Wilderness Art

Rob Alexander's "The Desolation" is an original, handmade oil painting that depicts a barren sandy landscape filled with rock formations and far off mountains on the horizon. This...

Artist: Harry McCormick, American (1942 - ) Title: Annecy Year: circa 1990 Medium: Oil on Canvas, signed l.r. Size: 50 in. x 60 in. (127 cm x 152.4 cm) Frame Size: 57 x 67 inches

"The Informal Gathering" by César Pattein (French, 1850–1931) is a signed and dated 1913 oil on canvas measuring 23 x 32 inches, depicting a charming rural scene of young girls gathe...

The plein air painting with stones and pine forest is a wonderful and lively wall decor. The picture is author's and original. It is signed on the front and also titled and signed o...

Judd Mercer's (US based) "By the River" is an gouache painting that depicts a river lapping at the edge of rock formations with sparse vegetation growing amidst the stones Bio/artis...

Oil on canvas signed and dated (19)79 Dimension with frame : 69 x 89.5 x 2.5 cm

Rock formations in landscape

This photography series corresponds to the artist's "restless being" paintings. After completing the painting series, which depicts rocks covered with various lichen varieties, Williams took the painted rocks...

Step into the tranquil grandeur of the Swiss Alps with this striking original 1960s travel poster by Swiss graphic designer Rolf Krebs, commissioned to promote the Bernese Oberland—a...

“It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven years to perfect, and it continues to evolve today.” - Kevin ...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

Janusz Szpyt was born in 1960, he is a Polish painter. He graduated from the Graphic design faculty and painting from the Academy of Fine Arts in Krakow...

Artist Comments
A quiet desert vista in Joshua Tree National Park basks in cool afternoon light. In the foreground, a cluster of prickly pear cacti with soft blue-green pads, t...

Landscape oil painting, "(Mountain view of Schroon Lake)," by Cobi Moules - Oil on canvas Driven by the desire for adventure and discovery, Cobi Moules embraces the beauty of nature...

The forest painting with the mountains and stones is a beautiful wall decor, the painting is created en plein air, the artwork is full of different bright colours, combinations of wa...

Hanna Seidel (1925 to 2005) lived and worked in Argentina for many years. She was a world traveller, journeying to South America in the 1950s and to Central America, Japan, India, an...

Work on canvas Golden wooden frame 55 x 66 x 5 cm

Landscape painting by Cobi Moules - Oil on canvas Driven by the desire for adventure and discovery, Cobi Moules embraces the beauty of nature all the while shifting its weight throu...

This is one of eighteen color mezzotints (printed on chine collé) depicting the landscape of coastal Maine. Intimations of the Arts and Crafts Movement of the early twentieth century...

Karl Hartman is a New Jersey-based painter whose work reflects a deep connection to place and memory. Born in Billings, Montana, in 1956, he grew up mostly in the plains states of Te...

Here for your consideration is a wonderfully detailed miniature painting of the Matterhorn. Signed and titled verso. Attributed to the artist William Archibald Wall. Dated 6/50 verso...

Untitled (Mountainside Trail), c. 1900 Watercolor on paper 6 1/8 x 7 3/4 in. Mat: 8 x 10 in.

This Texas scene by Daniel Maldonado depicts Garner State Park, located near Concan, Texas. The piece is executed in oil on canvas and measures 16 x 20 inches.  Framed

From the Portfolio 'Winter' printed in the 1970's Beautifully printed by Ketchum. Dry mounted embossed border. Signed in pencil. Limited Numbered 8/20

Framed size: 26" x 36" Signed bottom right B.W.LEADER This evocative oil painting captures a quiet, idyllic moment beneath the Welsh sky: 3 figures, two children with a woman, stand...

"Touring Monument Valley" - Desert Plein Aire Landscape in Acrylic on Masonite Dramatic desert landscape by California Plein Aire artist Nick White (American, 1943-2009). The viewer...

Title: On Shanyin Trail IV Medium: Oil on canvas Size: 11.75 x 15.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note:...

By A. D. Greer 24" x 36" Oil on Canvas Painting A luminous landscape depicting the essence of wilderness: a breath-taking mountain vista bathed in golden sunlight and swathed in m...

Artist Comments
A lone figure stands at the threshold of a rugged mountain pass. Bold, impasto brushwork creates a tactile landscape of weathered earth and skeletal trees fra...

This breathtaking 1956 original travel poster, photographed by Bonnefoy, beautifully captures the untamed natural beauty of Corsica’s mountainous landscape in springtime. The image s...

Artist Comments
Artist Catherine McCargar paints a panoramic view of Mt. Diablo, a sight visible from her home. She paints a rendition of the mountain with much detail of the surrounding foothills. "I confess I have used my artistic license to have a little fun with the scene," admits Catherine. The title gives the viewer a hint about the creative aspect integrated into the stunning impression.

About the Artist
Impressionist Catherine McCargar expresses her deep admiration of nature through landscape paintings of Northern California...

This nature study was painted in Veliky Ustyug during a trip to the Russian North in 2001. This artwork, an exquisite portrayal of a serene rocky landscape, encapsulates the subtle b...

Daud Akhriev's (EUR and US based) "Andalusion Heartland" is an original, handmade oil painting that depicts rolling hills spreading over the landscape with an orchard in the foregrou...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Luminous mid century landscape of the sun rising in the Yosemite High Sierras by an unknown artist (American, 20th Century). Unsigned. Unframed. Image siz...

Epic landscape of Sierra mountain peaks capped with whispers of snow, and a gorgeous mountain lake surrounded by soft meadow grasses and California poppies by California artist Ken Lucas...

Noel Daggett, American (1925 - 2005) - A Long Rifle Awaits, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 17 x 26 inches, ...

Vibrant autumnal impasto painting of the High Sierra mountains by Ruth Frymire (American, 20th century). Signed "Ruth Frymire" lower right. Unframed. Imag...

Artist: Stuart Klipper (American, 1941-) Title: Betataken, Anasazi Places Year: 1980 Medium: C Print (Chromogenic print) Size: 12 x 38 inches image, 16 x 44 inches sheet, 18 x 45 inches matted, 20 x 45 framed Signature: Signed, titled, dated on the mat and on reverse Condition: Very good This photograph depicts the Anasazi settlement of Betataken in New Mexico. It is a chromogenic print, also called a C-print on Kodak paper. It is from Klipper’s series called Anasazi Places done in 1980 under the auspices of the National Endowment for the Humanities. The photograph is in very good condition. The mat is in very good condition. The bronze metal frame and Plexiglas are in fair to good condition with some small scratches. Stuart Klipper was born in the Bronx in 1941. He then lived in Stockholm, Sweden, moved to Minneapolis in 1970 and currently resides there. He has made six visits to Antarctica to photograph, and has also worked in Greenland, Iceland, Svalbard, Alaska and Lapland (in the area irradiated by the Chernobyl disaster). Other major forays have taken him across Northern Australia; the deserts of Israel and Sinai; the tropical rain forests of Costa Rica, Patagonia and Tierra del Fuego; and Sri Lanka and Pakistan. He has logged many thousands of miles at sea, photographing on all of the Earth's oceans... and seas. For over 30 years, he has made photographs in all 50 states, distilling and crystallizing the defining characteristics of American regions. Other undertakings include extensively photographing the First World War cemeteries and memorials of the Western Front, major physics and astronomy research installations throughout the U.S. and the Anasazi ruins of the Southwest. His photographs have been exhibited in, and collected by, major museums in the U.S. and overseas; foremost, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Minneapolis Institute of Arts, the Walker Art Center, The Jewish Museum, the Israel Museum, the Victoria and Albert Museum, the Kunsthalle Bonn and the Moderna Museet. He has been the recipient of several major grants, including two each from the Guggenheim Foundation and the Bush Foundation, and three each from the McKnight Foundation and the Minnesota State Arts Board. He is a recipient of the U.S. Navy's Antarctic Service Medal. He was also visiting professor, Art Department, Colorado College, 1978 to 2008. Solo exhibitions • Disparate Geographies, Schmidt Dean Gallery in Philadelphia, 1998. • Sixteen polar photographs, Arktis -Antarktis, the Kunsthalle des Deutschesrepublic, Bonn, Germany. 1998 • Cardinal Points, at the University of Iowa Museum of Art. (Photographs from polar regions: Antarctica and Greenland, the tropical rain forests, the desert regions of Israel and the Sinai, the agricultural Great Plains)-- an exhibition catalogue was published. 1998 • At Sea Near the Poles, at the Spencer Gallery, Wickford, R.I. 1999 • Antarctica 99/00, Yancey Richardson Gallery, NYC, 2000 • Selected Antarctic Work, Berler Gallery, Washington D.C., 2001 (Also shown in Denver and Christchurch, N.Z. • Selected American photographs, The Center for American Places, Harrisonburg, Va., 2001 • Photographs from the Arctic and Antarctica, Smith-Dean Gallery, Phila., PA, 2001 • Wyoming, Univ. of Wyoming Museum Art, Minneapolis Institute of Art, 2001/02 • In the Australian Outback, Gallery 360, Minneapolis, 2002 • The United States, Candace Perich Gallery, Katonah, NY, 2002 • Rock art, bush fire, termite mounds and other aspects of the outback of the Top End of Australia, Gallery 360, Mpls.,2002 • Portraits about Pakistan, 1987, Icebox Gallery, Mpls., 2002 • Antarctic 1: Views Along Antarctica’s First Highway, Center for Land Use Interpretation, Los Angeles, 2002 • The Louisiana Purchase, Groveland Gallery, Minneapolis & Olson-Larsen Gallery, Des Moines, 2003 • Selected photographs, Medtronics Corp. corporate headquarters, Minneapolis, 2006 • Antarctica, Electrolift Artworks, Minneapolis, Minn. 2006 (+ other venues) • 20 Years of photographing Louisiana, The Ogden Museum, New Orleans, 2008 • Antarctic Photographs, City Museum of Charleston, S.C., 2009 • Local Places – Remote Terrains, Olson Larsen Gallery, Des Moines, Iowa, 2009 • The Dead Sea Region, Israel, The Basilica of St. Mary, Minneapolis, 2010 Group exhibitions • Photography of New York City, Minneapolis Institute of Art. 1998 • Sea Change, The Center for Creative Photography, Univ. of Arizona, Tucson. (An eponymous book was published in conjunction with the exhibition and is in national distribution), 1998/99 • American farms and farming, Candace Perish Gallery, Katonah, NY. (Traveled to Washington D. C.), 1998/99 • Views from the Edge of the World, Marlborough Gallery, NYC. 1999 • Claiming Title: Australian Aboriginal Artists and the Land, St, Olaf & Carleton Colleges, Northfield, Minn., 1999 • The Infinite and the Intimate; Waterscapes of Stuart Klipper and Frank Gohlke, Dorsky Gallery, N.Y.C. 1999 • An Eclectic Focus: Photographs from the Vernon Collection ( + catalogue), Santa Barbara Museum of Art, 1999 • Aqua, Gallerie Thierry Marlat, Paris, France 1999 • Restructuring the Prairie, Grinnell College, 1999 • The Mural as Muse, Deutsches Bank Gallery, NYC, 2000 • earth sky, Jackson Fine Art, Atlanta, GA, 2000 • Western Panoramas, Huntington Museum, Sta. Barbara, CA, 2001 • I Love New York (W. T. C benefit), NYC, 2001 • Melodrama, inaugural show, ARTIUM, Vitoria, Spain, 2002 • Contemporary Desert Photography...

Heather Hollis Framed Terrain Archival Pigment Print on Hahnemuehle Rag (or equivalent) 2023 Size: 8 x 12 inches (20.32 x 30.48 cm) Edition: 15 Signed on label (to be attached verso)...

In the autumn cold of the town of Vorokhti, between the fragrant haze of fallen leaves and the silvery crescent of the sky, there is an unprecedented silence. Oleksandr Khrapachov's ...

Signed and numbered on label, verso 11 x 17 inches // (Edition of 25 + 5 APs) 22 x 34 inches // (Edition of 20 + 4 APs)

Low-Cost Vacation For American Wage Earners- Vintage Photograph is an original black and white photograph realized in the U.S in the Mid-20th Century in a series of American life in ...

Colorado - American Vintage Photograph is a vintage black and white photograph realized in the U.S in the mid-20th Century in a series on American life in the 20th Century. With the...

Original impasto work by the contemporary artist Daniel Nichols. Initialled to the lower right. On canvas on stretchers.

This tree is in the slot canyon section on upward path to the magnificent Tent Rock landscape, The rock formations are over 6,00 feet above sea level in the Kasha-Katuwe Tent Rocks N...

Mel Hunter, American (1927 - 2004) - Ancient Elm , Year: circa 1980, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 96/350, Image Size: 22.5 x 30 inches, Siz...

Oil on canvas, Grigol Malania is a Georgian artist born in Tbilisi in 1970 who lives and works in Tbilisi, Georgia. After graduating from high school, he entered the Tbilisi State ...

Prey for the Dead (Original Title: pregate per Morti) is an original lithograph realized by C. Ronchi in 1860 ca. In good condition but aged. The artwork represents a general, prob...

Signed and numbered on label, verso 11 x 17 inches // (Edition of 25 + 5 APs) 22 x 34 inches // (Edition of 20 + 4 APs) This work is offered by CLAMP in New York City.

Chris Forrest, American (1946 - ) - Wild Geese, Year: Circa 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP 40, Image Size: 18 x 23 inches, Size: 23 in...

Title: Dune Medium: Oil on canvas Size: 21.25 x 25.25 inches Frame: Framing options available! Condition: The painting appears to be in good condition.Although, please note the ...

Untitled - Renegade (The Last Stand) - 2004 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist inventor...

Other Possible Forests unfolds a horizon of vital potentialities, where listening serves as a conduit for exploring the natural world, immersing us in its molecular memory and transp...

Taking inspiration from his surroundings in Spain, Pozas gives us this lush landscape entitled "Awhile". The verdant scene, with its golden field in the foreground and blue mountain in the background is painted with meticulous detail. Each blade of grass and every leaf is painted with precision. This oil painting is framed in a rich walnut colored wooden frame measuring 16 x 20 inches. "Pozas" René Monzón...

The Letter (The Girl behind the White Picket Fence) - 2005 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate...

Noel Daggett, American (1925 - 2005) - Prize Rack, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 17.5 x 23 inches, Size: ...

This photography series corresponds to the artist's "restless being" paintings. After completing the painting series, which depicts rocks covered with various lichen varieties, Williams took the painted rocks...

Title: Ahu Lani River - 0415.1844 Size: 18 x 24 in Medium: Archival Pigment on Canson Rag Edition of 8 Signed: Verso Print: $1950 unframed Walnut frame available From the series WIT...

Valley Vista (Wastelands) - 2003 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist inventory Number 864. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dustbowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pictures. Happiness brimmed in that wild terrain. Maybe things were beginning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abolish concepts that orient us, cause and effect, time, plot, and storyline, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end result, as posited in this book, will show how she bursts open our apparatus of perception and acknowledges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other-worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world. Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it conceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy. That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments...