Mid-20th Century Landscape Prints

Published By New York Graphic Society, 1940 Printed In USA In Good Condition Measures 25.5 x 32.25 in.

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of Mitsuke in Niigata Prefecture, Japan, circa 1850. A figure on horseback...

Winter is serene in this landscape of a barn in winter as it begins to fade and head to spring. Owen Wexler is the artist; this is a limited edition lithograph signed and titled by him.

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Michl...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.01 x 12.09 inches. Inscription: Signed in the plate and unnumbered, as issued....

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.09 x 12.2 inches. Inscription: Signed in the plate and unnumbered, as issued. ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 110, published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

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...

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...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 110, published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 11.02 x 8.66 inches Inscription: Signed in th...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of Imagiri Beach and Promontory near Maisaka, circa 1850. Signed in Kanji center left, "Hiroshige Ga" for Uta...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of travelers crossing the Suruga bank of the Ōi River, circa 1850. Signed in Kanji lower left, "Hiroshige Ga"...

Signed lower right, 'P. Bisiaux' for Pierre Bisiaux (French, born 1924), and with number and limitation, '250/275', lower left. Accompanied by a Certificate of Authentication from th...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 11.02 x 8.66 inches Inscription: Signed in th...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Lettr...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 15 x 11.25 inches Catalogue ...

Lithograph in five colors on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January...

Original 1975 United Airlines Ski West Vintage Travel Poster – Mid-Century Modern Artwork. Archival linen-backed and in Grade A- condition, ready for Framing. The images displayed are of the exact vintage poster you will receive. Experience the golden era of travel with this rare original United Airlines "Ski West" vintage travel poster from 1975. Created during a time when air travel embodied elegance and adventure, this striking piece provides a vibrant glimpse into mid-century advertising and ski culture. Showcasing bold typography and colorful, eye-catching artwork, the “Ski West” poster embodies the thrill of powdery slopes and the promise of unforgettable ski vacations in the American West. Ideal for vintage art collectors, travel enthusiasts, or anyone looking for a chic retro touch in their decor, this piece authentically showcases 1970s graphic design. It blends bold colors with minimalistic yet striking visuals. Whether you collect United Airlines memorabilia...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Linda Plotkin, American (1938 - ) - Two Elms, Year: circa 1965, Medium: Etching on Arches, signed, titled and numbered in pencil, Edition: 6/120, Image Size: 22 x 18 inches, Size...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition.

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of travelers passing beside a tea-house between steep slopes in Okabe, Shi...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing travelers on the Nawate Road in Hiratsuka, circa 1850. Signed in Kanji upper left, "Hiroshige Ga" for Utagawa (Ando)...

"The Sun Shines All Over", a bold minimalist vintage abstract landscape print by the renowned printmaker Shiou-ping Liao (Taiwanese, b.1936). A perfectly circular, high voltage rainb...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

FRANCES H. GEARHART (1869-1958) LAKE TAHOE c. 1933 Color block print, signed and titled in pencil on her typical fibrous Japan paper 10 7/8 x 12”. Full sheet 12 ¾ x 14 3/8” with t...

Héliogravure on Papeterie de Mandeure vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Alice's Adventures in Wonderland...

Héliogravure on Papeterie de Mandeure vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Alice's Adventures in Wonderland...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove paper, with margins, in excellent condition. Published by Associated American Artists. Archivally matted to museum standards, unframed. Image size 9 7/16 x 11 7/8 inches; sheet size 10 3/4 x 13 5/16 inches. Impressions of this work are held in the following museum collections: Figge Art Museum, Georgetown University Art Collection, Indianapolis Museum of Art, Library of Congress, Metropolitan Museum of Art, and the Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987. Born in 1889 in Neosho, Missouri, Thomas Hart Benton spent much of his childhood and adolescence in Washington, D.C., where his father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to prepare Benton for a political career, his father sent him to Western Military Academy. After nearly two years at the academy, Benton persuaded his mother to support him in attending the Art Institute of Chicago for two years, followed by two additional years at the Académie Julian in Paris. In 1912, Benton returned to America and moved to New York to pursue his artistic career. One of his first jobs involved painting sets for silent films, which were being produced in Fort Lee, New Jersey. Benton credits this experience with equipping him with the skills necessary to create his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of camouflaged ships arriving at Norfolk Naval Station. These renderings were used to identify vessels that might be lost in battle. Benton later remarked that being a "camofleur" profoundly impacted his career: "When I came out of the Navy after the First World War," he said, "I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world—as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in." While developing his Regionalist vision, Benton also taught art, first at a city-supported school and later at The Art Students League from 1926 to 1935. One of his students was a young Jackson Pollock, who regarded Benton as both a mentor and father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The "America Today" mural, now permanently exhibited at the Metropolitan Museum of Art, led to many more commissions as Benton’s work gained wide recognition. The Regionalist Movement became popular during the Great Depression of the 1930s. Painters such as Benton, Grant Wood, and John Steuart Curry rejected modernist European influences, choosing instead to depict realistic images of small-town and rural life—comforting representations of the American heartland during a period of upheaval. Time Magazine referred to Benton as "the most virile of U.S. painters of the U.S. Scene," featuring his self-portrait on the cover of a 1934 issue that included a story titled "The Birth of Regionalism." In 1935, Benton left New York and returned to Missouri, where he taught at the Kansas City Art Institute. His outspoken criticism of modern art, art critics, and political views alienated him from many influential figures in both political and art circles. Nonetheless, Benton remained true to his beliefs, continuing to create murals, paintings, and prints that captured enduring images of American life. The dramatic and engaging characteristics of Benton’s artwork drawn the attention of Hollywood producers, leading him to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s "The Grapes of Wrath," produced by Twentieth Century Fox. During the 1930s, The Limited Editions Club of New York asked Benton to illustrate special editions of three of Mark Twain’s books...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

This lithograph is a part of my private collection from the early 1970's. It is artist pencil signed in the lower right corner, and numbered in the lower left. Published : Guild de l...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 60-61, 1953. Published by A...

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: New Mexico Museum of Art, Phoenix 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...

Artist: Salvador Dali Medium: Heliogravure Title: The Mock Turtle's Story Portfolio: 1969 Alice in Wonderland Year: 1969 Edition: 2430/2500 Frame Size: 24 1/4" x 19 1/2" Sheet Size: ...

Morris Cox (1903-1998) A Feminity of Nudes, 1979-80 Screenprint 11.0 x 8.0 cm 25.0 x 21.0 cm Provenance: Morris Cox Archive Morris Cox (1903-1998) Was a writer, poet, printmaker, ...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of the Rokugō Ferry in Kawasaki, circa 1850. Signed in Kanji upper left, "Hiroshige Ga" for Utagawa (Ando) Hi...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a panoramic view of the banks of Kanagawa, circa 1850. Signed in Kanji upper left, "Hiroshige Ga" for Utagawa (Ando) Hiroshige (Japanese, 1797-1858) and printed circa 1946 by Gihachiro Okuyama (1907-1981). An exceptionally crisp image with fresh color, printed on traditional Washi paper and showing delicate bokashi gradation of sumi ink in the foreground, horizon and upper sky. Sheet Dimensions: 10.25 H x 15.25 W inches. Travelers pass through a section of the Kanagawa post station, dominated by a variety of shops, each with views looking out over the water. A number are tea houses, outside of which stand waitresses inviting travelers inside. On the water we see several small fishing boats, as well as larger shipping vessels...

This stunning version of Cafe Ravello is a limited edition embellished giclee on canvas. It is numbered 64/195 and signed by the artist Howard Behrens. Framing options are available.

Medium: Lithograph on grand vélin d'Arches spécial paper Year: 1961 Paper Size: 14.8 x 22 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: Fr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, XXe Siècle, n°26, May 1966. Published ...

Lithograph on vélin Chiffon de Mandeure paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Or...

Roy Lichtenstein As I Opened Fire (Triptych), 1964-2002 3 x individual Offset lithographs each is 62.9 × 52.7 cm
 Roy Lichtenstein, a key figure in the Pop Art movement, emerged in ...

FRANCES H. GEARHART (1869-1958) STORM LINED c.1936 Color block print, signed and titled in pencil 13 ¼ x 10 1/8, full sheet 14 3/8 x 11 ¼” with deckle edge on her typical fibrous Ja...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Cahiers d'Art N°24, 1949. Published and printed by Éditions des Cahi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Lithograph and stencil on vélin papier a la cuve du Moulin Richard de Bas spécialement filigrané pour cette édition paper. Signed in the plate and unnumbered, as issued. Good conditi...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of two figures fighting wind gusts along the Mei River. Signed in Kanji upper right, "Hiroshige Ga" for Utaga...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing travelers moving through Sayo Mountain Pass. Signed in Kanji upper left, "Hiroshige Ga" for Utagawa (Ando) Hiroshige...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of the workers looking out over the river from the scaffolding of Yoshida Temple, circa 1850. Signed in Kanji...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, A Los Toros Avec Picasso, 1961. Published by André Sauret, éditeur, Paris; prin...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Art in America, New York in an edition of CDVII/D. From the folio, The Four Se...

Edward Landon, 'The French Farm', color serigraph, 1942, Ryan 86. Signed, titled, and annotated 'Edition 50' in pencil. A superb impression, with fresh colors, on cream, wove paper; ...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

This original lithograph poster, printed by Mourlot and engraved by Sorlier, was produced in 1964 for the French Government Tourist Office in Paris. Referenced as Sorlier #96, it is ...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Lithograph on vélin papier d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Georges Braque le solitaire, 1959. Published by Editions XXe Si...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, Picasso, Vingt-Neuf Portraits Imaginaires, 1969. Published by Éditions Cerc...