Woodland Landscape Prints

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood forest Redwoods Study II ...

New as of Jan. 1, 2025. This is a brand-new addition to the artist's ever-growing series of foggy woods in northern California near San Francisco. These tall eucalyptus trees are the...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.81 x 11.77 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

FRANCES H. GEARHART APRIL c. 1928-30 Color block print, signed and titled in pencil. Image 9" x 5". sheet 11 1/8 x 7 1/8. Very good impression. The usual tack holes at the right she...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of w...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.69 x 11.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

This original exhibition poster was created for Neil Welliver’s 1989–1990 touring exhibition, presented jointly by the Colby College Museum of Art in Waterville, Maine, and The Butle...

Neula is a limited edition signed etching print on paper by Sarah Duncan of a black and white snowy forest in the winter with the trees bare and snow on the ground. This work is in a...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.69 x 11.77 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

a large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of the Northern California redwood forest Redwoods by Erik Pawassa...

Aspen Study I by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...

Aspen Study I by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada ...

"Divide" black and white soft ground etching and aquatint by April Gornik. Edition 23 of 30. Image size: 33 1/2 x 31 1/2 inches. Published by The S...

"Scotland 0030" Photography 18" x 24" Edition of 20 by Ben Cope Unframed - ships rolled in a tube Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture ...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.64 x 10.12 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood...

Tim Southall Winter Woods Limited Edition Screen print Size: H 40cm x W 60cm Sold Unframed (Please note that in situ images are purely an indication of how a piece may look). Winter...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Art in America, New York in an edition of CDVII/D. From the folio, The Four Se...

This print depicts a mature pine tree, standing proud from the rest of the tree line. The use of gampi chine collé with it's delicate sheen, helps to give an ethereal glow to the maj...

Neil Welliver at O'Farrel Gallery poster, 1998 Offset lithograph 24 × 18 inches Unframed This offset lithograph poster was published on the occasion of Neil Welliver's exhibition at O'Farrell Gallery from July 17 to September 5, 1998. The depicted painting on the poster is Neil Welliver, Marsh Shadow, 1986. Publisher O'Farrell Gallery, Brunswick, Maine Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery About Neil Welliver: Neil Welliver (American, 1929-2005) is best known for his large-scale, vivid paintings and woodcuts of the remote Maine wilderness. Born in the small town of Millville, Pennsylvania, he first studied at the Philadelphia College of Art (1953), followed by Yale (1955), where Josef Albers and Burgoyne Diller were among his teachers. Their influence, as well as the rising popularity of Abstract Expressionism, is evident from Welliver’s early experimentations in abstraction, which include elements of color field painting, as well as the color theory of Albers, and the flattened, “allover” space of Pollock and de Kooning. Welliver would go on to teach at Yale from the mid-1950s to the mid-1960s, by which time he had moved formally towards the representational, beginning to paint the landscape of Maine. In the late 1960s and early 70s he also produced scenes of nude bathers in streams, their bodies abstracted by the moving water. While continuing to work as the chair of the University of Pennsylvania graduate school (1966-1989), he moved permanently to Lincolnville, Maine, in 1970. Welliver lost his studio, home, and much of his work to a fire in 1975. The following year, his second wife and infant daughter died. Further tragedy came with the death of his college aged son in 1991. His artistic practice remained the mode through which he survived these hardships. By the 1980s he was painting landscapes almost exclusively. The resulting body of work nods to many of Welliver’s early influences, as he utilizes natural repetitions and distortions to represent the innate abstraction of the natural world. These mature works are based on long plein-air studies, where Welliver would carry a 70-pound pack of painting supplies into remote landscapes, and sit for three hours at a time. He continued to paint the landscape surrounding his large property in Maine until his death in 2005. Welliver was a member of the National Academy of Design, and received notable awards from the Guggenheim Foundation and the Skowhegan School of Painting and Sculpture. His work is in the collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Museum of Fine Arts, Boston, among others. - Courtesy of Alexandre Gallery

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Signed, titled and numbered aquatint print. In the Fall and Winter cool damp fogs often descend upon the hills around Petaluma. This can be a magical time to wander through the nativ...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

Towering monterey pines lean into the blue mist of the valley beyond.These iconic Monterey Pines are in the woods across the bay from San Francisco. A larger framed edition of this ...

Beth Ganz, 'Mount St. Elias, Yukon, Alaska', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Mount Saint Elias, the second-highest mountain in Canada and the United States stands on the Yukon and Alaska border about 26 miles (42 km) southwest of Mount Logan, the highest mountain in Canada. The Canadian side of Mount Saint Elias forms part of Kluane National Park and Reserve, while the U.S. side is within Wrangell-St. Elias National Park and Preserve. Mount Saint Elias is notable for its immense vertical relief. Its summit rises 18,008 feet (5,489 m) vertically in just 10 miles (16 km) horizontal distance from the head of Taan Fjord, off of Icy Bay. The name of the mountain in Tlingit (indigenous peoples of the Pacific Northwest Coast of North America), Yasʼéitʼaa Shaa, means "mountain behind Icy Bay"; the Yakutat Tlingit occasionally call it Shaa Tlein "Big Mountain". It is one of the most important crests of the Kwaashkʼiḵwáan clan, who used it as a guide during their journey down the Copper River. Mount Fairweather, at the apex of the British Columbia and Alaska borders at the head of the Alaska Panhandle, is known as Tsalx̱aan; legend states that this mountain and Yasʼéitʼaa Shaa (Mt. St. Elias) originally stood next to each other, but had an argument and separated. Their children, the mountains between the two peaks, are called Tsalx̱aan Yátxʼi ("Children of Tsalxaan"). European explorers first sighted the mountain on July 16, 1741, with the arrival of the expedition commanded by Vitus Bering, a Danish explorer in service of Russia. While some historians contend that Bering named the mountain, others believe that eighteenth-century mapmakers named it after Cape Saint Elias when Bering left the peak unnamed. Mt. St. Elias was first climbed on July 31, 1897, by an Italian expedition led by famed explorer Prince Luigi Amedeo, Duke of the Abruzzi (who also reconnoitered the current standard route on K2 in 1909) and included noted mountain photographer Vittorio Sella. In 2007 Gerald Salmina directed an Austrian documentary film, Mount St. Elias, about a team of skiers/mountaineers determined to make "the planet's longest skiing descent" by ascending the mountain and then skiing nearly all 18,000 feet down to the Gulf of Alaska; the movie finished editing and underwent limited release in 2009. The climbers ended up summiting on the second attempt and skiing down to 13,000 ft (3,960 m). ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints...

Unframed. 2023. Signed on the back. Narrower than "The Journey's End." This photograph was taken a year after the artist's husband died, revisiting the same path but photographing ...

Phototype and Stencil on wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Diurnes Découpages et Photographies, 1962. Published by Berggruen, Par...

QUIET ZONE is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arche...

'Ray of Light', part of Richard Heeps Vietnam series 'This is Not America', this unusual photograph of trees has a spiritual quality. This artwork is a limited edition of 25, gloss...

Aspen Study III by Frank Schott a series of images capturing the yellow golden Indian summer foliage palette of aspen trees in California's Sierra Nevada...

‘Bears in the Woods’ is a playful silkscreen print depicting a number bears going about their business in autumnal woods. This 6 colour silkscreen is printed on Somerset Velvet, a he...

Signed and titled in pencil. Inscribed "192/285." Edition 285.

"Moonlight Glade", a small intimate etching of a New England graveyard, is a remembrance of the artist's roots. There is a quiet reverent calm to this moonlit scene,. William Woodward, born in Seekonk, Massachusetts, received his art training at the Rhode Island School of Design and the Massachusetts Normal Art School. He taught at the Rhode Island School of Design while still a student there. At the behest of William Preston...

This contemporary abstract landscape limited edition print by Ken Elliott features multi-colored tree trunks and foliage extend from the bottom of the canvas up to the top, with a ra...

Signed, titled and numbered aquatint print. This Monterey Cypress lined trail wends its way along the bluff above the rocky Pacific shore in San Simeon. I printed it using three ble...

Tim Southall Out with the Dogs Limited Edition Print 6 colour silkscreen made on Somerset tub size, a heavyweight 350 gram handmade paper Tim Southall was born in Staffordshire in 1...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

Silverwood [2022] limited_edition Screen print Edition number 50 Image size: H:56 cm x W:25 cm Complete Size of Unframed Work: H:56 cm x W:25 cm x D:0.1cm Sold Unframed Please note ...

Unframed. New from 2023. This is an original, hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 10 prints were made. Four have sold. Only six...

This is a Three colour screen print that includes two metallic inks. This print captures the wild nature of Monstera plant leaves, the world's favourite house plant. Limited edition ...

Signed, titled and numbered aquatint print. Summer light infuses the Live Oaks in a park near the town of Sonoma, CA. Wheat colored grasses rustle lightly in the brease. This is a g...

The inspiration for this print is to capture the momentary spectacle when shafts of light cast themselves through a densely packed woodland canopy. The print boasts a vibrant array of four stunning colours, featuring an under-layer of metallic Gold ink and finished off with a subtle lush green overprint. Artwork printed...

"Birch Bog" captures the beauty of birch trees in the woods. Artist Owen Wexler signed and titled this limited edition lithograph. We would be happy to frame it up with one that fits...

By J. Torrents Llado Lithograph on Paper Edition 6 of 60 30" x 22.5" This beautiful impressionistic forest scene features lush trees and foliage with a white edge to the image, crea...

Dive into the fascinating world of art with this exceptional screen print by Engeln. In her artistic work, Engeln explores multifaceted themes inspired by travel observations that sh...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...

Limited Edition Lithograph, EA. 19 x 12.5 inches with border. Signed by Artist. Good Condition-shows signs of wear due to age and handling.

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light yellow, very pale sky gray blue and soft lave...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

These iconic Monterey pines can be found all up and down the coast of northern California from San Francisco to Carmel and beyond. These are the woods in the hills of Oakland, across...

Limited Edition Etching, EA. Measures 21.25 x 30 inches with border. Signed by Artist. Good/Fair Condition-shows signs of age and handling. Unstretched. The Loft Fine Art can eithe...

large format photograph of Gulpiyuri, a flooded sinkhole with inland beach in Northern Spain, by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographica...

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...

Paris: Cadart & Luquet, 1865. Etching on buff, cream laid paper, 9 3/8 x 13 7/8 inches, full margins. Printed by Delâtre, Paris, with the blindstamp in the center-sheet, lower margi...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.5 x 11.5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fol...