Lot 0024

Allan D'Arcangelo Serigraph Paris Review

Allan D'Arcangelo Sale History

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Allan D'Arcangelo 1969 serigraph Landscape I: D'Arcangelo, Allan (American, 1930-1998), Landscape I, 1969, serigraph printed in colors, 25½ h × 22½ w in (65 × 57 cm), pencil signed and numbered 23/120, unframed.

2023Allan D'Arcangelo 1969 serigraph Landscape ISee Sold Price

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Allan D'Arcangelo 1973 orig serigraph Watertower III: D'Arcangelo, Allan (American, 1930-1998), Watertower III, 1973, serigraph printed in colors, 28 x 22 inches image, 33 1/8 x 26 1/8 inches (84.1 x 66.4 cm), pencil signed and numbered 12/50, framed mea

2023Allan D'Arcangelo 1973 orig serigraph Watertower IIISee Sold Price

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Allan D'Arcangelo - Yield - 1968 Serigraph 45" x 29.5": "Yield" by Allan D'Arcangelo, 1968 Unsigned Serigraph. Paper size is 45 x 29.5 inches, with an image size of 45 x 29.5 inches. The Serigraph is from an edition size of 1000 and is not framed. The cond

2021Allan D'Arcangelo - Yield - 1968 Serigraph 45" x 29.5"See Sold Price

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Allan D'Arcangelo - Munich Olympics - 1972 Serigraph 39.75" x 25": Munich Olympics by Allan D'Arcangelo, 1972 Unsigned Serigraph. Paper size is 39.75 x 25 inches, with an image size of 39.75 x 25 inches. The Serigraph is from an edition size of 10000 and is not frame

2024Allan D'Arcangelo - Munich Olympics - 1972 Serigraph 39.75" x 25"See Sold Price

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5 Assorted 1972 Munich Olympic Posters: 5 Assorted 1972 Munich Olympic Posters. This is an assortment of 5 pieces, each piece described as follows: "Munich Olympics" by Allan D'Arcangelo, 1972 Unsigned Serigraph from an edition size of 1000

20175 Assorted 1972 Munich Olympic PostersSee Sold Price

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Allan D'arcangelo Abstract Surrealist Print Landscape: For your consideration is a red, yellow and blue, geometrical abstract serigraph print by Allan D'arcangelo, signed, dated 1968 and numbered 54/75. In excellent condition. In original acrylic lucite f

2018Allan D'arcangelo Abstract Surrealist Print LandscapeSee Sold Price

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Allan D'Arcangelo 1976 orig signed print Landscape: D'Arcangelo, Allan (American 1930-1998), Landscape, 1976, lithograph and serigraph, 18 x 24.25 inches, pencil signed and numbered 94/144, with letter gifting this print to a member of The Jewish Museu

2022Allan D'Arcangelo 1976 orig signed print LandscapeSee Sold Price

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Allan D'Arcangelo, "Landscape III", Signed Print: Allan D'Arcangelo (American, 1930-1988), "Landscape III"-1965, serigraph on paper, pencil signed and dated lower right corner, noted as a limited edition artist's proof with "A.P." lower left corner.

2016Allan D'Arcangelo, "Landscape III", Signed PrintSee Sold Price

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Allan D'Arcangelo Landscape from the portfolio 69: D'Arcangelo, Allan (American, 1930-1998), Landscape from the portfolio 69, 1969, serigraph printed in colors, 21.15 × 25 1/2 inches, pencil signed and numbered 23/120, framed measuring 22 x 26 inches

2023Allan D'Arcangelo Landscape from the portfolio 69See Sold Price

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Multiples Inc., Allan D'Arcangelo, Composition: USA, 1969 serigraph 7” x 7” Composition by Allan D'Arcangelo in the hard edge and pop art vernacular published by Multiples Inc. [d'arcangelo 60's] written in pen to verso. Tags: modern, m

2023Multiples Inc., Allan D'Arcangelo, CompositionSee Sold Price

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Willem De Kooning - Paris Review: Artist: Willem De Kooning Title: Paris Review Year: 1979 Dimensions: 23in. by 29 1/4in. Edition: A rare proff aside from the limited edition of 200 Publisher: P

2020Willem De Kooning - Paris ReviewSee Sold Price

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Robert Motherwell, The Paris Review, Lithograph: Robert Motherwell (1915-1991) The Paris Review, ed. 25/50, 1991 Lithograph and chine colle Signed lower right 100% of proceeds from this sale go to PAAM

2023Robert Motherwell, The Paris Review, LithographSee Sold Price

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2023Various Artists (Chryssa, Lee Bontecou, Allan D'Arcangelo, Sam Francis, Claes Oldenburg, and LarrySee Sold Price

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Andy Warhol, Paris Review Screenprint: Paris Review, 1967 Screenprint with die-cut holes on wove paper 37 x 27 inches (sheet) Numbered in pencil with the artist's ink stamp lower right Printed by Chiron Press, New York, Published by Paris

2017Andy Warhol, Paris Review ScreenprintSee Sold Price

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ELLSWORTH KELLY, Paris Review: Color screenprint on white wove paper. Initialed and numbered 82/150 in pencil, lower margin. Printed by Stephen Poleskie, Chiron Press, New York. Published by the Paris Review, New York. Date: 1968 D

2023ELLSWORTH KELLY, Paris ReviewSee Sold Price

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ELLSWORTH KELLY PENCIL SIGNED "PARIS REVIEW" 1968, SCREENPRINT, 31" X 24": ELLSWORTH KELLY PENCIL SIGNED "PARIS REVIEW" 1968, SCREENPRINT, 31" X 24"

2022ELLSWORTH KELLY PENCIL SIGNED "PARIS REVIEW" 1968, SCREENPRINT, 31" X 24"See Sold Price

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Allan D'Arcangelo Serigraph Paris Review

Item Details

Description

Artist: Allan D'Arcangelo

Title: Paris Review

Printing Date: 1965

Medium: Serigraph

Size: 40 x 26.25 inches

"Paris Review" by Allan D'Arcangelo, 1965 Signed Serigraph. Paper size is 40 x 26.25 inches, with an image size of 30 x 25 inches. The Serigraph is from an edition size of 150 and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Edition of 150, signed and numbered by the artist. The Paris Review publishes writings and poetry by aspiring writers young and old. The publications are paid for partly by the sale of artwork created and sold by the Paris Review. D’Arcangelo is better known for his pictures of highways and roadblocks, which pictured deep perspectival vistas in a simplified, flat plane, the view as seen from the driver’s seat as one zooms along the seemingly never-ending American highway in most any state. Next came a series “Barriers,” in which cropped, abstracted imagery of road barriers were superimposed over the one-point perspectival highway vistas. These were a move further towards concern with abstract, two-dimensionality without negating the element culled from seen aspects of the American landscape. The series called “Constellations” (there are 120 in all) further abstracted the view of road barriers into perspectival, jutting patterns thrusting across the canvas against a white ground. The element of the seen is never obliterated and always primary in D’Arcangelo’s dialectic, as amply evidenced in his return to highway imagery in the 1970s.

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