Medium Landscape Prints

Landscape is a Lithograph on paper realized by Ivan Lackovic in the 1980s . Hand-signed. Artist's proof. Good conditions. The artwork is depicted th...

Jean Solombre, French (1948 - ) - Tu aimerais ce que j'aime et ce qui m'aime: l'eau, la images, le silence et la nuit, Year: 1981, Medium: Etching with Aquatint on Arches, signed, ...

"The Putting Green" - Figurative Landscape 20th century lithograph copy (restrike) of an original painting by British artist Douglas Adams (English, 185...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Title: Haven, STATE II Lithograph, 1986 Edition 4/4 Printer Proof Image Size 21.5 x 30.75" Gregory Amenoff is a...

Yvonne CHEFFER DELOUIS Madeleine in Hendaye Original lithograph Signed in pencil Numbered / 275 copies On vellum 56 x 76 cm (c. 22 x 29.9 in) Excellent condition

Central Park, New York City is the locale for this subtle etching by Harold Altman. It is yellowing a bit around the corners due to natural aging process, however the coloring of th...

Berthoud Pass, located in the Rocky Mountains of Colorado, has a rich history associated with winter sports, skiing, exploration, and snowmobiling since the 1930s. An avid outdoors person, the artist John Kato...

"Maeght Editeur" is a color lithograph poster. This poster was for an exhibit on Alexander Calder's work in Paris, France. It depicts a black tree with red fruits on the left side an...

This artwork titled "Summer Landscape III" 1962, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated, titled and numbered ...

Tony Bennett Title: Lovers in Monet's Garden Lithograph Signed and Marked PP  1/10 ( Printers Proof ) Paper Size: 30" x 24" inches Image Size : 25" x 20" inches Anthony...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

Janick LEDERLE Women of Guatemala Original lithograph Handsigned in pencil Numbered on /275 copies On vellum 53 x 68 cm (c. 20.8 x 26.7 in) Excellent condition

Magic Forest is a modern artwork realized by the Artist Rolandi, in the 1970s. Mixed-colored screen print. Hand-signed on the lower right margin. Numbered on the lower left 85/500 ...

Original, Linen backed New Orleans Jazz & Heritage Festival poster from 1983. A fun image with a crawfish holding an umbrella with streamers. 1983 JAZZ & HERITAGE FESTIVAL PRO-MO ...

Image dimensions: 41 x 62 cm. Interesting colored litograph, representing a landscape of the Sicilian town of Scicli. Hand-signed and numbered with pencil on lower margin by the Italian artist, Virgilio Guidi. Edition of 148 prints. On the "Reisga" stationary paper...

This beautiful hand colored etching imaginatively depicts a historical time / place of the nation’s first transcontinental railroad where Union Pacific Railroad meets Central Pacific...

This is a lithographically printed reproduction of a sensationally fun Lichtenstein triptych he painted in 1964, produced by the Stedelijk Museum...

"Harvest Home" is an original color lithograph poster by an unknown artist. It features a scene of a field with a few pumpkins and wheat. Below the image is an excerpt from a Henry A...

"Le Port de la Rochelle" is a Limited Edition Lithograph, E/A by Marcel Mouly. It is pencil-signed by the artist. The print measures 13.75 x 24.5 i...

I Castelli Romani is a splendid poster realized after Neal Slavin, in 1983, in occasion of the exhibition held in Rondanini Gallery in Rome. Vintage o...

"Arroyo" is an original woodcut and monotype by Carol Summers. The artist signed the piece. It is from an edition of 120 and depicts an abstract landscape in blues and greens. 14 1...

Like G.B.Piranesi, Rossini, well know as the “Piranesi’s heir”, trained as an architect and his etchings have the same tendency to emphasize the massive structure of the Ancient Rome...

Daniel GALLAIS Aurora Japan Original lithograph Handsigned in pencil Limited /175 copies On vellum 76 x 56 cm (c. 30 x 22 in) Excellent condition

"Scene Peniscola" is a Limited Edition Lithograph (79/150) by Marcel Mouly. It is pencil-signed by the artist. The print measures 19 x 27 inches. The date of creation is unknown, but...

This striking photograph captures the timeless essence of a Roman marble bust, portraying a handsome male leader with thoughtful details. The subject, seemingly untouched by the passage of centuries, emerges from the stone with a head of naturally falling curly hair. The face, in profile, emanates strength and resilience as the leader gazes steadfastly into the distance. Symbolic of the Roman Empire's grandeur, the bust stands as a testament to the strength and authority that characterized that ancient civilization. As the Roman Empire eventually faced the challenges leading to its fall, this marble bust endures as a silent witness to the ebb and flow of history. Marble, known for its enduring nature, further enhances the longevity of this artistic documentation. The photograph captures not just a static representation of a bygone era but a dynamic convergence of time, where the resilience of the stone mirrors the enduring legacy of the Roman Empire. This work is a photographic digital print on plexiglass cut to the form of the bust. Fidel Santos...

Mickey Myers is perhaps best known for her Pop art designs from the 1970s and '80s, where she would make vibrant compositions of Crayola crayons. In her l...

"Diocletian's Retreat" is a woodcut and monotype signed by Carol Summers. The image combines landscape and architecture, in this case a classical struc...

Jean-Baptiste VALADIE White Light of Santorini Original lithograph Handsigned in pencil Limited / 199 copies On vellum 56 x 76 cm (c. 22 x 30 in) Excellent condition

Rolf RAFFLEWSKI Paris : Louvre Museum Original lithograph Handsigned in pencil Limited /275 copies On vellum 56 x 76 cm (c. 22 x 30 in) Excellent condition

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Artist: Gene Davis (1920-1985) Title: Royal Curtain Year: 1980 Medium: Silkscreen on Arches paper Edition: 41/250, plus proofs Size: 30 x 21.5 inches Condition: Good Inscription: Sig...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 52–53 (Plates 52–53), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originate...

"Twin Towers" is a Limited Edition Lithograph by Marcel Mouly (French, 1918-2008). Two prints are available-EA 21/30 and EA-measuring 24 x 30.75 inches. They are both pencil-signed a...

Michel DUBRE (1942 - ) Paris Opera in the Wheat Field Original lithograph Handsigned in pencil Limited /275 copies On vellum 56 x 76 cm (c. 22 x 30 in) Excellent condition

Artist: Salvador Dali (1904-1989) Title: Fauteuil à respirer pneumatique (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Pneumatic breathing chair, Imagina...

Medium: Digital archival print Image Size: 13.5 x 35 inches Year: 2024 Edition: 500 This is a unusual item from Romero, a project completed for a movie. The Pleasantville Color Car...

"Jungle" is an important, rare color lithograph signed by Carol Summers from the early years of his production. The image offers a landscape of a dark jungle, printed mostly in black ink. In the center, a blue pool of water is shaded by two trees. Summers' technique in this print renders a painterly quality to the image: the grasses and leaves of the scene are all created with playful, energetic swiping motions much like watercolor paint. This technique and the use of fields of color predict the style Summers would adopt in the coming decades, making this an important early work. 30 x 22 inches, artwork Numbered 14 of the edition of 27 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...

Original Unwanted: Ronnie Hood / Takes from the Poor. Helps the Rich. 1982 original poster. Printed by: Bay Area Reproduction, Inc., Kleinschmidt. Color offset lithograph poster dep...

Suggestive of the misty cool colors and contours of the Pacific Northwest, this scenic framed lithograph is numbered #5 of 40. Let it inspire a restful palette for the bedroom. Sign...

Roger Muhl. Passage, ca. 1970. Lithograph on paper, image measures 15.5 x 18.5 inches. Measuring 25 x 28 inches framed. From an adition of 60. Signed and numbered in pencil by artist...

Cape Cod from the New England suite is a serigraph on paper measuring 16 x 18 inches, signed 'McKnight' lower right and annotated lower left. Framed in a contemporary, black frame. N...

Signed lower right, 'Y. Ganne' for Yves Ganne (French, b. 1931), inscribed lower left with number and limitation, '87/150' and created circa 1975. Born in Anjou, Ganne first studied...

Original. “OUR AMERICA, #3 USING MOTION PICTURES FOR SOCIAL VALUE.” vintage poster. Presented by the Coca-Cola Bottling Company. This poster displays the benefits of American Motion Picture making on society as a whole and is number three in the series of Our America, Motion Pictures. From leisure, as in entertainment, to the practical, like legal documentation and recording important events, are displayed in this poster. These benefits are shown in eight small windows along either side of a large ninth window, which is all brought into harmony by the use of green tones, and that the windows are set upon a mint green background. Presenting Facts of History. Our America Motion Pictures # 3. Using Motion Pictures for Social Values. 1. Using cartoons for amusement. 2. Reporting an important event. 3. Making biography dramatic. 4. Reporting athletic events. 5. Dramatizing a famous book. 6. Showing places of natural beauty. Y. Using motion pictures in legal cases. 8. Making pictures true to facts. We Can All Do Our Part! In 1943, during World War II, Coca-Cola created the “Our America” series of vintage motion picture posters...

Ranchos Winter by American impressionist Robert Daughter shows two women approaching the pueblo with the sun reflecting off the sides of the buildin...

Hand embellished giclee on canvas. Hand signed and numbered on front by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 95. Stretched....

JOSHUA FISHER (AMERICAN, EIGHTEENTH CENTURY) A Chart of Delaware Bay and River, 1776 Printed for John Bennet and Robert Sayer, London Engraving on pape...

18 3/4" x 24 1/2" Unframed Digital and Screenprint with Blind Embossing Hand Signed by Ronnie Wood

Christo (American-Bulgarian, b. 1935) Lower Manhattan Packed Buildings (2 Broadway and 20 Exchange Place, from Monuments), 1968 Medium: Offset and screen print on Bristol board Dimen...

Dan GANDRE (1936-) FRENCH CASTLE : Azay Le Rideau, 1982 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm (c. 2...

"Homeward Bound" is an original etching by D. Landers after a painting by Charles Harold Davis. The artist signed the piece lower right. It depicts a woman in a field. 13 1/4" x 20...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Morte Au Morceau (Death in Pieces), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edi...

Dan GANDRE (1936-) FRENCH CASTLE : Chambord Castle, 1982 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm (c. ...

An excellent original signed lithograph depicting the legendary Windsor Castle by HM King Charles III (b. 1948). “The third lithograph to be produced was the very dramatic Windsor C...

"Silver Mine, Russell Gulch (12/25)" is a striking black-and-white lithograph by German-born American Modernist Arnold Ronnebeck (1885–1947). This rare print depicts a historic minin...

Artist: Manuel Robbe (French, 1872-1936) Title: Le Retour Des Pecheurs Year: 1933 Medium: Etching with aquatint Paper: B.F.K Rives Image (plate mark) size: 1...

Piazza Giardino from the ‘La Dolce Vita’ suite is a hand-enhanced serigraph on canvas, image size 18.5 x 22 inches, signed ‘Kerry Hallam’ lower right and annotated lower left. From t...

M.C. ESCHER (1898-1972) Birds and Fishes, 2008 Facsimile after the original woodcut from 1943 Signed in the plate Numbered / 450 copies (the number you can see can be different) On ...

Hank Laventhol, American (1927 - 2001) - Tree of People, Year: circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, AP XXXV, Image Size: 19.5 x 16 i...

A beautiful and important 18th century hand colored copperplate engraving of lillies which was most likely designed by Georg Dionysius Ehret (1708-1770) and engraved by Johann Michae...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...