Late 20th Century Landscape Prints

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Ghost Trip Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 100 Size: 39 in. x 27 in. (99.06 cm x 68.58 cm)

Wayne Ensrud, American (1934 - ) - Upwind, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 19 X 26.5 inches, Size: 22 in. x 30 in...

Henriette Wyeth-Hurd Hand signed, Collotype, Limited Edition of 490 Image Size: 20" x 26" framed 28.5 X 34.5 Provenance: printed at Triton Press and has their certificate of authenticity verso. Henriette Wyeth Hurd (1907 – 1997) was an American artist noted for her portraits and still life paintings. The eldest daughter of illustrator N.C. Wyeth, she studied painting with her father and brother Andrew Wyeth at their home and studio in Chadds Ford, Pennsylvania. Henrietta Wyeth was born in Wilmington, Delaware, into an artistic family. Wyeth was the eldest of the five children of noted illustrator N.C. Wyeth and his wife Carolyn Bockius. Her siblings Carolyn and Andrew also became artists, and all three studied with their father. Andrew Wyeth became the most well-known artist of this family. Henriette contracted polio at age 3, which altered her health and use of her right hand. As a result, she learned to draw with her left hand and paint with her right. She grew up on the family farm in Chadds Ford, Pennsylvania, and attended local Quaker schools. She and her siblings were eventually homeschooled because their father distrusted the public school system. She began formal art lessons with her father at age 11, making charcoal studies and geometric shapes. A child prodigy, at age 13 Wyeth was enrolled in the Normal Arts School in Boston, Massachusetts. The next year, in 1921, she entered the Boston Museum of Art Academy. Two years later she moved to Philadelphia to study painting at the Pennsylvania Academy of Fine Arts. By age 16, she was well known as a portraitist and received commissions for paintings of Wilmington residents. Deeply influenced by her father's unique realistic style, she rejected early 20th-century painting styles such as Impressionism and Cubism. She was also socially and politically conservative. As a result, later in life she rejected the progressive movements of the 1960s and 1970s, including the women's movement. She often criticized television and modern culture. At age 21, in 1929 Wyeth married artist Peter Hurd, a fellow student at the Pennsylvania Academy and her father's apprentice. The couple had three children together: Peter Jr., Carolyn, and Michael Hurd...

Spring Landscape with Round Clouds - Limited Edition Naive Serigraph Colorful serigraph by Croatian naive artist Ivan Rabuzin (b. 27 March 1921, d. 18 December 2008.) A grove of tre...

Artist: Thomas McKnight (American, 1941-) Title: "Maidstone" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white S...

Etching from the studio of this acclaimed British Watercolorist. Good condition. Image 15.5" x 11.5" English artist Michael Chaplin is a Member of the Royal Watercolor Society, pa...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Sheep Portfolio 7 Year: 1981 Medium: Screenprint and Etching, signed in pencil Edition Size: 65, AP 5 Size: 33.5 x 31 in. (85...

Red toned abstract woodcut monoprint by Japanese printmaker Joishi Hoshi. This work is a fantastic example of Hoshi's iconic interlocking web of bare trees. Signed and dated by artis...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Summer Gold Medium: Lithograph, signed and numbered in pencil Edition: 250, 5 HC Image S...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1974 album miro sculpture (Miro Sculpture). Publi...

Limited edition aquatint etching of the New York City skyline by Katherine E. Gallagher. This piece features the famous Chrysler Building prominently in the background along with a M...

Over the course of his career, John Grillo showed in 85 one-man and over 100 group exhibitions. One of the most influential of the San Francisco school...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona (Tarragona Tapestry), illustrations, Joan Miro, 1972, originate...

Abstracted Cityscape - Transfer Monotype in Oil on Paper Original transfer monotype painting by California artist Heather Speck (American, 20th C). An abstracted street scene is sho...

Boats is a modern artwork realized by Michele Ricciuti in 1971. Black and white etching Hand signed, numberec and dated on the lower margin. Edition of 3/20 Includes frame

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Flights of Fancy is an original signed limited edition (060/250 ) lithograph by Michel Pellus showing a man in a top hat floating in the sky in a hot a...

Artist: Arman (1929-2005) Title: Yves Kline Violins Year: 1978 Edition: 102/150, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 22.25 inches Cond...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Orient Point. Year: circa 1985, Medium: Screenprint, signed and numbered in pencil, Edition: 175, Image Size: 21 x 34 inches, Size: 30...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

Max Epstein, Canadian (1932 - 2002) - Fishing Hole, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Image Size: 19 x 28 inches, Size: 23 in. x 35 i...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness 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. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 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...

The Factory is an lithograph on paper realized in 1980 by  Giuseppe Megna. Hand-signed and dated on the lower right, artist's proof. Good conditions. The artwork represents the a ...

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 exquisite lithograph after Andre Derain (1880–1954), titled Barques a Graveline (Boats at Graveline), from the folio Andre Derain entre 1935 et 1949, V (Andre Derain between 193...

Up towards the sun. 1972, paper, lithography, 15x12.5 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began he...

Artist: Raymond Loewy, American (1893 - 1986) Title: Hydrofoil Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 300 Image Size: 17 x 24 inches Size: 21 in. x 28 ...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona (Tarragona Tapestry), illustrations, Joan Miro, 1972, originate...

Max Epstein, Canadian (1932 - 2002) - Old Stone Bridge, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: AP, Size: 30 x 44 in. (76.2 x 111.76 cm)

Max Epstein, Canadian (1932 - 2002) - Big Foot Country, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 50, Image Size: 13 x 20 inches, Size: 15 in. x 2...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Mary Faulconer, American (1912 - 2011) - Sag Harbor Antique Shop, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 12 x 15.5 ...

Landscape is a vintage offset print, reproducing the original watercolor by Giorgio Morandi. Signature and date by the artist is perfectly reproduced on plate. Image Dimensions: 17....

John McNulty, Irish/American (1949 - ) - Jardins de Luxembourg, Year: 1984, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 175, Size: 22 x 28 in. (55.88 x 7...

Landscape is an original lithograph realized by Alfonso Avanessian in 1970's Hand-signed on the lower right: Avanessian Artist's proof (as reported on the lower left margin) Good ...

Artist: Urbain Huchet (1930) Title: Voiliers a Saint-Tropaz Year: Circa 1990 Medium: Lithograph on Arches paper Edition: 15/25, plus proofs Size: 29.5 x 21.25 inches Condition: Good ...

Marion McClanahan, American (1921 - 1993) - Purple Cloud, 21 Aps, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: AP 50, Image Size: 22.5 x 30 inches, Si...

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. Morning View III Robert Kipniss, American...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Bacchanale". The original painting was completed circa 1922. In the 1970's after Picasso's d...

Max Epstein, Canadian (1932 - 2002) - Autumn Leaves, Year: 1980, Medium: Screenprint, Signed and Numbered in Pencil, Edition: 99, Size: 30 in. x 44 in. (76.2 cm x 111.76 cm)

Ari Gradus, Israeli (1943 - ) - Early Days Lower East Side, Year: 1980, Medium: Lithograph, Signed and Numbered in Pencil, Edition: AP, Image Size: 27 x 18 inches, Size: 30 in. ...

Seascape + Sails is an original artwork realized by Osvaldo Peruzzi in 1988 . Mixed colored lithograph. Hand-signed by the artist on the lower righ...

Max Epstein, Canadian (1932 - 2002) - Spring Thaw, Year: 1977, Medium: Lithograph, signed, numbered, dated, and titled in pencil, Edition: 50, Size: 23.25 x 31 in. (59.06 x 78.74...

Artist: Richard Haas, American (1936 - ) Title: Dallas Skyline Year: 1989 Medium: Etching with Aquatint, signed and numbered in pencil Edition: SPI 2 Im...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Artist Mati (Abdul) Klarwein Title: Beautiful Beasts Year: 1978 Print - Lithograph Paper Size 23" x 23½" inches Edition: signed in pencil and marked 18/300 Hand embellished by the a...

Kay Ameche, American (1904 - 2005) - Walden Pond in Winter, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 200, AP 40, Image Size: 17 x 21 inches, Size:...

Sunrise on the Lake is an original lithograph realized by Mario Sportelli in the 1970s Hand-signed on the lower right Artist's proof The artwork represents a beautiful landscape w...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

This exquisite lithograph by Pol Bury (1922–2005), titled Hommage a Mondrian (Tribute to Mondrian), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aim...

Jack Hofflander, American (1920 - 2003) - Spring Balloons, Year: 1978, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 22 x 30 inches, Size: ...

CHATEAU is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arches p...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View near Radda Milton Glaser, American (1929...

Ross Bleckner THE WATER LILIES (C.M.) Year: 2019 Medium: Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper Size: 42 x 70 inches (107 x 178 cm) Edition: 30 Price: $7,000 Also sold as a set with Floating Red Glowing and contemplative, Ross Bleckner’s work blends abstraction with recognizable symbols to create meditations on perception, transcendence and loss. Ross Bleckner was born in 1949 in New York and grew up in the prosperous town of Hewlett Harbor on Long Island. The first art exhibition he saw—The Responsive Eye, a show of Op art on view at the Museum of Modern Art in New York in 1965—had a strong impact on him. He decided to become an artist when he was in college, studying with Sol LeWitt and Chuck Close at New York University, where he earned a BA in 1971. Two years later, he completed an MFA at the California Institute of the Arts in Valencia, where he met David Salle. After moving back to New York, Bleckner purchased and moved into a Tribeca loft building in 1974. Painter Julian Schnabel rented three floors of the building, and the Mudd Club, a nightclub frequented by musicians and artists, occupied space there from 1977 to 1983. Bleckner sold the building in 2004. His first solo exhibition was held in 1975 at Cunningham Ward Gallery in New York. In 1979 he began his long association with Mary Boone Gallery in New York, which championed several of the so-called art stars of the 1980s. In 1981 Bleckner met Thomas Ammann, an important Swiss art dealer who went on to collect his work. Bleckner’s early 1980s Stripe...

Jack Hofflander, American (1920 - 2003) - Country Balloon Fair, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 22 x 30 inches, S...

Claude Tabet, French (1924 - 1979) - City Square II. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, EA, Image Size: 23 x 19 inches, Size: 30 x 22 ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Artist: Sam Francis (1923-1994) Title: Demeter (L. L.146) Year: 1972 Medium: Lithograph in colors on Rives BFK paper Edition: A.P. III; 34, plus proofs Size: 18 x 24 inches Condition...

This exquisite lithograph after Andre Derain (1880–1954), titled Hyde Park (Hyde Park), from the folio Fauves, VII, Collection Pierre Levy, 1972, originates from the edition publishe...

This exquisite lithograph by Jasper Johns (born 1930), titled Summer Green, State II, originates from the 1991 publication Jasper Johns, The Se...