20th Century Landscape Prints

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 Somerset paper Limited edition: 143/175, (there were also 40 artist's proofs) Printer: Willco Fine Art, New York, NY Publisher: Chalk & Vermilion, New York, NY Sheet size: 21" x 23" Image size: 16" x 18.13" Condition: Never framed, has been professionally stored away in its original green silk boxed portfolio for decades. In mint condition Notes: Numbered by McKnight in pencil lower left. Comes from McKnight's 1987 "The Hamptons" portfolio of twelve screenprints. Artist's copyright stamp lower right on verso. Biography: Thomas McKnight (born 1941) is a U.S. artist. He was born in 1941 in Lawrence, Kansas. He attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. He spent his junior year in Paris. After a year of graduate work in art history at Columbia University, in 1964 McKnight found a job at Time Magazine where he would work for eight years, interrupted by a two-year stint in the U. S. Army in South Korea. In 1972 McKnight left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. In 1979 in Mykonos, McKnight met Renate, a vacationing Austrian student, and married the following year. Throughout the 1980s McKnight’s art, mainly limited edition serigraph prints, became increasingly popular. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton...

John Baldessari's Paradise is a thought-provoking piece that plays with the concept of utopia and the viewer’s expectations of imagery. Known for his witty and conceptual approach, B...

A captivating early 20th-century etching portraying a solitary tree in all its majesty. Rendered with meticulous detail and a masterful eye for composition. Unsigned. Beautifully pre...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Antique British Steamship Etching This moody etching by Joseph Kirkpatrick (British, b. 1874 d. 1936) features a steamboat in the midst of choppy w...

David Hockney Grimms' Fairy Tales (Hand Signed), 1996 Offset Lithograph Poster Boldly signed in ink marker on the top front 16 1/2 × 11 1/2 inches Unframed This signed offset lithogr...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

Robert Rauschenberg Rare 1960s Musee D'Art Moderne de la ville de Paris poster, 1968 Offset Lithograph Edition of 500 27 1/2 × 21 inches Unframed, not signed Accompanied by Certifica...

Lithograph on vélin paper. Paper Size: 8 x 6 inches, image; 15 x 11 inches, overall. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Marc Chagall, The Jerusal...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Axsom, Richard H., and Ellsworth Kelly. The Pri...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

Woodcut on vélin paper. Paper Size: 9.65 x 12.4 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage au fondateu...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Lake Tarryall, a 1941 lithograph by Adolf Dehn (1895-1968) was made while he was teaching in Colorado. A native of Waterville, Minnesota, Dehn attended the Minneapolis School of Art ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and F...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, N°12 Mal-Ju...

Original 1964 Los Angeles, California vintage travel poster. Professionally archivally linen-backed in mint condition. This is one of four ...

Artist: Andy Warhol (1928-1987) Title: Jacqueline Kennedy (Jackie II) Year: 1966 Medium: Silkscreen in colors on wove paper Size: 24 x 30 inches Condition: Excellent Inscription: Sig...

Artist: John Chamberlain (1927-2011) Title: Flashback VI Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 151/175, plus proofs Size: 28 x 20 inches Inscription: Signed ...

Denis-Paul NOYER Mercedes 710 - Cabourg Grand Hotel Original lithograph, c. 1980 Handsigned in pencil Numbered / 115 copies On Arches vellum 75 x 105 cm (c. 30 x 42 in) INFORMATION...

Artist: Andy Warhol (1928-1987) Title: Mao 97 Year: 1972 Medium: Silkscreen in colors on Lenox Museum Board Size: 36 x 36 inches Condition: Good Inscription: signed in ball-point pen...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Artist: Salvador Dali (1904-1989) Title: Téléphone-homard cybernétique (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Cybernetic lobster phone, Imaginatio...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Artist: Romare Bearden (1911-1988) Title: Girl in the Garden (Gelburd/Rosenberg 62) Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 33/150, plus proofs Size: 28.75 x 2...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonne references: Picasso, Pablo, and Georges Bloc...

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, N° 13, Noël 19...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc, ...

Ten lithographs in excellent condition, with portfolio cover. The ten artists included in the 1946 portfolio "Mexican Art: A Portfolio of Mexican People and Places" include: Ángel Bracho / Francisco Mora / Fernando Castro Pacheco / Raúl Anguiano / Alberto Beltrán...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Moore, Henry, et al. Henry Moore...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek urns, and snakes, printed in black o...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miro...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Paper Size: 12.99 x 9.84 inches. Catalogue raisonné reference: Orozco, Miguel. T...

Lithograph on vélin paper. Paper Size: 12.75 x 9.428 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and Fernand Mourlot. Chagal...

ARTIST: Salvador Dali TITLE: Plage de Cadaques MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: Epreuve d'Artiste MEASUREMENTS: 26" x 19.75" YEAR: 1967 FRA...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Axsom, Richard H., and Ellsworth Kelly. The Pri...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Colorful dots, lines and squares in bright blue, pink, green, lilac and yellow in wood grain form a totem against a lavender purple background. This jubilant take on Cubism features ...

In 1983, artist David Lingwood created this stunning diptych poster, capturing the serene beauty of Le Trayas, a picturesque locale in the south of France. This two-panel composition...

Collotype on gloss vélin Johannot paper, hinged on black wove paper, as issued. Inscription: Unsigned and unnumbered, as issued. Paper Size: 10.83 x 8.86 inches. Notes: From the albu...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

NORBERTINE VON BRESSLERN-ROTH (1891 1978) KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928 Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16” In excellent condition and full ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

Lithograph on vélin paper. Paper Size: 12.216 x 9.875 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and Fernand Mourlot. Chaga...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Original “Never So Few” vintage linen-backed movie poster, NSS 59/348. Very clean and bright, with original theater-issued fold marks touched up. Grade A-. Ready to frame. Nev...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Artist Mati (Abdul) Klarwein Title: The Good Life Year: 1978 Print - Lithograph Paper Size 23" x 23½" inches Edition: signed in pencil and marked 3/300 Hand embellished by the artis...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and F...

B. J. O. NORDFELDT (1878 - 1955) THE WAVE, MOONRISE, 1906 (Donovan 19) Woodcut printed in colors. Signed and dated faintly in sky upper left. Image 9 ¼ x 11 1/8”, sheet 9 5/8 x 11 ...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...

Tony Bennett Title: South of France Lithograph Signed and Marked ATL  5/5 ( Printers Proof ) Paper Size: 31" x 24" inches Image Size : 26" x 20" inches Published By : Atelier E. Ettinger Gallery Anthony Dominick Benedetto, known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz. He is also a painter, having created works under his birth name that are on permanent public display in several institutions. Whether he is performing as Tony Bennett or painting as Anthony Benedetto...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 201, 1973. Published by Aimé Mae...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...