Julian Opie Landscape Prints

Color woodcut, Edition 30 The left panel of High Tide captures the reflections of the edge of a pond and surrounding trees and hills. The right panel depi...

DAVIES, Peter (b.1953) Tregenna Roofs (St. Ives) 2011 Linocut 4/6 26.0 x 34.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used ...

"The Gates VIII, from Project for Central Park, New York" offset lithograph in colors on wove paper. Signed Christo in pencil on front lower right. Sheet size: 39 x 27 1/2 inches (99...

Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...

DAVIES, Peter (b.1953) ‘The Godrevy Window’ 2010 Linocut 3/8 20.5 x 30.5 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechan...

Nelson Mandela, The Harbour, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his fam...

Nelson Mandela, The Courtyard, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his f...

DAVIES, Peter (b.1953) ‘Solstice Sun’ 2019 Linocut on paper 15.0 x 10.0 cm (6 x 4 in.) Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical, rather than lyrical or painterly, approach. This probably puts my observational paint – by – numbers pictures at a creative and expressive disadvantage. But it doers prove conducive to a structural or compositional kind of drawing over which are applied layers of oil paint to deliver idiosyncratic textural and atmospheric effects. Furthermore, a Ben Nicholson – inspired dichotomy between foreground rooftops or architecture and a naturalistic marine or landscape background makes a chosen plastic and temperamental approach apt. So when in 2004 I was inspired by the much loved master relief printmaker John Liddell 1925-2005) to try my hand at linocut I found a process ideally suited to my mechanical bent it has been a love affair ever since. The workshop he founded in 1991 Poole Printmakers is a safe haven, an intimate co-operative near Poole Quay, and some of the most scenic terrain in Britain. It is also an area where my art career started in 1978 and inspired my early book Art in Poole and Dorset, published by Poole Historical Trust, 1987. Many blissful and absorbing hours over the last 13 years have yielded a large body of linocut prints in which I exercise those mechanical and reproductive qualities proper to the medium. Peter Davies...

Cloudy Day Prairie II, by John Hogan, New Mexico Landscape Color Etching, blues edition 13/50 matted and framed John Hogan A graduate of Northeast Louisiana State University with a...

This is a framed hand-colored woodcut engraving entitled "Sicilian and Italian Fisherman's Dock - San Francisco", created by Henry François Farny ...

DAVIES, Peter (b.1953) ‘Sandy Harbour’ 2008 Linocut 3/8 30.0 x 30.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical...

Summer Sky, limited edition lithograph, landscape, desert, turquoise, orange