Women Landscape Prints

We are proud to present a brand new edition by Alex Katz. "Purple Irises in White" is one of the latest works that have been published. It is an homage to his landscape and flower artworks...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 1/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

Direct to plate photogravure and aquatint. Edition of 40.

Patagonia #32 is a limited edition photograph which is part of the Antarctica/Patagonia Series by John Conn taken in 2010. The image is 13x19 and it is printed on 17x22 archival pap...

PAUL DELVAUX 1897-1995 Antheit, Huy 1897-1995 Veurne (Belgian) Title: The Sea is Near La Mer est Proche, 1966 Technique: Original Hand Signed and Inscribed Lithograph on Arc...

The present collection is a set of 131 prints after Gerard Hoet, the Dutch golden age painter and engraver, depicting various biblical scenes. Hoet was a leading artist in the Classicizing Dutch Academic style, and his work is defined by history paintings, with a particular interest in mythological, classical, historical, and biblical scene, in particular Old testament scenes...

ARAQUÉM ALCÂNTARA Caraja girl portrait, Brazil, 2006 71 x 48 inches - Edition of 10 Archival Pigment Print - Wood box frame matt - Regular Plexiglas...

Unique and large print titled CAN NOT BE PICTURED – OH NO OH NO! (The Sequoias) Digital collage from digital photography [2011]. Diptych, toner print on 90 g pink paper, mounted on...

The Spring series represents Katz’s profound engagement with the cyclical nature of time. The abstracted compositions of falling leaves or budding branches embody a conceptual rather...

Kenny Scharf Worldz End (Night) 2023
 1 color silkscreen with enamel ink, flocking on Rising 4-ply museum board 54 x 70 inches (137 x 178 cm) Signed and numbered edition of 33 Color...

Kenny Scharf Worldz End (Day) 2023
 1 color silkscreen with enamel ink, flocking on Rising 4-ply museum board 54 x 70 inches (137 x 178 cm) Signed and numbered edition of 33 Colorfu...

John Baldessari Life's Balance (with Money) 1989-90 Etching, aquatint and photogravure in colors, on irregularly shaped Somerset paper 51 x 42 3/4 in. Edition of 45 Pencil signed and...

Cake Shop, woodblock print by Clifton Karhu, red, yellow, black, framed, Japan hand signed and numbered

Model in a black Leotard hiking up a Snowy Mountain in Red High Heels attached to a pair of Ski, photographed by Tony Kelly in 2018. All prints are limited ...

Colorful Fine Art Prints, Landscape Photography, Rock Prints-Opalescent on Rush ABOUT THIS PIECE: "Opalescent on Rush" was part of a landscape series shot...

The images in Wayne Thiebaud's drypoints fill the space around them, carving into it. They are images of mountains. In one, only the mountaintop shows and a gigantic cloud is in the ...

Waterfall Photography, Texture Photography, Landscape Prints-Torrent 815 ABOUT THIS PIECE: "Torrent 815" was part of a Black and White Photogra...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 45.7 x 54.3 inches (Edition of 6) This artwork is offered by ClampArt, located in New...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 4) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

Archival pigment print Signed and numbered on label, verso 24.8 x 29.5 inches (Edition of 6) 43.7 x 52.4 inches (Edition of 7) 58.7 x 70.9 inches (Edition of 2) 72.1 x 88.2 inch...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Alexis Fidetzis How to Brutally Construct an Absurd Sense of Pride digital print on paper 30 x 150 cm (7 pieces)

Sigmar Polke Preisvergliech (Price Comparison), 2001 offset lithograph/silkscreen on card stock 39 1/2 x 27 inches Edition of 75 signed, dated and numbered recto in ink; printer...

Jim Stoker was born in Nash, Texas, in 1935, and grew up in Atlanta, Texas. He graduated from The University of Texas at Austin with a BFA in Applied Art in 1957. His teaching career...