Mid-20th Century Landscape Prints

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Cézanne: Ten Water Colors, 1947. Published by Pantheon B...

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marquet, 1948. Publish...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on vélin du Lana Papiers Spéciaux paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Masson Dessins, 1951. Published by George...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Cézanne: Ten Water Colors, 1947. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Cézanne: Ten Water Colors, 1947. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Artist: Marc Chagall (after) Title: Roses and Mimosa Portfolio: Nice and the Cote d'Azur Medium: Lithograph Date: 1967 Edition: 149/150 Frame Size: 37 1/2" x 30 1/4" Sheet Size: 29" ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, TLautrec, A Portfolio Of Twelve Reproductions of Lithogr...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Mark Tobey: Peintres d'aujourd'hui, 1961. Published by Fernand Hazan, Paris; lithographic plates produced by Clichés Union, Paris; printed by Lecot printing and Daniel Jacomet, Paris, 1961. Excepted from the folio (translated from French), Three hundred, seventy-five examples of this edition, numbered from 1 to 375, and shot on the presses of Daniel Jacomet, in Paris. MARK TOBEY (1890-1976) was an American painter. His densely structured compositions, inspired by Asian calligraphy, resemble Abstract expressionism, although the motives for his compositions differ philosophically from most Abstract Expressionist painters. His work was widely recognized throughout the United States and Europe and came in the wake of Picasso and Braque. Along with Guy Anderson, Kenneth Callahan, Morris Graves, and William Cumming, Tobey was a founder of the Northwest School. Senior in age and experience, he had a strong influence on the others; friend and mentor, Tobey shared their interest in philosophy and Eastern religions. Similar to others of the Northwest School, Tobey was mostly self-taught after early studies at the Art Institute of Chicago. In 1921, Tobey founded the art department at The Cornish School in Seattle, Washington.Tobey was an incessant traveler, visiting Mexico, Europe, Palestine, Israel, Turkey, Lebanon, China and Japan. After converting to the Baháʼí Faith, it became an important part of his life. Whether Tobey's all-over paintings, marked by oriental brushwork and calligraphic strokes, were an influencer on Jackson Pollock's drip paintings has been left unanswered. Born in Centerville, Wisconsin, Tobey lived in the Seattle, Washington area for most of his life before moving to Basel, Switzerland in the early 1960s with his companion, Pehr Hallsten...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Woodcut in colors on vélin pur chiffon de Rives paper. Inscription: Unsigned and unnumbered, as issued. Catalogue Raisonne Reference: Michler/Löpsinger 1039-1138; Field 189-200. Goo...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Mark Tobey: Peintres d'aujourd'hui, 1961. Published by Fernand Hazan, Paris; lithographic plates produced by Clichés Union, Paris; printed by Lecot printing and Daniel Jacomet, Paris, 1961. Excepted from the folio (translated from French), Three hundred, seventy-five examples of this edition, numbered from 1 to 375, and shot on the presses of Daniel Jacomet, in Paris. MARK TOBEY (1890-1976) was an American painter. His densely structured compositions, inspired by Asian calligraphy, resemble Abstract expressionism, although the motives for his compositions differ philosophically from most Abstract Expressionist painters. His work was widely recognized throughout the United States and Europe and came in the wake of Picasso and Braque. Along with Guy Anderson, Kenneth Callahan, Morris Graves, and William Cumming, Tobey was a founder of the Northwest School. Senior in age and experience, he had a strong influence on the others; friend and mentor, Tobey shared their interest in philosophy and Eastern religions. Similar to others of the Northwest School, Tobey was mostly self-taught after early studies at the Art Institute of Chicago. In 1921, Tobey founded the art department at The Cornish School in Seattle, Washington.Tobey was an incessant traveler, visiting Mexico, Europe, Palestine, Israel, Turkey, Lebanon, China and Japan. After converting to the Baháʼí Faith, it became an important part of his life. Whether Tobey's all-over paintings, marked by oriental brushwork and calligraphic strokes, were an influencer on Jackson Pollock's drip paintings has been left unanswered. Born in Centerville, Wisconsin, Tobey lived in the Seattle, Washington area for most of his life before moving to Basel, Switzerland in the early 1960s with his companion, Pehr Hallsten...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing the summer horse fair, which Chiryu was well known for. Every summer, horse traders would bring near 500 horses to m...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, The Circus by Toulouse-Lautrec, 1952. Published the Par...