Contemporary Landscape Prints

David Hockney "Untitled" Snow Window iPad Drawing. My Window No. 610. A eight colour inkjet print on cotton fibre archival paper. Dated 2009. A limited edition of 250 prints. Signed...

Hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 3 prints made in this largest size. These are the foggy woods in the hills of Oakland, across...

Hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 3 prints made in this largest size. These are the foggy woods in the hills of Oakland, across...

Hand-printed original cyanotype photograph on heavy cotton watercolor paper. Just one of 3 prints made in this largest size. These are the foggy woods in the hills of Oakland, across...

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...

Riviera Twilight is a serigraph on paper, image size 28 x 43 inches, signed ‘Kerry Hallam’ lower right and numbered lower left. From the edition of 500, numbered CIX/CL (there were a...

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...

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 ...

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...

Spring Flowers on Mt Baker from Skyline Divide, Mt Baker Wilderness, WA. "The trail out Skyline Divide follows a ridge toward Mt Baker. This was the view from my campsite on the rid...

Artist biography: Simon Tozer is an award winning printmaker based in Bristol. Simon Tozer's screen prints are constructed images, built up through the layering of translucent colour...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Morning G...

Medium: Screenprint Year: 2021 Image Size: 22 x 22 inches Edition of 25 Jos Sances was born John Joseph Sances in Boston and attended Montserrat School of Visual Art in Beverly, Mas...

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...

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

Patrick Hughes "Golden" Multiple. A hand painted three dimensional, Reverspective print, inspired by Venice. Produced in 2022. This print comes housed in a bespoke perspex display ca...

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...

Agra is a serigraph on paper measuring 27 x 30 inches, signed 'McKnight' lower right and annotated lower left. Framed in a contemporary, black frame. Numbered 176/200 from the editio...

Jos Sances’ Día de los Muertos, November 2 is a densely layered allegory reflecting on the long shadow of European “discovery” and its ongoing consequences. Rendered with Sances’ tra...

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

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

Landscape is a mixed colored screen print realized by the Sicilian artist Renato Guttuso. Sheet dimension: 50 x 69 cm. Good conditions. Renato Guttuso (Bagheria, Palermo 1912 - Ro...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 48 x 72 i...

"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...

This eight colour silkscreen print is all about the landscape and the dazzling colours of a hot summer day. This 8 colour silkscreen is printed on Somerset Velvet, a heavyweight 300 ...

"Sometimes, as an antidote to fear of death, I eat the stars....". Inspired by 'Antidote to Death', a poem by Rebecca Elson Angelica’s multi-layered works are informed by her ongoin...

Nicolas Party (b. 1980) is a critically acclaimed Swiss artist best known for his distinct brand of stylized fantasy figuration. One of the most successful and youngest artists in th...

Etching hand colored realized by Franco Marzilli.  Hand signed and numbered. Edition of 81/99 Very Good condition. This delicate etching by Italian artist Franco Marzilli captures...

"March" is a landscape printed on canvas after the German painter Maestro Otto Altenkirch About the artwork: TECHNIQUE: oil painting Edition : Limi...

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...

This exquisite lithograph by David Hockney (born 1937), titled Letter W, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

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....

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light yellow, very pale sky gray blue and soft lave...

Recognized as a pioneer of nature photography in Brazil, Araquém Alcântara (b. 1951) has, for over five decades, built a monumental visual legacy that celebrates and defends the coun...

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...

Beyond The Obsession Lies The Connection - Surfing Art - Woodcut Print By Marc Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse your...

Embossed lithograph with foil stamping on paper. Hand signed and numbered by the artist. From the edition of 450. Artwork is in excellent condition. Certificate of authenticity inc...

A single oak tree in a meadow with the grass aglow in early morning. These are the foggy woods in the hills of Oakland, across the bay from San Francisco. This is a photograph printe...

Chandra - meaning the Hindu God of the Moon – as the image was taken in Sri Lanka The image was first gilded with copper then that was rubbed back to reveal most of the glass, and t...

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

Venetian Dawn is a lithograph on paper with an image size of 3 x 3.75 inches, inititaled 'LK' lower right and annotated lower left, framed in a gold-tone classic 'reed and ribbon' mo...

Shrine, wood block print, Japan, yellow, brown, black, graphic, Karhu

The coastal landscapes of Maine have been the main source of inspiration for Rachel Burgess for many years. Burgess’s ongoing fascination with how land meets water— along rivers, lak...

Silkscreen with enamel inks and flocking on Rising 4-ply museum board Edition 40 of 40

ARAQUÉM ALCÂNTARA Jaguarete #16, Brazil, 2018 40 x 40 inches - Edition of 10 Archival Pigment Print - Black box frame matt - Regular Plexiglas Araq...

Medium: lift-ground etching and engraving Edition: 15 Year: 1961 Plate: zinc 9 x 15 inches (22.9 x 38.1 cm) Paper: Murillo, 16 x 21 inches (40.6 x 53.3 cm) Peter Milton is internati...

Cities 12 – February in Prague 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 Ea...

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...

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...

Lithograph realized in 1980s. Hand signed in pencil. Hand retouched. Not numbered.

Yucca is a cyanotype Work on paper by Cynthia MacCollum. This original artwork is 31.5 x 8.5 on archival paper. It is currently unframed. Macollum uses actual plants and flowers a...

Donna Evans' "Angel and Skeleton" shows an angel reaching out to a skeleton as if to rescue it from a wooded landscape. Donna Evans is one of a group of N...

Color lithograph, Edition 30. Jacquette creates compelling images of the landscape and the sea from the air or atop hills or mountains.

Patrick Hughes Street 2021 hand-painted multiple 38.9 x 74.8 x 19.6 cm (15¼ x 29½ x 7¾ in.) edition of 50 Provenance Direct from the artist’s studio Notes “I have lived and worked in Shoreditch for a quarter of a century and I have watched with delight and amazement the rise of Street Art...

Untitled (Nr. 0006) Photography 18" x 24" Edition of 20 by Ben Cope Signed and numbered by the artist. Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off t...

This piece was inspired by the incredibly intricate and beautiful skeleton of a butterfly ray. I contacted the Natural History Museum and they kindly sent me some images of a butterf...

Deluxe signed limited edition print on aluminium Edition of 25 Nick's artistic process is a captivating blend of modern techniques and nostalgic inspiration. He combines digital ma...

The Train from Munich is a print for Milton's wife, Edith, referencing her escape from Germany in 1939. The image started with a photograph by Eugène Atget of a girl looking out of a...

Colorful figurative drypoint print by Polish artist Czeslaw Tumielewicz. The print is signed, it comes from edition limited to 10. CZESLAW TUMIELEWICZ (b. 1942) In 1968, he studied ...

Lithograph on paper realized by Franco Azzinari in 1980s. Hand signed and numbered in pencil. Edition of 130. Excellent condition.