Roy Lichtenstein, ‘Landscape No 1. 'White Cloud' or 'Sunrise'.’, 1967, William Weston Gallery Ltd.

Numbered from the edition of 100 on the reverse. Drawn and created with hand-cut stencils by the artist at Fine Creations Inc., New York. Issued by Original Editions - Leo Castelli Gallery, New York, 1967. Complete with original issue small title label on the reverse.
Issued as No 1 in the series: Ten Landscapes. 1967.
In 1967, with the encouragement of Leo Castelli, Lichtenstein decided to embark on a series of landscapes using variations of colour screenprint technique. The series was simply titled as ‘Ten Landscapes’. In some prints, as here, he used multiple screen-printing from stencils which he hand-cut himself to create abstracted forms, with landscape and cloud shapes and contrasting flat colour with sparkling visual patterns. The high-tone palette was directly inspired by advertising. The colours in this impression are exceptionally brilliant and were untouched during its long period in the previous private collection. Examples in such fresh, condition are extremely uncommon.
Note: The composition is derived from the 1964 painting 'White Cloud'now in a private U.S. collection.
Superb impression with brilliant colours. On multi-layer white art board. Extremely fine fresh condition. Printed to the full sheet size.

Signature: Signed and dated in pencil on the reverse

Corlett - The Prints of Roy Lichtenstein no 51.

Longtime Private European Collection, two generations by descent.

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York