1960s Landscape Prints

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Lithograph on vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Poêmes insoumis, 1963. Published by Marc Barbezat, Paris; ...

This exquisite lithograph, titled Sans titre, after Leonor Fini, from the folio L'Histoire d'O (The Story of O), 1962, was published and printed by La Compagnie des Vibliophiles, au ...

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...

Lithograph on vélin chiffon de Rives paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Réflexions Simples Sur Le Corps, Ay...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Steinberg, Derrière le miroir, N° ...

Marc Chagall Original Lithograph Title: Bateau Mouche au bouquet 1963 Dimensions: 39 x 30 cm Edition: 180 Unsigned as issued. From Regards sur Paris Published by André Sauret Condit...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacre aux Pap...

Ferruccio Mataresi (1928 - 2009) Untitled Castle Lithograph Year: Circa 60s Signed and numbered by hand Edition: L (50) Size: 16.5 × 23.0 on 19.7 × 28.0 inches COA provided Ref.: 92...

Eugene Berman, Russian (1899 -1972) - Escape from Troy, Year: 1967, Medium: Lithograph on CM Fabriano, signed and numbered in pencil, Edition: 174/250, Image Size: 14 x 11.25 inc...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

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...

Robert SAVARY Paris : Near Canal Saint Martin, 1969 Original lithograph (Mourlot workshop) Handsigned in pencil On Arches vellum 37 x 29 cm (c. 16 ...

Firmada a lápiz por el artista en la parte inferior y con tiraje 13/250 En buen estado de conservación Sin enmarcar Medidas: 49 cm x 58 cm.

Firmada a lápiz por el artista en la parte inferior y con tiraje 1/250 En buen estado de conservación Sin enmarcar Medidas: 49 cm x 58 cm.

Lithograph on vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Poêmes insoumis, 1963. Published by Marc Barbezat, Paris; ...

This exquisite silkscreen by Robert Indiana (1928–2018), titled Eternal Hexagon, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Atheneum Museum of Art, Hartford, and printed by Sirocco Screenprints, Inc., North Haven, in Eternal Hexagon, Indiana channels the crisp geometry, hard-edged clarity, and bold typographic immediacy that define his mature style, merging symbolic abstraction with a visual language rooted in American signage, industrial aesthetics, and modernist form. Executed as a silkscreen on Mohawk Superfine Bristol paper, this work measures 20 x 24 inches. Unsigned and unnumbered as issued. Printed by Sirocco Screenprints, Inc., North Haven, one of the most capable American screenprinting ateliers of the mid-20th century. Artwork Details: Artist: Robert Indiana (1928–2018) Title: Eternal Hexagon, from X + X (Ten Works by Ten Painters), 1964 Medium: Silkscreen on Mohawk Superfine Bristol paper Dimensions: 20 x 24 inches (50.8 x 60.96 cm) Inscription: Unsigned and unnumbered as issued Date: 1964 Publisher: Wadsworth Atheneum Museum of Art, Hartford Printer: Sirocco Screenprints, Inc., North Haven Edition: D Catalogue raisonne reference: Sheehan, Susan, et al. Robert Indiana Prints: A Catalogue Raisonne, 1951–1991. Susan Sheehan Gallery, 1991, No. 33. Condition: Well preserved, consistent with age and medium Provenance: From the 1964 folio X + X (Ten Works by Ten Painters), published by the Wadsworth Atheneum Museum of Art, Hartford Notes: Excerpted from the folio, This portfolio was commissioned and printed in an attempt to extend as much of the visual impact as possible of ten artists to paper and to make these prints available to collectors who might not otherwise have such a vivid slice of the artist. The dry surface of screening seemed to be most apt to translate the effect of their painting, both the flatness which is the unifying bond between the ten, and the insistance of paint on the surface of canvas so like the visible heft of ink on paper here. Samuel J. Wagstaff, Jr., Curator of Printings. About the Publication: X + X (Ten Works by Ten Painters), published in 1964 by the Wadsworth Atheneum Museum of Art in Hartford, stands as one of the most ambitious and influential printmaking endeavors of postwar American art. Conceived under the direction of curator Samuel J. Wagstaff, Jr., the project sought to capture and translate the defining visual languages of ten leading American painters of the era—Stuart Davis, Ellsworth Kelly, Robert Indiana, Adolph Gottlieb, George Ortman, Larry Poons, Richard Anuszkiewicz, Frank Stella, Andy Warhol, and Roy Lichtenstein—into original silkscreens. Each artwork was created as an autonomous work that embodied the formal, chromatic, and conceptual principles of its respective artist. The choice of silkscreen printing, executed by Sirocco Screenprints, Inc., was central to the portfolio’s purpose: its dry, matte surface and capacity for crisp, saturated color allowed for a faithful translation of the painters’ flatness, surface tension, optical effects, and graphic precision. Organized and published by a major American museum at a moment of seismic change in contemporary art, X + X marked a turning point in institutional engagement with editioned works, representing one of the first concerted efforts by a museum to commission an ensemble of original graphics from the leading figures of its time. The portfolio captured the pulse of 1960s American painting—from Hard-Edge abstraction to Pop, Op, and Color Field—offering both a curated snapshot of artistic innovation and an accessible format that expanded the audience for contemporary art. Today, X + X is widely regarded as a landmark in American printmaking, celebrated for its curatorial vision, technical accomplishment, and its role in defining the dialogue between museum patronage and the burgeoning print culture of the 1960s. About the Artist: Robert Indiana (1928–2018) was a pioneering American painter, printmaker, and sculptor whose bold fusion of text, color, and hard edged geometry helped define Pop Art and positioned him within a powerful lineage extending from Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, synthesizing the conceptual daring of early modernism with the visual immediacy of postwar American culture; emerging in 1960s New York as a leading voice of the Pop generation, Indiana transformed the language of commercial signage, roadside Americana, billboards, typography, and industrial stenciling into emotionally charged meditations on identity, patriotism, desire, labor, migration, and national mythology, and his seminal LOVE image first conceived in 1965 for the Museum of Modern Art’s Christmas card became one of the most influential and widely disseminated works of the 20th century, cementing his global legacy while his broader oeuvre explored political history, the Vietnam War, the civil rights movement, and autobiographical narratives tied to his industrial Midwest upbringing; influenced by the structural clarity of Calder, the conceptual provocations of Duchamp, the spiritual abstraction of Kandinsky, the surreal wit of Miro, and the experimental boldness of Man Ray, Indiana moved alongside Pop and contemporary luminaries such as Andy Warhol, Roy Lichtenstein, James Rosenquist, Claes Oldenburg, and Tom Wesselmann, all while forging a distinct voice that elevated language into monumental sculpture and emotional architecture, shaping later generations of artists including Jenny Holzer, Barbara Kruger, Ed Ruscha, Glenn Ligon, Tracey Emin, and Martin Creed, and earning placement in the world’s foremost museums MoMA, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Guggenheim Museum, the National Gallery of Art, LACMA, the Philadelphia Museum of Art, the Tate Modern, and others culminating in his highest auction record on May 15, 2019, when LOVE (Red/Blue) (1966–1999) sold for 4,112,000 USD at Christies New York. Robert Indiana silkscreen...

Jean HELION Meeting in a Park Original lithograph Handsigned in pencil Numbered / 50 On BFK Rives vellum 38 x 53 cm (c. 15 x 21 in) Excellent condition

Richard Florsheim created this color lithograph entitled “Approaching Storm” in 1967 in an edition of 125 pieces. Published by Associated American Artists and printed by Mourlot Press, Paris, this impression is signed and inscribed “Artist Proof.” It is in good condition with full original color. The printed image size is 28.25 x 19 3/4 inches and the paper size is 31.12 x 22 inches. RICHARD ABERLE...

Firmada a lápiz por el artista en la parte inferior y con tiraje 1/250 En buen estado de conservación Sin enmarcar Medidas: 49 cm x 58 cm.

Firmada a lápiz por el artista en la parte inferior y con tiraje 1/250 En buen estado de conservación Sin enmarcar Medidas: 49 cm x 58 cm.

Etching on vélin de Rives paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Hésiode, Les Travaux et les jours. Eaux-fortes...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

Christmas wishes card - is a colored vintage postcard realized in December 1968, for Christmas wishes.  Good conditions and aged. It belongs to a historical and nostalgic album inc...

Hand signed and numbered. Edition of 50 prints. Reference: Catalogue Battisti n.43. Armando Buratti (Rome, 1924), is an italian artist and painter. His works are now part of privat...

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

John Urbain, Belgian/American (1920 - 2009) - Island Houses, Year: circa 1967, Medium: Etching, signed and numbered in pencil, Edition: 19/25, Image Size: 6.75 x 4.75 inches, Size:...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacre a Pierre Reverdy et Georges Braque,...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 171, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Au Temps de Paris Seine...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

This exquisite lithograph after Jean-Edouard Vuillard (1868–1940), titled Sans titre (Untitled), originates from the 1966 folio Derriere le Miroir, No. 158–159, published by Maeght E...

Jean HELION Fishermen and People at the Harbor Original lithograph Handsigned in pencil Numbered / 50 On BFK Rives vellum 38 x 53 cm (c. 15 x 21 in) Excellent condition

Lithograph on vélin chiffon de Rives paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Réflexions Simples Sur Le Corps, Ayant Inspiré Des Lithographie...

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...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Landscape is an original drawing in etching technique on ivory-colored paper, realized by André Roland Brudieux. In excellent conditions. Hand-signed in pencil, on the lower right....

This exquisite lithograph, titled Sans titre, after Leonor Fini, from the folio L'Histoire d'O (The Story of O), 1962, was published and printed by La Compagnie des Vibliophiles, au ...

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

To see our other original vintage travel posters, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find th...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfolds, as issued. Notes: from the fo...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...

Medium: Lithograph on vélin d'Arches paper Year: 1967 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Dunoyer de Segonzac...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Unsigned and unnumbered, ...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, André Beaudin, Verve: Revue Artistique et...

Lithograph on vélin du Marais paper. Inscription: unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Éloge de André Lhote, 1960. P...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Steinberg, Derrière le miroir, N° ...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacre a Pierre Reverdy et Georges Braque,...

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...

Artist: Georg Karl Pfahler (1926-2002) Title: Version 8 Year: 1969 Edition: 36/100, plus proofs Medium: Silkscreen on wove paper Size: 25.5 x 25.5 inches Condition: Excellent Inscrip...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 171, 1968. Published by Aim...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 171, 1968. Published by Aim...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacre aux Papiers Colles de Georges Braqu...

Francois DESNOYER Salt Marshes, 1965 Original lithograph Handsigned in pencil On Van Gelder vellum 45 x 33 cm (c. 18 x 13") Excellent condition