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Medium: Vellum
Saint-Jean-de-Luz : La Plage Noir (Mourlot, Paris)
Located in Kansas City, MO
Maurice Brianchon
Saint-Jean-de-Luz : La Plage
1964
Original Color Lithograph on Velin d'Arches
Size: 10x7.375in
Edition: 2,000
Annotated verso
Unsigned as issued
Publisher: Mourlot,...
Category
1960s Modern Vellum Landscape Prints
Materials
Lithograph, Vellum
La Seine a Paris (75% OFF LIST PRICE FOR A LIMITED TIME, FRAMING OPTIONS AVAIL)
Located in Kansas City, MO
Richard Florsheim
La Seine a Paris
1964
Original Color Lithograph on Velin d'Arches
Size: 10x7.375in
Edition: 2,000
Annotated verso
Unsigned as issued
Publisher: Mourlot, Paris
Print...
Category
1960s Modern Vellum Landscape Prints
Materials
Lithograph, Vellum
La Barque Echouee (Mourlot, Paris)
By Andre Minaux
Located in Kansas City, MO
Andre Minaux
La Barque Echouee
1964
Original Color Lithograph on Velin d'Arches
Size: 10x7.375in
Edition: 2,000
Annotated verso
Unsigned as issued
Publisher: Mourlot, Paris
Printer: ...
Category
1960s Modern Vellum Landscape Prints
Materials
Lithograph, Vellum
Romantische Reisende III
Located in Kansas City, MO
Bele Bachem
Romantische Reisende III
Lithograph on Velum
Year: 1967
Size: 19.25x25.5in
Signed, dated and inscribed by hand
Edition: 150
Publisher: Edition ...
Category
1960s Modern Vellum Landscape Prints
Materials
Vellum, Lithograph
Before the Trotting Race - Original Lithograph Handsigned Numbered
By Yves Brayer
Located in Paris, FR
Yves Brayer (1907-1990)
Before the Trotting Race
Original lithograph, c.1973
Handsigned in pencil by the artist
Numbered /250 copies
Size 50 x 65 cm, on Arches Vellum
Information: ...
Category
1970s Vellum Landscape Prints
Materials
Lithograph, Vellum
Related Items
Mine Near Continental Divide, Black White Colorado Mountain Landscape Winter
Located in Denver, CO
Lithograph on paper titled 'Mine Near Continental Divide' by Arnold Ronnebeck (1885-1947) from 1933. Depicts a black and white winter scene of a mine in the mountains with snow on the rooftops and hillsides. Presented in a custom frame measuring 18 ¼ x 22 ¼ inches. Image size measures 10 ¼ x 14 ½ inches.
Provenance: Estate of the Artist, Arnold Ronnebeck
Expedited and international shipping is available - please contact us for a quote.
About the Artist:
Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926.
After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth.
After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York.
After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz."
In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan.
In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News.
His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...
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Reims The Cathedral in Flames - Original Lithographby Charles Jouas - 1914
Located in Roma, IT
Reims The Cathedral in Flames is a Lithograph realized by Charles jouas in 1914.
Good condition on a yellowed paper.
Titled and dated on the upper margin, Editor and gallery on the...
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H 24.41 in W 14.97 in D 0.04 in
Smith's Lark Bunting: Original 19th C. Audubon Hand-colored Bird Lithograph
Located in Alamo, CA
This is an original 19th century John James Audubon hand-colored lithograph entitled "Smith's Lark Bunting, Adult Male", No. 98, Plate 487 from Audubon's "Birds of America, lithograp...
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Untitled
Located in San Francisco, CA
Artist: Billy Al Bengston – American (1934-2022)
Title: Untitled
Year: 1990
Medium: Lithograph, silkscreen on Arches paper
Sight size: 19.5 x 25.5 inches.
Sheet size: 24 x 30 inches.
Signature: Signed lower right
Publisher: Cirrus Editions, Ltd., Los Angeles, CA
Edition: 250 This one: 120/250
Condition: Excellent
This print is by Billy Al Bengston. It depicts what looks like a coyote staring out at the horizon on a full moon night. This print was created at the same time Bengston was creating his Moon paintings. The print has dark colors. As a result, my photographs are imperfect; they have a bit of glare. The print is in excellent condition. It is attached by two hinges to a matboard measuring 26 x 32 inches and has a Plexiglas frame. The frame is in fair condition with some light scratches.
Billy Al Bengston (June 7, 1934 – October 8, 2022) was an American visual artist and sculptor who lived and worked in Venice, California, and Honolulu, Hawaii. Bengston was probably best known for work he created that reflected California's "Kustom" car and motorcycle culture. He pioneered the use of sprayed layers of automobile lacquer in fine art and often used colors that were psychedelic and shapes that were mandala-like. ARTnews referred to Bengston as a "giant of Los Angeles's postwar art scene."
Early life and education
Bengston was born in Dodge City, Kansas, on June 7, 1934. His family relocated to Los Angeles in 1948. He attended Los Angeles City College in 1952. Subsequently, he studied painting under Richard Diebenkorn and Saburo Hasegawa at the California College of Arts and Crafts, in Oakland, California, in 1955 and returned to Los Angeles to study at Otis Art Institute in 1956.
Career
Bengston began showing with the Ferus Gallery in Los Angeles (founded and run by Walter Hopps and Edward Kienholz, and later Irving Blum), having five shows between 1958 and 1963. As a fixture at the gallery, he was among a cohort of artists that included Kienholz, Ed Ruscha, Larry Bell, Kenneth Price, Ed Moses, and Robert Irwin. (The gallery closed in 1966.) In a 2018 article in Vanity Fair, Bengston recalled that he and Irwin hung the 32 pieces in Andy Warhol's Campbell's soup-can paintings show at Ferus in 1962. He notably described the atmosphere of Ferus as a "macho intellectual gang bang".
After seeing the work of Jasper Johns at the 1958 Venice Biennale he adopted the motif of a set of sergeant's stripes. This recurring chevron image was painted with industrial materials and techniques associated with the decoration of motorcycle fuel tanks and surfboards. According to Grace Glueck of The New York Times, Bengston "was among the first to ditch traditional oil paint on canvas, opting instead for sprayed layers of automobile lacquer on aluminum in soft colors, achieving a highly reflective, translucent surface."
Bengston encouraged viewers in the early 1960s to associate his art with motorcycle subculture; on the cover of a 1961 catalogue for a Ferus show, he was seen straddling a motorcycle. (He also competed in motocross competitions.) "When I painted these motorcycle paintings...
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This is an original 19th century John James Audubon hand-colored lithograph entitled "Wilson's Plover, 1. Male, 2. Young First Year", No. 97, Plate 482 from Audubon's "Birds of Ameri...
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Mid-19th Century Naturalistic Vellum Landscape Prints
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RESCUE THE REEF
Located in Aventura, FL
Hand signed, titled and numbered by the artist. Image size approx 20 x 24 inches.
Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable offers ...
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Located in Alamo, CA
This is an original John James Audubon hand-colored lithograph entitled "Reddish Egret, 1. Adult, Full Spring Plumage 2. Young in Full Spring Plumage Two Years Old", No. 75, Plate 371 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1870-1871. It depicts an adult reddish egret standing in the water with leg up, looking to the left at a young white egret standing on land looking to the right at the adult bird. A beautiful landscape is depicted.
This original hand-colored Audubon egret...
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Located in Denver, CO
'Gateside Conversation' is an original signed lithograph by Thomas Hart Benton (1889-1975) from 1946. Singed by the artist in the lower right margin and titled verso. Portrays a figu...
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Birds on Branches - Lithograph in Ink on Paper - Edition of 75
Located in Soquel, CA
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Delicate and detailed lithograph of birds by Fugi Nakamizo (Japanese/American, 1889-1950)...
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H 14.75 in W 19.75 in D 0.38 in
Dance: A Limited Edition Goines Graphic Art Poster
Located in Alamo, CA
This original limited edition graphic art lithographic poster entitled "Dance" was created by David Lance Goines in 1978 in his Berkeley studio, as #80 in his series of graphic art posters. It depicts the torso of a women seen from the back, wearing a dress with a deep neckline. A man's hand is seen over her back. Reportedly the famous chef of the Berkeley Restaurant Chez Panisse...
Category
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Materials
Lithograph
Previously Available Items
Le Port de New York (Mourlot, Paris)
Located in Kansas City, MO
Paul Guiramand
Le Port de New York
1964
Original Color Lithograph on Velin d'Arches
Size: 10x7.375in
Edition: 2,000
Annotated verso
Unsigned as issued
Publisher: Mourlot, Paris
Print...
Category
1960s Modern Vellum Landscape Prints
Materials
Vellum, Lithograph
Horseback Riding in the Forest - Original Lithograph Handsigned Numbered
By Yves Brayer
Located in Paris, FR
Yves Brayer (1907-1990)
Horseback Riding in the Forest
Original lithograph, c.1973
Handsigned in pencil by the artist
Numbered /250 copies
Size 50 x ...
Category
1970s Vellum Landscape Prints
Materials
Vellum, Lithograph
Siemens #5
Located in Washington, DC
Bernard Buffet Siemens #5
Artist: Bernard Buffet
Medium: Lithograph on vellum
Title: Siemens #5
Portfolio: Siemens
Year: 1968
Framed Size: 17" x 30 3/4"
Sheet Size: 15 1/2" x 29 1/4"...
Category
1960s Vellum Landscape Prints
Materials
Vellum, Lithograph
Vellum landscape prints for sale on 1stDibs.
Find a wide variety of authentic Vellum landscape prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 20th Century is especially popular. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Yves Brayer, Maurice Brianchon, Richard Florsheim, and Paul Guiramand. Frequently made by artists working in the Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Vellum landscape prints, so small editions measuring 0.01 inches across are also available
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