Landscape Prints on Sale

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Albert Ernst (1909 Fronhofen - 1996 Hamburg), View of a Coastal Town, etching, 30 x 37 cm (picture), 45 x 50.5 cm (frame), signed in pencil lower right "Albert Ernst", framed under g...

Artist: Peter Max (1937) Title: Cosmic Jumper, Detail III Year: 2002 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excell...

Artist: Peter Max (1937) Title: Neo Man In Love Ver. II Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 11 x 9 inches Condition: Excellent Inscrip...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Memory and Present, 1983. Color etching, copy 41/50, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm (frame), titled, numbered, monogrammed and dated with pencil. Framed behind glass. - in very good condition - The flowing space of memory - About the artwork On an implied horizon line, a dog-like animal has risen on its hind legs and is about to jump over some kind of hurdle. To the left, a small flag is waving in the wind. The animal and the flag point forward, toward the reader, into the future. The flagpole, however, bends backwards in the opposite direction, corresponding to the impulse of movement of the sign-like formations in the "sky". The title of this work by Mordstein is also revealing. It reads "Memory and Presence" and thematizes the system of signs above the animal as memory. It is therefore not so much a sky as the space of remembering consciousness. Memory moves into the past, but comes from the future and begins where the animal first moves. Here, Mordstein develops a subtle pictorial philosophy about the character of time and the structure of memory, in which the system of signs representing the content of consciousness is inspired by the pictorial language of Paul Klee, whom Mordstein continues to think about in his own way. About the artist After graduating from the Werkkunstschule in Augsburg, Karl Mordstein worked as a commercial artist in Munich before becoming a freelance artist and concentrating entirely on his own creations. In 1970 Mordstein married the sculptor Sinen Thalheimer and the artist couple moved to Starnberg. In 1972, Mordstein had his first solo exhibition in Munich, which marked the beginning of an active international exhibition career that lasted for decades. From 1987 the couple lived on the Hollerberg in Wilzhofen. "It is certainly not wrong to recognize in the impression of his calmly floating color drawings the expression of a state of mind that owes itself precisely to this conscious turning away from the hectic art market: concentrated serenity. It is not a changing state of mind, but an empathy with the supra-individual rhythms of creation, the perpetual genesis in the natural cycle of becoming and passing, which is expressed in them." - Stefan Tolksdorf Selected Bibliography Karl Mordstein. Aquarelle, Gouachen 1972 – 1975, Galerie Angst und Orny, München 1975. Juliane Roh: Karl Mordstein. Bilder, Paintings 1976 – 79, Frankfurt a. M. 1979. Siegfried Salzmann (Text): Karl Mordstein. Arbeiten auf Papier, Galerie Dorothea van der Koelen, Mainz 1982. Galerie Heimeshoff (Hrsg.): Karl Mordstein. "Seelen-Notate"; Bilder, Arbeiten auf Papier, Bildkästen; 1985 – 1988, Essen 1988. Stefan Tolksdorf (Text): Lebenszeichen. Mordstein, Karl und Sinen Thalheimer, Essen 2009. GERMAN VERSION Karl Ludwig Mordstein (1937 Füssen – 2006 Wilszhofen), Erinnerung und Gegenwart, 1983. Farbradierung, Exemplar 41/50, 22,5 x 28 cm (Darstellung), 40 x 45 cm (Blattgröße), 43 x 48 cm (Rahmen), in Blei betitelt, nummeriert, monogrammiert und datiert. Hinter Glas gerahmt. - in sehr gutem Erhaltungszustand - Der fließende Raum der Erinnerung - zum Kunstwerk Auf einer angedeuteten Horizontlinie hat sich ein hundeartiges Tier auf die Hinterläufe erhoben und setzt zum Sprung an, um eine Art Hürde zu überwinden. Links daneben weht eine kleine Fahne im Wind. Das Tier und die Fahne weisen in Leserichtung nach vorne, in die Zukunft hinein. Die Fahnenstange biegt sich allerdings in die gegenteilige Richtung nach hinten und entspricht damit dem Bewegungsimpuls der zeichenhaften Gebilde am ‚Himmel‘. Auch bei diesem Werk Mordsteins ist der Titel aufschlussreich. Er lautet „Erinnerung u. Gegenwart“ und thematisiert das Zeichensystem über dem Tier als Erinnerung. Daher handelt es sich weniger um einen Himmel als um den Raum des erinnernden Bewusstseins. Die Erinnerung zieht in die Vergangenheit, kommt aber von der Zukunft her und beginnt dort, wohin sich das Tier erst bewegt. Mordstein entwickelt hier eine subtile Bildphilosophie über den Charakter der Zeit und die Struktur der Erinnerung, wobei das für den Bewusstseinsinhalt stehende Zeichensystem von der Bildsprache Plau Klees inspiriert ist, den Mordstein hier auf seine Art...

Davis Cone 1983 Variety Photo Plays Signed in pencil and marked 3/7 PP (Printers Proof) Lithograph in colors Paper Size 34½ x 26 inches Image Size 32½ x 23¼ inches Eleanor Ettinger G...

Landscape is an artwork realized by F. Hundertwasser around 1980s. The screen printing is made of metal foil embossing and high gloss lacquer finishing, on a black background. Ci...

"A Vagrant Dream" by Eyvind Earle Media: Serigraph on Paper Image Dimensions: 30" x 33" Year Produced: 1995 Edition: 112/200 Signed and numbered by the artist The artwork is in excel...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Undeutlicher deutlich, 1982. Color etching, e.a. (Epreuve d'artiste) 4/9, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm ...

Artist: Peter Max (1937) Title: Six Liberties Year: 2003 Edition: 424/500, plus proofs Medium: Lithograph on Arches paper Size: 13.5 x 15.5inches Condition: Excellent Inscription: Si...

Artist: Peter Max (1937) Title: Two Sailboats with Stars Year: 2002 Edition: 499/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excelle...

Artist: Peter Max (1937) Title: Space Angels Year: 1999 Edition: 199/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 6.5 x 12 inches Condition: Excellent Inscripti...

Artist: Peter Max (1937) Title: Two Hearts on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 13 x 17 inches Condition: Excellent Insc...

Artist: Peter Max (1937) Title: Angel with Sun II Year: 2002 Edition: 427/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent Insc...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Original, linen-backed travel by Cunard Line cruise ship R.S.S. "Caronia" horizontal poster. This original poster is ready to frame. RMS Caronia ...

Artist: Peter Max (1937) Title: Vase with Tree II Year: 2000 Edition: 466/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 7.5 x 8.25 i...

DAVIES, Peter (b.1953) ‘Sandy Harbour’ 2008 Linocut 3/8 30.0 x 30.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical...

Pastel Landscape: Impressionist Trees is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the American artist Nell Revel Smith...

Color lithograph, hand signed and numbered. Dada Paris Printed Guilde de la Gravure stamp

Artist: Peter Max (1937) Title: Liberty Head III Year: 2001 Edition: 485/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscript...

"St. Nicolas du Chardonnet" Etching in Ink on Paper Delicate and detailed etching by Katherine Kimball (American, 1866-1949). The Catholic church of St. Nicolas du Chardonnet is shown nestled in the streets of Paris. With clever use of line weight and clarity, the building is highlighted and cleanly stands out against the background and surroundings. Stamp with coat of arms on verso. Artist's info written on verso. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 6.75"W Katherine Kimball (American, 1866-1949) was born in Fitzwilliam, New Hampshire. She studied at the National Academy of Design in New York and exhibited in the San Francisco Panama-Pacific Exhibition of 1915. Listed in “Who Was Who in American Art, 1564-1975”; “North American Women Artists...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), From the Book of the Dead of a City (IV), 1983. Color etching, copy 16/60, 15.5 x 18.5 cm (imag...

Quiet winter scene on a frozen lake by listed artist Bernard Gantner (France, b. 1928). Presented in a rustic wood frame. Signed and numbered in pencil: edition number "149/275" lowe...

DAVIES, Peter (b.1953) ‘Room for Rothko’ 2008 Linocut A/P 30.0 x 30.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechani...

Artist: Peter Max (1937) Title: Flying Doves Year: 2002 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent Inscripti...

Robert W Addison Waiting - 1996 Print – Lithograph on Arches Archival Paper Stamped signature and marked 157/250 Image size 30” x 22” inches Paper 35"x 27½" inches Robert Addison worked at Ficho & Corley art studio in the John Hancock...

Comanche Dance at San Ildefonso Pueblo (New Mexico). Etching and drypoint, artist's proof from an edition of 50 prints. Presented in a custom frame, outer dimensions measure 22 ¼ x 18 ½ x ½ inches. Image size is 11 ¾ x 14 ½ inches. Print is clean and in very good vintage condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Gene (Alice Geneva) Kloss is considered one of America’s master printmakers. She was born in Oakland, California and established herself as an artist on the West coast. Kloss was introduced to etching by Perham Nahl while at UC Berkley. She graduated in 1924, and in 1925 married poet Phillips Kloss. In her late twenties, Kloss moved to Taos, New Mexico and began her life’s work of the New Mexican landscape and peoples. It was at this time that she received national acclaim. Her artwork exudes an unmistakable content and style. Enchanted by the architecture, mountainous landscapes and rituals of the inhabitants, Kloss captured the beauty of the Southwest and surrounding areas. Her style was bold yet deftly simple, masterfully expressing the elusive Southwestern light...

Artist: Peter Max (1937) Title: Lady Thru Window Year: 1999 Edition: 166/300, plus proofs Medium: Lithograph on archival paper Size: 6.5 x 12 inches Condition: Excellent Inscription:...

Artist: Peter Max (1937) Title: Abstract Zero Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 11 x 9 inches Condition: Excellent Inscription: Sign...

Artist: Peter Max (1937) Title: Rock N' Roll Guitar III Year: 2003 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.12 x 2.43 inches Condition: Excelle...

Artist: Peter Max (1937) Title: Cosmic Umbrella Man Year: 2003 Edition: 496/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.43 x 2.62 inches Condition: Excellent I...

Artist: Peter Max (1937) Title: Lady With Floating Flowers Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 9 x 11 ...

Artist: Peter Max (1937) Title: Cosmic Profile Year: 2003 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.43 x 2.62 inches Condition: Excellent Inscri...

DAVIES, Peter (b.1953) Guernsey Fort 2010 Linocut 17/30 15.0 x 10.5cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical, ra...

Artist: Peter Max (1937) Title: Two Figures On Rainbow Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 9 x 11 inches Condition: Excellent Inscript...

Mid Century Modern Palm Springs Architecture. Steve McQueen vintage car photographed for the first time at his home in Palm Desert. Archival...

Camilla Engström GULDFLOD, 2021 Digital print on 310g Photo Rag paper 31 1/2 × 23 3/5 in 80 × 60 cm Edition of 100

DAVIES, Peter (b.1953) ‘Pen-Olva Pool’ 2008 Linocut A/P 30.5 x 20.5 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical...

Artist: Peter Max (1937) Title: Two Cosmic Sages, Version I Year: 2001 Edition: 453/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.5 x 5.5 inches Condition: Excel...

Hiroshi Sugimoto Photogenic Drawings (Hand Signed), 2012 Offset Lithograph Poster. (Hand signed by Hiroshi Sugimoto) Unframed This offset lithograph poster was hand-signed by photogr...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Latin Quarter Year: 1978 Medium: Lithograph on premium paper Size: 27.75 x 22.75 inches Condition: Exc...

Artist: Alexander Calder (1898-1976) Title: Black Lines (from the Our Unfinished Revolution portfolio) Year: 1975-76 Medium: Lithograph in colors on Arches paper Edition: 175, plus p...

Limited Edition series of Classic a couple Porsche Targa within Palm Springs California. Mid Century Modern Design Architecture. Photography by Tom Blach...

Artist: Peter Max (1937) Title: Abstract Figure I Year: 2001 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 5 x 6 inches Condition: Excellent Inscripti...

Josep Moscardó (1953) - Girona Cathedral Lithograph - Hand signed Lithograph measures 74x52 cm. Frameless. Numbered 121/150 Barcelona, 1953 Painter, s...

Ella Fort Flower Field (Champ Fleuri) Color Lithograph Signed, numbered or inscribed Edition: 390 + 250 Size: 7.8 × 11.7 on 11.7 × 15.6 inches COA provided *edition number might va...

DAVIES, Peter (b.1953) Wing and Prayer 2013 Linocut 25/50 15.5 x 10.5 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical...

Title: Dalinean Prophecy Year: 1975 Medium: Engraving with pochoir on Arches paper Edition: 250 Arabic Numerals on Arches paper, 250 (I = International) Arabic Numerals on Rives paper, 75 Roman Numerals on Japon paper, 25 Roman Numeral proofs (EAs) on Japon paper, and 5 Roman Numeral proofs (HCs) on Japon paper. Size: 22.25 x 30.25 inches Condition: Excellent Inscription: Signed and numbered by the artist. Notes: Published by Merrill Chase Publishing Associates. Albert Field Catalog Reference #: 75-13. SALVADOR DALI (1904-1989) Salvador Dali's work is associated with the surrealist movement of the 20th Century. A diverse and multi-talented artist, Dali is considered one of the most collected artists today, and his works offer an incredible opportunity for enormous appreciation in value. In addition to his original works, Dali produced works on paper for reproduction using dry point, etching, woodcut, and lithography. Many of his works are held in prestigious private and public collections world...

DAVIES, Peter (b.1953) Tregenna Roofs (St. Ives) 2011 Linocut 4/6 26.0 x 34.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used ...

DAVIES, Peter (b.1953) Rachel’s Mug (St.Ives) 2011 Linocut 13/20 13.5 x 18.0 cm (image) framed Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes hav...

Artist: Peter Max (1937) Title: On a Distant Planet Year: 1978 Edition: H.C. 9; aside from the edition of 165 Medium: Silkscreen on Somerset paper Size: 26.5 x 20.75 inches Conditio...

DAVIES, Peter (b.1953) ‘The Godrevy Window’ 2010 Linocut 3/8 20.5 x 30.5 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechan...

"Night Views" Silkscreen Print by The Skyscape Artist, 25/100. By Tetsuro Sawada ( Japanese, 1933-1998) This raven black geometric abstraction focuses on hard-edged horizontal lines, color, and light, giving the impression of dusk through the "bokashi," or shading, technique, which is most difficult in the silkscreen medium, a good example of Sawada's theme of the infinite beyond, the silent emptiness of the universe. Signature in the bottom right corner reads, "T. Sawada '87," titled in the bottom center, "Night Views," and numbered, "25/100," in the bottom left corner. Presented in a new white mat. Paper size: 34"H x 22"W, Mat size: 39"H x 27"W Born in Hokkaido, Tetsuro Sawada (1933-1998, Japanese) graduated from Musashimo Art University where he majored in Western painting. In 1960, he began painting abstract oils...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 450. Artwork is in excellent condition. Certificate of authenticity included. All reason...

DAVIES, Peter (b.1953) ‘Busby 11’ 2009 Linocut A/P 15.5 x 10.0 cm Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical, rather...

Artist: Warrington Colescott (1921-2018) Title: Fracas at Calamity's Place Year: 1969 Edition: 35/40, plus proofs Medium: Lithograph on paper Inscription: Signed & numbered in pencil...