS depicts a black farmer standing in a field of golden sweetgrass dressed in a straw sunhat, white shirt and rugged blue denim overalls accompanied by three female field workers clothed in colorful orange, blue and red bell shaped dresses all carrying bundles of freshly harvested sweetgrass. The expansive field of golden yellow, orange, and green blades of grass is backed by a horizon line of deep blue water and distant green trees enlivened by white clouds sweeping across a clear blue sky. Truly an impressive agricultural landscape scene reflecting back on local traditions of Geechee Gullah culture, Lowcountry South Carolina. Impressive size - large horizontal format, handmade lithograph, fine impression, vivid colors, hand signed and numbered 75/95 by Jonathan Green, professionally framed, double frame - wove textured moulding and burl wood style liner, archival framing materials, publishers chop mark embossed on lower margin, Print documentation/ Certificate of Authenticity will be provided. Framed size - 44 x 55 in. with frame Print size - 33.5 x 42.5 inches unframed print size Image size - 27 x 36.5 inches Edition size - 95, plus proofs Year published - 1999 Printed at J K Fine Art Editions Co., NJ Publisher - Mojo Portfolio, NJ Sweetgrass grows in the moist, sandy soils near oceans and marshes. It is harvested in the spring and summer by "pullers" who slip it from its roots and place it in the sun to dry. Sweetgrass baskets...

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)