Outdoors Prints and Multiples

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

Original color silkscreen, unknown year. Edition of E.A. (artist’s proof) signed and numbered impression on Arches paper. Ivan Generalić was a Croatian artist and a pioneer of naive ...

Screen print on arches tan 280 g paper. Signed and numbered with pencil. Edition of 20 + proofs.

"Syrens No 2" Photography 30" x 45" in Edition 1/7 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Edition of 7: 30" ...

"Not from Hollywood No 2" Photography 42" x 30" in Edition 1/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fini...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

From a series of conceptual motivational roadside signs in iconic California landscapes, captured with a large format camera to allow epic scale print sizes with incredible image det...

Swallows are a real signal that summer has arrived. I created this as a warm afternoon landscape with swallows providing movement. Additional information: Swallows in Summer [2023] ...

This limited edition print by S. Cora Aldo depicts an impressionistic ocean view. Sand-colored tones extend from the bottom of the composition and fade to a muted blue, with strokes ...

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...

Love Letters is a lithograph on paper with an image size of 2.25 x 2.25 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fr...

Reduction Method Screen Printing, or “old-school,” means using methods from the early 1900s, before photographic stencils were invented, when every part of the process was done by ha...

"Twin Shirakanbas, Sorachi, Hokkaido, Japan. 2023" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted t...

"Reflecting Sticks, Muan-gun, Mokseo-ri, Jeollanam-do, South Korea." is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The...

Stunning shimmer to this gorgeous silver print which looks like it is filled with butterflies. Has stardust which gives it a great texture and shine. Hand numbered, AP (Artist Proof...

Charles-Jean Hallo (Alo)'s 1927 poster for Chemin de Fer de Paris à Orléans, showcasing Le Mont-Dore in Auvergne, stands as a visual ode, transcending the boundaries of a mere advert...

"Sunset Rocks, Mitoyo, Kagawa, Shikoku, Japan. 2022." is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matte...

Ex Libris - The Mountain is an Artwork realized in Mid 20th Century. Woodcut print on ivory paper. The work is glued on colored cardboard. Total dimensions: 11x21.5 cm. Good cond...

"Pine Tree and Nago Island, Tsuda, Shikoku, Japan" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted t...

On a bright sunlit day at the coast, I was inspired by a cloud reflection on the wet sand. It was dramatic and completed by seeing a dog walker in the distance. The linocut is all ab...

"Philosopher’s Tree, Study 7, Biei, Hokkaido, Japan" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted...

"Octopus Nets, Muan-gun, Jeollanam-do, South Korea" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted ...

"Kero-ochi Tree Saroma Lake, Hokkaido Japan" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted to 20x1...

"Winter Evening Quartet" Framed size, 19"x25" Image size 10" High x 16.5" Wide, 2023 Archival Print on Paper from Photo of Hand-Built Paper Construction, signed and editioned by the ...

"Watchtower, Study 30, Mangyang Beach, Ooljin, Gyeongsanbukdo, South Korea" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenn...

"Sanuki Fuji, Kagawa, Shikoku, Japan. 2022." is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The print is matted to 20x1...

Out on the North Nofolk coast are saltmarshes. These attract Herons and Oystercatchers. In this linocut I wanted to create a natural environmental view of this part of the coast. The...

Stardust is a lithograph on paper with an image size of 2.5 x 3.25 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray frame. ...

"Human Thread" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2022 ABOUT Rob Woodcox Rob Woodcox is a ...

Pejac A Forest highlighting the issues of deforestation and environmental pollution. This special mini print was available exclusively at Pejac’s Waterline show that was held in Pari...

Medium: original serigraph. Printed in 1982 for the art revue Derriere le Miroir (issue number 250, dedicated in homage to Aime and Marguerite Maeght) and published in Paris by the M...

"Kotji Beach Island Study 2 Taean Chungcheongnamdo South Korea" is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna. The prin...

Medium: original lithograph. This lithograph was printed in 1954 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Basilicata, Italy Available Sizes: 26 x 21 inches: Edition of 7 40 x 32 inches: Edition of 7 55 x 44 inches: Edition of 10 73.5 x 59 inches: Edition of 5 David Burdeny (b. 1968. Wi...

Rodrigo Lepe Puerto Vallarta (Cat) 1985 Lithograph (poster) Open edition 31 x 23 inches, 31.25 x 23.25 (framed) Hand-signed in pencil lower right recto

New York Cityscape, panorama photograph capturing the Manhattan skyline from Richard Heeps series, The Streets of New York. This artwork is a limited edition of 25 gloss photographi...

Stunning Pejac New Wave featuring surfers. Limited timed mini print. Stamp numbered on reverse. Lottery edition as this also gave entry to purchase the larger print version also rele...

Naples, Italy Available Sizes: 26 x 21 inches: Edition of 7 40 x 32 inches: Edition of 7 55 x 44 inches: Edition of 10 73.5 x 59 inches: Edition of 5 David Burdeny (b. 1968. Winnip...

From Historia de Don Quixote de la Mancha. Hand signed and numbered by the artist. Sheet size: 29.92 x 22.44 inches. Image size: 15.75 x 17.5 inches. From the edition of 300 on Arch...

Morocco Available Sizes: 21 x 26 inches: Edition of 7 32 x 40 inches: Edition of 7 44 x 55 inches: Edition of 10 59 x 73.5 inches: Edition of 5 David Burdeny (b. 1968. Winnipeg, Ca...

This screen print was commissioned by Lincoln Center in 1981 to celebrate the Chamber Music Society in a signed and numbered edition of 144. Born in 1941, Long Beach, CA, Jennifer B...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

Kenny Schachter "Pay Nothing". Archival digital print on wove paper. Published in 2020. Edition of 60. Hand signed and numbered by the artist, verso. ‘At the height of Covid, various activist groups arose to protect artists and others from unlawful evictions for non-payment of rent due to their lack of earning capacity by an economy that all but ground to a halt—other than for the multinationals that always seem to prosper in times of crisis. One such grassroots advocacy initiative in April of 2020, was CANTPAYMAY which I spotted on artist Nicole Eisenman’s Instagram feed by way of a poster she created which proclaimed: “RENT STRIKE! STAND IN SOLIDARITY WITH THOUSANDS OF NEW YORKERS ON RENT STRIKE DURING #CANTPAYMAY. WITH MILLIONS OF NEW YORKERS OUT OF WORK, WE CAN AND MUST #CANCELRENT. SIGN THE RENT STRIKE PLEDGE TO JOIN THE MOVEMENT!” Pay Nothing is an appropriation of Ed Ruscha’s 2003 painting Pay Nothing Until April; though Ruscha attempts to disclaim meaning in his text works, it clearly references the loaded notion of having to pay-up in April, which is when both State and Federal taxes are owed across the country, as all US taxpayers are only painfully all too aware. “Says Ruscha: ‘I’m empty headed in many ways, and don’t know why I follow what I follow. Like most people, I operate on an automatic mode, and everything is an involuntary reflex. Logic flies out of the window when you’re making a picture, at least it does with me. And thank God it does.’” @tate In the context of the Covid pandemic, Pay Nothing signifies the fact that if a population is deprived of the means to earn a living, we still must eat and have a roof over our heads to feed and shelter ourselves and families. For, if we don’t have the ready capacity to provide, as Malcom X...

Basilicata, Italy Available Sizes: 26 x 21 inches: Edition of 7 40 x 32 inches: Edition of 7 55 x 44 inches: Edition of 10 73.5 x 59 inches: Edition of 5 David Burdeny (b. 1968. Wi...

Antonio Frasconi created the color woodcut entitled "View of Venice II – Bacino" in 1968. It is signed, titled, dated, and inscribed “13/18” in pencil. The paper size is 24 x 36 inch...

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Antarctica #35 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pa...

Morocco Available Sizes: 21 x 26 inches: Edition of 7 32 x 40 inches: Edition of 7 44 x 55 inches: Edition of 10 59 x 73.5 inches: Edition of 5 David Burdeny (b. 1968. Winnipeg, Ca...

Available sizes: 18” x 24.5” - Edition of 8 28” x 38.11” - Edition of 8 38” x 51.73” - Edition of 6 48” x 65.34” - Edition of 6 It has been a dream to pair one of the world's most c...

A charming Vincent Brooks Day & Son lithograph depicting the David Roberts painting 'Descent Upon the Valley of Jordan'. Published by Cassell & Company Ltd, London. Presented in a wh...

Antarctica #93 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pa...

Antarctica #29 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pa...

Calabria, Italy Available Sizes: 26 x 21 inches: Edition of 7 40 x 32 inches: Edition of 7 55 x 44 inches: Edition of 10 73.5 x 59 inches: Edition of 5 David Burdeny (b. 1968. Winn...

Calabria, Italy Available Sizes: 26 x 21 inches: Edition of 7 40 x 32 inches: Edition of 7 55 x 44 inches: Edition of 10 73.5 x 59 inches: Edition of 5 David Burdeny (b. 1968. Winn...

Morocco Available Sizes: 21 x 26 inches: Edition of 7 32 x 40 inches: Edition of 7 44 x 55 inches: Edition of 10 59 x 73.5 inches: Edition of 5 David Burdeny (b. 1968. Winnipeg, Ca...

Morocco Available Sizes: 21 x 26 inches: Edition of 7 32 x 40 inches: Edition of 7 44 x 55 inches: Edition of 10 59 x 73.5 inches: Edition of 5 David Burdeny (b. 1968. Winnipeg, Ca...