Continental US - Landscape Prints

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...

This Amaryllis is one of a series of classically beautiful renderings of flowers by Franco-Iranian artist Marjan Seyedin. Marjan has a contemporary an...

Christo and Jeanne-Claude The Umbrellas Japan-USA Hand Signed by Christo Jeanne-Claude Offset lithograph card Hand signed in orange crayon by Christo and Jeanne-Claude Provenan...

Art Card: Reichstag at Night (Berlin 1995: Der von Christo und Jeanne-Claude verhüllte Reichstag), Hand Signed by Christo and Jeanne-Claude, 1995 Offset lithograph card (Hand signed ...

Christo Art Card: Reichstag Aerial View, Hand Signed by Christo and Jeanne-Claude, 1997 Offset lithograph card (HAND SIGNED) with provenance Gorgeous aerial view of the Reichstag, ha...

Original multicolor linocut by the American artist, Lucina Smith Wakefield. Signed by the artist lower left margin. Circa 1930. Condition is very good, no issues. The linocut is hou...

Artist: Lowell Nesbitt (1933-1993) Title: Iris Year: 1981 Edition: 98/200, plus proofs. Medium: Lithograph on Arches paper Size: 36 x 24.75 inches Condition: Good Inscription: Signed...

Original museum grade exhibition prints on acid-free archival photographic luster paper. Edition of 150 (as noted on the bottom corner of the print) Taken aboard Apollo 8 by Bill A...

This exquisite lithograph after Marc Chagall (1887–1985), titled ...Ich bin Odysseus (...I Am Odysseus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Daco-Verlag Gunter Blase, Stuttgart, and printed by Lichtdruck AG, Zurich, Dielsdorf, September 1989. This authorized edition, issued under the direction of Vava Chagall, captures the defining moment of revelation when Odysseus declares his identity. In ...Ich bin Odysseus, Chagall fuses mythic grandeur with human emotion, portraying the hero’s return to self and destiny in a luminous interplay of color and movement that reflects the artist’s timeless vision of triumph, recognition, and truth. Executed on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper, this lithograph measures 14.88 x 11.69 inches. Unsigned and unnumbered, as issued. The edition exemplifies the exceptional quality and precision of Lichtdruck AG’s craftsmanship, reproducing the depth and richness of Chagall’s original lithographs with remarkable fidelity. Artwork Details: Artist: After Marc Chagall (1887–1985) Title: ...Ich bin Odysseus (...I Am Odysseus), from Homer, Die Odyssee (The Odyssey), 1989 Medium: Lithograph on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper Dimensions: 14.88 x 11.69 inches Inscription: Unsigned and unnumbered, as issued Date: 1989 Publisher: Daco-Verlag Gunter Blase, Stuttgart Printer: Lichtdruck AG, Zurich, Dielsdorf Condition: Well preserved, consistent with age and medium Provenance: From the folio Homer, Die Odyssee (The Odyssey), Daco-Verlag Gunter Blase, Stuttgart, 1989 Notes: Excerpted from the folio (translated from German), Imprint—The French edition, L'Odyssée, with the original lithographs by Marc Chagall was published in 1974/75 in a CCL-example edition by Fernand Mourlot, Paris. In 1989, with the authorization of Mrs. Vava Chagall, the German-language edition of the Odyssey in two volumes was published by Daco-Verlag Gunter Blase, Stuttgart. Volume I contains the songs I - XII with XX color plates, including IV on double pages and XIX gray printed reproductions in the text. Volume II contains the songs XIII - XXIV with XXIII color plates, including II on double pages and XX gray printed reproductions in the text. For the German text, the prose translation by Wolfgang Schadewaldt was chosen with the permission of Rowohlt Taschenbuch Verlag, Reinbek near Hamburg. Set design in the Berthold Garamond Antiqua by F+M Bauer...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

Meet at the Ferris Wheel by Kathleen Beausoleil Signed on front, lower right Print, Amusement Park, Human figures, Skyscape, Outdoors, Nature, Nighttime

Bloom (2017) Rachel Burgess Monoprint on two sheets of paper, 39 x 56 inches total This work is framed.

"Kiosk in Paris" British Linocut 1/50 European Modernism Swiss Vorticism Deco Lill Tschudi (Swiss, 1911-2004) Kiosk in Paris (Coppel LT 29) Linocut...

Signed by the artist in pencil upper right; Annotated in pencil by the artist below signature: "no 58" Edition: Intended edition of 100 for Vollard's "Album des Peintres-Gravures" o...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Whirlpool - Eye of the Storm Year: 1978 Medium: Lithograph on Johannot Wove Paper, signed and ...

The Pattern of Denial print is an examination of image versus reality. The image is inspired by the sleek and idealized mid-century architecture of both deluxe homes and deluxe facto...

Champ de Blé & Sapins Bleus Daniel Riberzani, French (1942) Date: circa 1980 Screenprint on Arches, signed and numbered in pencil Edition of 300, AP 45 Image Size: 28.5 x 19 inches S...

A unique monotype by noted Canadian artist and actor Stephen Lack. The image measures 16 x 22 inches on a 22.5 x 27.5 inch sheet. The artwork is signed, dated, titled and numbered ...

5-color silkscreen on 2-ply museum board. edition of 60 hand signed and numbered. American, 1955-2014 Born in 1955, Tom Slaughter’s career began in 1983 with his first exhibition at the Drawing Center in New York City. Since, he has had more than 20 solo shows in cities including San Francisco, Miami, London, Vancouver, Cologne and Fukuoka, Japan. Slaughter had worked extensively with master printer, Jean Russell at Durham Press, creating numerous limited edition prints using his signature bold primary colors. He worked as a printmaker in collaboration with Durham Press for 25 years, and his editions are included in the permanent collections of MoMA and the Whitney Museum of American Art. He illustrated twelve children’s books, including “Boat Works,” “Do You Know Which Ones will Grow? ” – a 2011 Notable American Library Association book of the year – and collaborations with Marthe Jocelyn such as “ABC x 3,” “Same Same,” and “123.” These books have been translated into six languages. Slaughter also worked for the last ten seasons as the Art Director for the New Victory Theater. As a designer, he created everything from t-shirts to skateboard decks, beach towels as well as a line of wallpaper for Cavern Home. Tom Slaughter, an artist, designer, and illustrator, passed away on October 24, 2014. In his Pop-inflected prints, drawings, illustrations, paintings, and design work Tom Slaughter exudes a love of life. He makes few distinctions between his various artistic endeavors; “I paint, draw, cut paper, use a computer, and even an iPhone—it’s all the same hand,” he says. In a 2001 print...

** Larger prints are available for purchase. Please feel free to contact us if you're interested. Enchanted by the intricate symphony of nature's rhythms, the alluring dance of urba...

On BFK Rives French art paper. This is a Photograph silkscreen print of the Kotel, Western Wall in Jerusalem overlaid with Kadishman drawing. Menashe Kadishman was born in Tel-Aviv ...

Fine piece of Florida abstract Landscape art. With a French Art Deco feel to it.

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Canvasbacks, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth. Published and printed by Art in America Company, Inc., New York, the edition reflects Wyeth’s masterful study of nature and mood through his dry-brush technique. The composition captures the serene grace of waterfowl, rendered with Wyeth’s characteristic precision and quiet introspection that bridge realism and emotional depth. Executed on velin paper, this lithograph measures 17 x 13 inches (43.2 x 33 cm). As issued, it is unsigned and unnumbered, representing the folio’s authentic format. The Four Seasons series was conceived by the editors of Art in America in collaboration with Andrew and Betsy Wyeth, who chose the theme to reflect the central role of seasonal transformation in his art. Each image reveals Wyeth’s profound sensitivity to light, time, and atmosphere—his ability to distill the poetry of the natural world into tangible form. Artwork Details: Artist: After Andrew Wyeth (1917–2009) Title: Canvasbacks, from The Four Seasons, Paintings and Drawings by Andrew Wyeth, 1962 Medium: Lithograph on velin paper Dimensions: 17 x 13 inches (43.2 x 33 cm) Inscription: Unsigned and unnumbered, as issued Date: 1962 Publisher: Art in America Company, Inc., New York Printer: Art in America Company, Inc., New York Condition: Well preserved, consistent with age and medium Provenance: From the 1962 folio The Four Seasons, Paintings and Drawings by Andrew Wyeth, published and printed by Art in America Company, Inc., New York Notes: Excerpted from the 1962 folio: "In 1962 the editors of Art in America proposed to Wyeth a portfolio of images of his recent dry-brush drawings. The artist and his wife suggested the theme, 'The Four Seasons,' because of the essential role played in his work by the cycle of the seasons. The drawings were selected by Andrew and Betsy Wyeth from works in the house and studio at Chadds Ford, supplemented by some owned by friends. With a few exceptions they had never been exhibited or reproduced. The plates were made directly from the originals. In these drawings Wyeth's loving concentration on the object is fully revealed. But as always in his work, this concern with the tangible is balanced by sensibility to mood, to the emotion arising from the actual. They are pervaded with a sense of the season—the exact time of year, the hour of the day, the quality of the light. To the truth and subtlety with which he captures these intangible factors, these drawings owe their poignant poetry." About the Artist: Andrew Wyeth (1917–2009) was an American visual artist and one of the best-known painters of the mid-20th century. Although he considered himself an abstractionist, Wyeth’s work is characterized by a meticulous realism imbued with psychological depth and atmosphere. He often painted the landscapes and people surrounding his homes in Chadds Ford, Pennsylvania, and Cushing, Maine, creating an intimate record of American rural life. The son of the celebrated illustrator N. C. Wyeth, Andrew trained under his father before developing his own deeply personal visual language inspired by Winslow Homer, Henry David Thoreau, and King Vidor. His wife, Betsy Wyeth, was both his muse and career manager, while his son Jamie Wyeth continued the family’s artistic legacy. Among Wyeth’s best-known works is Christina’s World (1948), housed in the Museum of Modern Art, New York—a quintessential image of 20th-century American art. His other notable series include The Helga Pictures and his window studies, each reflecting a profound meditation on solitude, memory, and perception. Wyeth was the first painter to receive both the Presidential Medal of Freedom and the Congressional Gold Medal, and was elected to the French Académie des Beaux-Arts in 1980. In 2022, Andrew Wyeth's painting Day Dream sold for USD 23.29 million at Christie’s New York, setting a world record for the artist. Andrew Wyeth lithograph...

"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...

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right....

This artwork titled "Pineapple Hill, The old Day, Kapalua Maui" 1986, is an original color lithograph on paper by noted French artist Guy Buffet, 1943-2023. It is hand signed and num...

A lithograph by George Bellows. “Tennis (Tennis Tournament)” is a realistic lithograph on paper in black and white by American Realist, George Bellows. Bellows’ depictions of sportin...

David Hockney Offset lithograph poster Hand signed in pencil by David Hockney on the front The work depicted is "Detail of Cubistic Bar", 1980, crayon Published by Petersburg Press, ...

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

Artist: Jacques Villon, After Henri Rousseau, French (1844 - 1910), French (1875 - 1963) Title: La Chasse au Tigre Year: 1924 Medium: Etching with Aquatint, signed and dated in th...

Limited Edition Serigraph, CXIV/CLXXV. The print measures 35 x 32 inches and is unframed. Signed by the Artist. Piece is in Good Condition-there are signs of age and handling (i.e. m...

Poster. 1971 New York Graphic Society Ltd. Printed in U.S.A. Measures 31.25 x 36.75 inches and is unframed. The image is in Very Good Condition. The white border has discoloration/su...

A vintage exhibition poster for famed New Yorker artist, Saul Steinberg at The Corcoran Gallery of Art, Washington DC.

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...

Artist: John Chamberlain (1927-2011) Title: Flashback IV Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 153/175, plus proofs Size: 28 x 20 inches Inscription: Signed ...

Abstracted landscape and sky done with India ink and gouache. Unique India Ink drawing, signed on reverse. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. ...

Artist: (after) George Fennell Robson (English, 1788-1833) Title: "Ben Lawers" (Plate 18) Portfolio: Scenery of the Grampian Mountains Year: 1819 (Second edition) Medium: Original Ha...

Artist: Unknown Title: Night Flower IV Medium: Screenprint, signed, titled, and numbered in pencil mounted on board Image Size: 24.5 x 20 inches Size: 2...

Etching and drypoint on paper by famous Taos Artist Gene Kloss (1903-1996). Title: Navajo Canyon Cliffs. Unframed and un-matted. Kloss #563 Pencil titled lower left. Pencil signed lo...

Lee Wells End of the World Party #5 2023 Archival pigment print Edition of 1 Caption: Opulent Enigmas: Amidst the lush embrace of a paradisiacal oasis, eccentric luminaries, Donatel...

Artist: Peter Max (1937) Title: God Bless America Year: 2002 Edition: 201/300, plus proofs Medium: Lithograph on archival paper Size: 12.5 x 9 inches Condition: Excellent Inscription...

Mielatz, Charles W.(American, born Germany, 1864-1919) UNDER THE BROOKLYN BRIDGE, EAST RIVER. Published by the New York Etching Club, circa 1893. Sign...

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

Karl Eugene Fortess (1907-1993) Original color lithographs on BFK Rives paper, 1966, Hand signed and numbered 29/36 in pencil, Sheet size 20.5 x 15 inches. Karl E. Fortess (1907-1993) was a painter, printmaker and teacher, of Boston, Massachusetts and Woodstock, N.Y. Fortess was born in Antwerp, Belgium on October 13, 1907, and became an American citizen in 1923. He studied at the Art Institute of Chicago, the Art Students League in New York, and the Woodstock School of Painting with Yasuo Kuniyoshi. In 1937 the Works Progress Administration sent him and several other artists to Alaska to document the towns, villages, and remote wilderness landscapes (Pemberton, “Alaska art museum collects WPA’s Depression works from the territory,” Columbia Daily Tribune, November 9, 2003). Trains, trucks, and industrial buildings were what Karl Fortess envisioned when the Public Works of Art Project suggested that he depict “the American Scene.” His work bears the influence of Surrealism, Russsian Constructivist art and Cubism. He was part of a circle of left leaning artists loosley involved with the WPA which included Sol Wilson, Isaac Soyer, Louis Lozowick, Abraham Harriton, Ben Shahn, William Gropper, Nahum Tschacbasov, Morris Shulman, Yasuo Kuniyoshi, Louis Slobodkin, Adolf Dehn, Le Corbusier and Louis Schanker. Karl Fortress taught at the Art Students League, Brooklyn Museum Art School, Louisiana State University, Fort Wright College, and Boston University School of Fine and Applied Arts. He was a member of the Artists Equity Association, Society of American Graphic Artists, American Association of University Professors, and the British Film Institute. He was awarded the Guggenheim Fellowship in 1946, was named an Associate of the National Academy of Design in 1960 and elected to full Academician in 1971. Fortess taught at many different schools, including Boston University School of Fine Art, where he also created an archive of interviews with more than two hundred and fifty contemporary American painters, sculptors, and graphic artists including many with with artists associated with the Woodstock, N.Y. art community. Among the interviewees are Kenneth Armitage, Will Barnet, Romare Bearden, George Biddle, James Brooks, Adolph Dehn, Jane Freilicher, Julian Levi, Alice Neel, Larry Rivers, Moses Soyer, Dorothy Varian...

An urban realist painter, Marsh was born in Paris, France and began drawing as early as the age of three. His artistic studies were done at Yale University, the Art Student League in New York and in Paris. Marsh was a member of the National Academy, the Royal Society of Artists, London, the Southern Vermont Artists...

The White Gate (New Castle, Delaware) Lithograph, 1961 Signed in pencil lower right (see photo) Numbered and title in the lower left (see photos) Condition: Excellent Image size: 15 ...

Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission to the moon in 1971. Gittleman uses bright color to transform the craters and crevices of the lunar surface into vibrant abstractions which recall Abstract Expressionist painting. The strong graphic prints reflect the awe-inspiring nature of their source material. photographer, film maker, video producer, graphic designer, multimedia developer, clock maker and teacher. Guggenheim fellowship (graphics), Cannes Film festival, Academy Award Nomination. Work in permanent collections: MFA Boston, MOMA NY, Smithsonian Institution and Fogg Museum, Harvard. He exhibited with Gyorgi Kepes Solo shows: Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London Group shows: Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA Abstract Photography in the Permanent Collection - DeCordova Sculpture Park and Museum, Lincoln, MA Photography in Boston - 1955-1985 - DeCordova Sculpture Park and Museum, Lincoln, MA Some Photographic Use of Color: Fred Berman...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

Original 1972 "Switzerland" Bicycle Poster – Vintage Psychedelic Pop Art Screen Print. Archival linen-backed in excellent condition, ready to frame. Very seldom available. Vibrant, ...

This artwork titled "Yelding the Right of Way" c.1975 is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed...

This piece is a giclee on Hahnemuhle 350gsm Museum paper, created by Bob Dylan in 2013. It is from Dylan's series entitled The Drawn Blank Series. Bob Dylan is known as one of the ...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: Hong Kong Year: 1973 Medium: Screenprint on BFK Rives, Signed, titled and numbered in pencil Edition: 250, AP 20 Size: 30 in. x 22 ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Artist: John Grillo, American (1917 - 2014) Title: Primavera Year: 1980 Medium: Screenprint, Signed and Numbered in Pencil Edition: 200, AP 30 Image Size: 22 x 29 inches Size: ...

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

Tomás Sánchez (1948) This lithograph from 1982 shows a beautiful landscape by the artist Tomas Sanchez. It is signed and dated in the bottom right corner and numbered on the left on...

Artist: Watanabe Nobukazu, Japanese (1872 - 1944) Title: The Second Army Bombarding and Occupying Port Arthur Year: 1894 Medium: Woodblock Triptych...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Thorsby House in the County of Nottingham" (Vol. 1, Plate 91) Portfolio: Vitruvius Britannicus; or The British Architect, Contain...