Land Prints and Multiples

Four Years out of a Death Row Sentence (Forest) 40 x 60 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 40 x 60...

Seven Years out of a Death Row Sentence (Forest) 40 x 60 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 40 x 6...

Seven Years out of a Death Row Sentence (Forest) 20 x 30 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 20 x 3...

Four Years out of a Life Sentence (Desert) 20 x 30 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 20 x 30 in ...

Four Years out of a Death Row Sentence (Forest) 30 x 45 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 30 x 45...

Ten Years out of a Death Row Sentence (Ocean) 20 x 30 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 20 x 30 in...

Nine Years out of a Death Row Sentence (Forest) 30 x 45 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 30 x 45 ...

Ten Years out of a Death Row Sentence (Ocean) 30 x 45 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 30 x 45 in...

Four Years out of a Life Sentence (Desert) 30 x 45 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 30 x 45 in ...

Nine Years out of a Death Row Sentence (Forest) 20 x 30 Inch, 2009-2016 Additional information: Medium: Archival Pigment Print Condition: Excellent Edition of 5 Dimensions: 20 x 30 ...

‘Rockpools, St Mawes’ by artist Michael Sanders. Each print is numbered, titled and signed by the artist to indicate that he is happy with both the colour an...

Dusk at Morston – Large Canvas Print Limited edition canvas prints by Michael Sanders. These stunning prints are created using fine art archival quality inks and canvas with three la...

Mont St. Michel is a lithograph on paper with an image size of 3 x 3 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray frame...

C-Print on argentic paper Edition of 10 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 bo...

This piece is from the portfolio, entitled "Notre Pain Quotidien", which consists of 13 lithographs from the original watercolors and gouaches by Maurice de Vlaminck, printed in 1963...

Stuckey 328. From an edition of 60. Signed in pencil lower right margin: "Stow Wengenroth"; inscribed in pencil lower left margin: "Ed/60". A fine impression in fine condition. Sheet...

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...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

This traditional seascape Limited Edition print by Daniel Pollera captures a coastal summer scene with swaying grass in what appears to be a bay. Sailboats with white sails are visib...

Publisher GKM. Unframed. Edition of 150 ex. Signed by the artist. Free shipment worldwide. Reality or fantasy? What is the difference between fantasy and fact, between night and da...

This Limited Edition print by Daniel Pollera is a contemporary realist landscape which depicts a sandy beach lined with wooden fencing. The beach bows inward, with two Adirondack cha...

Limited Edition Embellished Giclee on Canvas, AP 17/50 24 x 36 in. Signed by Artist, comes with Certificate of Authenticity Good Condition

Sally Gall has spent her career exploring the intricacies of the natural world in delicate black-and-white photos of dew on spider webs, reflections on water, formal gardens, insects...

The present artwork is an original color aquatint by the Sag Harbor-based artist Nicolette Jelen, and is a particularly rare Hors Commerce. It presents a view of what is probably a N...

The Houses on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 12/99, on the left margin...

Contemporary minimalistic black & white linocut print on paper by Polish artist Jolanta Babicz. Edition is limited to 20 copies. Artwork is not framed. Photos with frame are only visualizations. JOLANTA BABICZ (born in 1967) In 2009 she graduated from the Artistic Department of the University of Humanities and Economics in Łódź. The subject of her B.A. thesis was computer graphic...

The Houses on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 25/99, on the left margin...

The Houses on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 26/99, on the left margin....

The Houses on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 30/99, on the left margin...

Wild Birch - Forest. Fine Art Print. From the Niagara Escarpment: Another, in a series of digital prints. This one was born out of a photo that I took during my time living in a ...

Signed, titled and numbered by the artist. Medium: etching and aquatint Image size: 12 x 9 inches Year: 2019 Fall colors along Ashland Creek in Lithia Park. Born in Berkeley, Ca...

Scilla is a beautiful etching on cardboard, realized in 1971 by the Italian artist Giovanni Omiccioli (Rome, 1901-1975). Hand-signed in pencil on the lower right and dated. Numbered on the lower left, edition of 71/80 prints. In good conditions except for some foxing. The artwork represents the landscape of beautiful sea with the cliff in Scilla through soft and delicate strokes. Scilla is a small admirable town located on the Tyrrhenian coast of Calabria. Scilla is very ancient, rich in mythology, history, legend, and poetic images that fed for millennia by the suggestiveness of the natural environment. Giovanni Omiccioli was an Italian painter belonging to the modern movement of the Scuola romana with dynamic paintwork. Having joined the Scuola Romana movement, in 1928, Omiccioli collaborated especially with Mario Mafai and Antonietta Raphael...

Stream is an original drawing in etching technique on paper, realized by Anonymous Artist of first half of the 20th Century, in 1930s. In excellent conditions: as good as new. Ille...

Jean-François Raffaëlli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil lower right. Reference: Delteil 98. In very good condition, ...

Into the Woods - 21st Century Contemporary Photographic Nature Print - Black & White Polaroid Into the Woods is a beautiful example of Pia Clodi's ability to inject beauty and sent...

Archival pigment ink print on canvas, edition of 15 - artwork can be shipped in a tube or framed in a crate Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in N...

This artwork "Landscape #II" c.2000 is an original color monotype by American artist Thomas (Tom) Monaghan, b. 1961. It is hand signed and numbered 1/1 in pencil by the artist. The i...

*** PLEASE NOTE the painting is not framed, photos with frame are only a visualisation The Gallery of Katarzyna Napiorkowska is one of the first commercial art galleries in Poland. ...

*** PLEASE NOTE the painting is not framed, photos with frame are only a visualisation The Gallery of Katarzyna Napiorkowska is one of the first commercial art galleries in Poland. ...

Little Blanche is an original work realized by Jacques Ramandot in the half of the XX Century. Original etching and lithograph on paper. Hand-signed in pencil on the lower right c...

Digital print on canvas with dissolved ink and pigments, edition 1/5, 90 x 70 x 3 cm, 2018 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Par...

Artist's Proof, hand signed.

Poster. Measures 24 x 31.25 inches and is Unframed. Good/Fair Condition-signs of wear consistent with age and handling.

Starting over. Offset print by Mr. (Iwamoto Masakatsu) Offset print, numbered and signed by the artist 50 x 100 cm Edition 256/300

Limited Edition Etching (2/100). Signed by Artist. Measures 30 x 22 inches and is unframed. The piece is in Good Condition-wrinkling/creasing/discoloration consistent with age and ha...

Digital print on canvas with dissolved ink and pigments, edition 1/5, 90 x 120 x 3 cm, 2017 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Pa...

Eternal Riviera is a serigraph on paper, image size 27 x 36 inches, signed ‘Kerry Hallam’ lower right and numbered lower left. From the edition of 500, numbered AP 16/25 (there were ...

Limited Edition Etching, EA. 22.25 x 30 inches with border. Signed by Artist. Fair Condition-piece shows signs of wear due to age and handling.

Digital print on canvas with dissolved ink and pigments, edition 1/5, 90 x 120 x 3 cm, 2018 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Pa...

Digital print on paper, edition 1/30, 60 x 80 x 0,1 cm, 2017 Jane Ward is a British artist born in 1960 who lives & works in Lake District National Park around Keswick and Grasmere,...

Green, Gold, Blue Landscape Joseph Grippi, American (1924–2001) Screenprint Monoprint, signed in pencil lower right Size: 30 x 30 in. (76.2 x 76.2 cm)

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

"Drift 10" Landscape Photography 20" x 30" Edition 1/10 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of ...

Shere Mill Pond, No. II (large plate). 1860. Etching and drypoint. Schneiderman 37.v/ix. 7 x 13 1/8 (sheet 10 3/4 x 16 3/8). This state is prior to publication in Études à l'Eau-Forte. Illustrated: Keppel The Golden Age of Engraving; Print Collector's Quarterly 1 (1911): 18; : Guichard, British Etchers, 1850-1940. A rich, brilliant proof with drypoint burr printed on white laid paper. Signed in pencil. ------------------------------------------------------------------------------------------- Shere Mill Pond, No. II was one of the most highly praised landscape prints of the etching revival. An impression was exhibited at the Royal Academy in 1861 under Haden’s pseudonym, H. Dean. Francis Seymour Haden used this anagram of his own name early in his career as an artist, in order to retain his anonymity and preserve his professional reputation as a surgeon. Biography: Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...

Print detail: Painting like photographic print, Printed on Museum Glass and Hand Gilded with Gold leaf in custom made frame. 41 x 57 cm (Framed) Glass Print from Edition of 1/5 Series: Blossom Blizzard (New Print on Glass edition 2022) Shipping: The print on glass would be packed and into wooden crate for artwork protection and shipped with professional art shippers. About the work: "Despite T.S. Eliot's assertion that 'April is the cruellest month', I invariably feel a sudden surge of wellbeing and optimism when the first scent of spring hangs in the air. I know I'm far from alone in this - photographers and artists surely feel that sense of excitement as keenly as any gardener eagerly rifling though their seed packets. Mother Nature, it seems, is handing us our images on a plate. The light is soft and benign, the colours, gentle, and the countryside seems to suddenly be filled with boundless enthusiasm. Quotes such as 'Spring is nature's way of reminding us that every day is worthy of celebration' pop up on social media with unfailing regularity - long before the first cuckoo is heard. This image was taken at Stanmer Park, just outside of Brighton. A blustery day in early April, the air was filled with the sweet smell of April and the profligacy and exuberance of the new growth emerging was inspirational. Blossom-laden branches were everywhere but I concentrated on one small tree that stood apart from the rest. For reasons unclear, its tiny flowers seemed whiter, fluffier, altogether more generous than that of any of its neighbours. It was bitterly cold. The type of cold that can only be experienced when one has left home in overly optimistic clothing, only to realise that the wind chill factor hadn't been accounted for when getting dressed. I struggled on for about half an hour - reluctant to retreat to the warmth of the nearby cafe and the very enticing appeal of a cup of coffee. Fortunately, my inspiration came quickly - as the tiny petals blew around my head and I stood there shivering in all my reckless optimism, I realised it felt like nothing more than being encased in one of those half-domed snow globes. The fiercest blizzard was surely never this intense. I certainly couldn't imagine it ever being this cold. Photographic perfection is not my objective. Its obedient conformity initially attracts, but, for me, leaves little enticement to investigate further. So it was that the tangled complexity of branches and the disparate arrangement of blossom engaged, rather than frustrated my aspirations. By layering image upon image, frame upon frame, I was able to build up the layers of blossom and emphasise the movement of the branches. All photographic images represent a moment in time. The way I make my images combine several. I walked around the tree, back and forth trying to engage with the long-limbed gaucheness of its extended branches. The colour palette needed little intervention; I don't think anybody makes a paint called 'blustery blue' but perhaps they should. This contrasted beautifully with the jade and emerald grass, subsequently overlaid with soft white snowflakes and created, what for me, was a very pleasing and fresh arrangement of seasonal colours." - Valda Bailey

ARAQUÉM ALCÂNTARA Dead Tree, Jau, The Amazon, Brazil, 2001 Black and White Photography 71 x 48 inches - Edition of 10 Archival Pigment Print - Black box fra...

Edition 1 of 3 with 2 APs framing is an additional $525. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien). Their current ph...