Square Landscape Prints

Printer’s ink from rubber stamp on vélin d’Arches Satine paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publi...

Stardust by Frank Schott 48 x 48 inches / 122cm x 122cm signed edition of 7 40 x 40 inches / 102cm x 102cm signed edition of 25 archival quality fine art pigment print limited ar...

This abstract landscape limited edition print by Ken Elliott is made with oil paint features a forest scene with a bold, contrasting palette of cool, deep blues that are accented by ...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 3 of 5. Kristin Moore says o...

large scale original photograph of dramatic cloud formations and reflecting sea SEASCAPE VII by Frank Schott 58 x 58 inches ( 147 x 147cm ) signed edition of 7 48 x 48 inches ( 12...

large-scale framed original art photography from a series of mesmerizing cloud atlas observations and abstract skyscapes above the horizon line of the Medi...

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

Sandra Cohen’s “Keening” is a surreal portrait of intense grief. This limited edition print is a 16 x 16 inch image printed with archival pigment ink and set with a white border on 1...

"Fish Washing Tank, Sunjeongmaeul Go-Heung Jeollanam-do South Korea, 2023 is a silver gelatin print that was printed in the darkroom by master photographer and printer Michael Kenna....

Richard Haas The Rookery Courtyard, Chicago, 1974 Etching on etching rag paper Signed, titled and numbered 11/50 in graphite pencil on the front Frame included Etching on etching ra...

This abstract landscape limited edition print by Ken Elliott features a forest-scape with bright yellow tree leaves which are mirrored by the yellow foreground, all of which is complemented by the light violet shadows between the trees and light...

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...

A ca. 1940 etching of a view of the Manhattan skyline by artist Nat Lowell. Signed and titled in pencil, ca. 1940. Artworks size: 4 1/4" x 5 1/4". Arc...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

Jean-Claude Quilici Greece : Summer in Mykonos Original lithograph Handsigned in pencil Numbered / 250 copies On vellum 57 x 57 cm (c. 23 x 23 inch) Excellent condition

This realistic limited edition print by John Harris captures a close up view of water rippling over rocks in a riverbed. Natural light reflects off the surface of the water, enhancin...

This Limited Edition giclee landscape print by Bri Custer is an edition size of 195. It features a light green, blue, and mint green palette. Printed ...

Original Woodcut in colors on Japanese paper. Carol Summers has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving m...

This Limited Edition giclee abstracted coastal landscape print by Bri Custer is an edition size of 195. It features a blue palette with warm pink and orange accents throughout. Prin...

large-scale original art photography from a series of dramatic cloud atlas observations and abstract monochromatic skyscapes above the Mediterranean Sea C...

Max Epstein, Canadian (1932 - 2002) - Old MacDonald's Farm, Year: 1977, Medium: Screenprint, signed and numbered in pencil, Edition: 53, Image Size: 17 x 18 inches, Size: 19 in....

This abstract landscape limited edition print by Ken Elliott features a predominately cool palette, which is offset by the warm yellow trees in the foreground, which are reflected in...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Frame: 37 x 37 in This is an artist's proof from the edition of 100 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

This is a handmade Linocut relief print of a cyclist riding along the Backs of Cambridge with Kings College Chapel in the distance and a robin in the foreground. It is a limited edit...

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...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Great American Perspective Year: 1973 Medium: Silkscreen, signed and numbered in pencil Edition Size: 60 Size: 20.5 x 20.5 in. (52....

C-Print on Argentic paper 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 box frame. Additio...

Swim Stop – Large print by Gordon Hunt [2020] Image Size: H:60 cm x W:60 cm Complete Size of Sheet/ Unframed Work: H:70 cm x W:70 cm x D:.1cm This is the only size remaining of thi...

Artist: Henri Matisse (after) Title: Lierre en Fleur Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Frame Size: 17" x 17" Sheet Size: 14" x 10...

Cities 7 - Gothic Revival, St Pancras, London by Susan Brown. Limited edition giclée print - The print edition is 150 The image size of the print is 40cm X 40cm, the overall size is 50cm X 50cm Each print is signed and numbered by Susan Brown Unframed, unmounted. The gothic building of St Pancras, designed in 1874 by George Gilbert Scott...

Letter of the Alphabet S, from the series "Antiquities of Herculaneum", is an etching on paper realized by Various Authors in the 18th century. Good conditions. The etching belong...

Letter of the Alphabet S, from the series "Antiquities of Herculaneum", is an etching on paper realized by Various Authors in the 18th century. Good conditions. The etching belong...

Vue de Mantes is a beautiful artwork realized by Charles Pinet after a painting by Camille Corot in the middle of XIX century. This etching represents a natural landscape with some...

Damien Hirst Pegwell Bay, H13-6, from Where the Land Meets the Sea, 2023 Laminated Giclée print on aluminium composite panel 35 2/5 × 35 2/5 in 89.9 × 89.9 cm Hand-signed on the lab...

Sailing at high tide at Blakeney, Norfolk with the Blakeney Hotel in the distance at the edge of the quay. Printed in Nautical Blue. Linocut Print – A relief printing technique where linoleum is cut, inked and rolled to create an inverse relief print, generating the image as seen.This work is sold mounted but not framed. Edition numbers may vary. Discover artwork by Kate Heiss with Wychwood Art online and in our Deddington gallery. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge...

large scale photogaph from a series of photographic observances capturing the antics of urban gardening and whimsical botanical art of topiaries' green minimalism Topiary I...

Inspired by a coastal walk looking over the cliff. ADDITIONAL INFORMATION: Linocut print on Paper Edition of 10 20 H x 20 W cm (7.87 x 7.87 in) Sold unframed Image size: Height: 2...

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...

Jayson Lilley From Greenwich Park II Limited Edition Print Edition of 39 Image Size: H 84cm x W 84cm Signed Sold Unframed Please note that insitu images are purely an indication of ...

Giclee print on archival cold press cotton rag. Every print is uniquely hand embellished by the artist with gold acrylic paint. Edition 4 of 5. In this new series of paintings, Moor...

Coriolis Effect is a limited edition etching by Sarah Duncan. Duncan is influenced by forms and light invisible to the naked eye, she seeks beauty in the realms of science, astronomy...

This beautiful, limited edition original color woodblock is by the famous Showa Shin Hanga woodblock master Clifton Karhu (1927-2007). It bears the original frame and has a label on the back from a Tokyo gallery. The work is a beautiful impression with rich color. It and the frame are in excellent condition. The print measures 16 x 16 inches. The frame is 23 ½ x 23 ½ inches. It is numbered lower left as AP5 - Artist Proof #5 and is pencil signed and dated ‘74 lower right. An American of Finnish descent, Clifton Karhu was born in Minnesota in 1927. Raised together with his twin brother Raymond, Karhu was the son of painters Arne and Anna Karhu. After his graduation in 1946 he served in the military at an American Navy base in Japan. Returning to America following his military service in 1950, Karhu enrolled at the Minneapolis School of Art but quit two years later to pursue missionary work as a Lutheran minister. Karhu left the missionary work in 1958 and chose to move his new family to Gifu City, a small provincial town northwest of Kyoto, Japan where he set about returning to his art. Karhu soon found local success in 1961; obtaining first prize at the Chubu Taiheijo Bijutsu Kyokai Ten (The Middle Pacific Art Group Exhibition) and fixing his first single, professional exhibition at the Shin Gifu Gallery. In hopes of providing their three children with an international education, Karhu settled in Kyoto in 1963. The next few years proved heavily influential in Karhu’s work. Arguably forming the foundation for all his future success, Karhu found tutelage under recognized woodblock artist and gallery owner Tetsuo Yamada and colour theorist Stanton Macdonald-Wright. Responsible for shifting Karhu’s artistic doubts, Karhu proceeded to fulfill a very successful career in woodblock printing - carving his own works largely by himself. Clifton Karhu passed away in 2007 after an illustrious career that saw him viewed and celebrated as a local Kyoto celebrity, as well as having exhibited widely in many countries around the world. His woodblock prints have been collected by many famous museums including the Tokyo Modern Art...

C-Print on Argentic paper 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 box frame. Additio...

C-Print on Argentic paper 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 box frame. Additio...

Sunshine Fields by Ann Burnham [2022] limited_edition Linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:3...

Garden Blackcap by Kate Heiss [2021] limited_edition Linocut Edition number 30 Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.5cm Sold Unframe...

C-Print on Argentic paper 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 box frame. Additio...

C-Print on Argentic paper 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 box frame. Additio...

Days Like These ii [2021] limited_edition Screenprint Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these ii is the second in a series of coastal print...

limited_edition Oil based inks on 300gsm Somerset Velvet Paper Edition number 50 Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:1cm Sold Unf...

Sarah du Feu Drizzly Day in Haweswater Original Screen print Image size 90 x 90 cm Paper size 103 x 103 cm Unframed Printed on acid free Somerset tub sized 410gsm paper Please note t...

Drawn from a fleeting spring moment, this original linocut print captures the delicate dance of ornamental poppies swaying beneath the hum of bees in my garden. Their vivid presence ...

Days Like These ii [2021] limited_edition Screenprint Edition number 15 Image size: H:60cm cm x W:60cm cm Complete Size of Unframed Work: H:65cm cm x W:65cm cm x D:400gsmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Days Like these ii is the second in a series of coastal print...

The Swallows Arrival [2022] limited_edition and hand signed by the artist Screenprint Edition number 20 Image size: H:58 cm cm x W:58 cm cm Complete Size of Unframed Work: H:62....

Cities 4 – Brussels’ Theatrical Centrepiece by Susan Brown. Hand signed by the artist “Walking through La Grand Place in Brussels, is taking a journey t...

Silk scarf framed with museum-grade 92% UV-resistant glass. 90 x 90 cm / 35 7/16 x 35 7/16 inches 103 x 103 cm (incl frame) / 40 9/16 x 40 9/16 inches (incl frame) edition size unknown Map of Days is an intricate work that serves as a self-portrait of the artist's identity and psyche. Drawing inspiration from medieval maps...

C-Print on Argentic paper 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 box frame. Additio...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1973 album Sculptures de Miro, Ceramiques de Miro, et Llorens Artigas (Sculpture...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1973 album Sculptures de Miro, Ceramiques de Miro, et Llorens Artigas (Sculpture...

MIMOSA, SEPT 29, 2021 2021 Silkscreen with enamel inks and flocking on Rising 4-ply museum board 42 x 42 inches (107 x 107 cm) Edition of 40 Signed and numbered DONALD SULTAN (b. 1...