LANDSCAPE AND MEMORY
- d'Onofri, Landscape with Battus
- after Brueghel, Alpine Landscape
- School of Antwerp, Imaginary Landscape
- Sadeler, Facade of a Temple
- van Noort, Landscape with the Temple
- Davent, Landscape with Ancient Ruins
- att. to Pozzoserato, Mountainous Landscape
- van de Velde II , Interior of the Ruins
- Waterloo, Two Travelers
- Grimaldi, Landscape
- Saftleven, Landscape with a Man
- Barrière, View of the Town
- Monti, Landscape with a River
- Meyeringh, Landscape with Mercury
- Bout, The Skaters
- Lelu, A Town in Portugal
- Dietricy, Heroic Landscape
- Le Loup , View of the Town
- att. to Verrijk , River Scene
- Kolbe, Landscape with a Cowherd
- Roos, Vast Mountainous Landscape with Herds
- Roman School, Lago d’Albano,
- Isabey, Ruines du Château
- Williams, A Part of Melrose Abbey
- Palmer, The Morning of Life
- Richardson, Loggers by a Lake
- att. to Preller, Oak Trees
- Lalanne, Plage des Vaches
- Miller, A Road in Winter
- Haden, Sunset in Ireland
- Doeleman, Stormy Sky
- Meryon, Nouvelle Zélande
- Latenay, Autumn Trees
- German School, Birches
- Cameron, Ben Lomond
- Yeats, July 4, 1908
- MacLaughlan, Rossinières
- Cotton, Spring Landscape
- Legros, Une Vallée
- Torre-Bueno, Farmlands
- Jungnickel, Loser - Altaussee
- Komjati, Willows
- Wengenroth, Bucks County
- Kantor, Abstracted Landscape
- Eby, Christmas Trees
- Massen, Landscape with Trees
Bucks County
Lithograph, 1944, Stuckey 137, Library of Congress 10, 335 x 300 mm. Fine impression on Rives wove paper with good margins, signed in pencil and numbered from the edition of 40; paper discoloration around the old mat opening.
Wengenroth is usually associated with views in Maine but he got around a good bit more than one thinks and a number of his works focus on Bucks County, Pennsylvania. This one, prototypical, has been given that name. Wengenroth was a masterly draughtsman and lithographer; that is allowed even by his detractors. But what is not often noted is that many of his images are about conflict: between competing birds, between rocks and surf, between the old and the new. The conflict here is between wild, experimental nature – the trees sending out branches from multiple points in multiple directions – and the square conventionality of civilization in the buildings and fences. Wengenroth was not so comfortable an artist as is often assumed.