American Impressionist Prints and Multiples

Artist: Itzchak Tarkay (1935-2012) Title: Quiet Afternoon Year: Circa 2000 Medium: Silkscreen on wove paper Size: 13.5 x 10.75 inches Edition: 123/750, plus 100 Remarques Condition: ...

Figurative landscape capturing dock workers' afternoon break by John Theodore Edward Stoll (b. Germany; 1889, d. California; 1974). Signed "John Stoll" lower right. Titled "Drowsy Bu...

Original, WHAT WILL YOUR ANSWER BE when your boy asks you -- "Father, - what did you do to help when Britain fought for freedom in 1916?" horizontal, linen-backed, excellent condition ENLIST NOW. Poster showing, in silhouette, a boy in scout uniform addressing his father. This poster was also printed with the same text but using "Ireland" in the text. Iconic British World War 1...

Women Outside Breton Hotel - Chromolithograph on Paper In a pastel palette, Alson Skinner Clark (American, 1876-1949) captures the rustic beauty of a side street in a Breton village as two women converse outside of a hotel on a blue sky day. Signed “Alson Clark...

Original American Export Lines vintage travel poster. Artist Aldo Sassi, printed in Italy by Pesce, Genova. Professional acid-free archival linen ...

Artist: John Maxon (American, born 1947) Title:: Dune line Year: 1994 Medium: Color lithograph Edition: Inscribed and numbered 15/20 Paper: Arches Image size: 21 x 33.5 inches Paper size: 29.25 x 41.5 inches Signature: Hand signed in pencil by the artist Condition: Excellent, has never been framed About the artist. Coming from a very western tradition in Wyoming, John Maxon developed an expansive view of nature. Moving eventually to the San Francisco Bay area, John's delight in the effects of light and color led him to the decision to become an artist at the young age of 15. His natural ability was encouraged, and at 16 he began figurative art classes with Howard Brodie, the artist well known for his WWII correspondence, drawings and the Watergate trial drawings. Education San Francisco Art Institute B.A., Painting, San Jose State University M.F.A., Painting, University of California, Davis Stanford University, Palo Alto, California Cabrillo College, Aptos, California Selected Solo Exhibitions 2018 Gallery Panza Verde – Antigua...

Vintage Northern California Coast Etching of Mendocino. Beautiful Northern California coastal town Mendocino is the scene of town near headlands with split wood rail fence in foregr...

Artist: Harold Altman (American, 1924-2003) Title: Afternoon Year: c.1980 Medium: Original color lithograph Edition: Numbered 62/225 in pencil Paper: Arches Image size: 10.75 x...

This early 20th-century color chromolithograph by celebrated American landscape artist Thomas Moran (1837–1926) captures the awe-inspiring vistas of the Grand Canyon from Hermit Rim....

Vintage Etching - Cathedral of Notre Dame and the Chapel of St. Michel, 1928 Vintage black and white etching of the Cathedral of Notre Dame and the Chapel of St. Michel, 1928 by Joh...

Original American work incentive poster: ‘HE IS RISEN”. Artist: Willared Frederick Elmes. This isn't actually a war/propaganda poster per se, but it was produced by Mather & Co. Elmes was an artist similar to Mather in that they were both prolific with their morale + work incentive posters in the 1930s. Elmes also created other pieces done for the early railway posters. The poster with the stained-glass panel in the back and the ray of light shining in is the last Mather & Company poster printed (1930). All others were printed in 1929 and earlier. The very last in the Work Incentive Mather’s posters...

Delicate and detailed etching by Orpha Klinker (American, 1891-1964). At the edge of an old Adobe building, a staircase leads to the second floor. The stucco on the walls of the building is cracked, revealing the stonework below. Next to the building is a garden with Corkscrew Willow trees. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. Signed in plate, lower left. Paper size: 8.5"H x 10.5"W Mat size: 10"H x 12"W Orpha Klinker (American, 1891-1964) graduated from Polytechnic High School, L.A. and later studied at U.C.L.A. Art School and at the Cannon Art School. Artists Paul Lauritz and Anna A. Hills of Laguna Beach were her first art teachers. She continued her study of art at the Julian and Colarossi Academies in Europe. Some of her earliest work was in designing. Many pages of her fine pen work drawings appeared in Los Angeles newspapers, illustrating the fashions of the day, not only in clothes but in furniture and other things. Then for a time she did her work in New York City and later with the Ladies Home Journal in Philadelphia. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. From the Mexican border to Death Valley she roamed, meeting and painting portraits of such characters as Death Valley Scotty, Shoshone Johnny, the ancient Indian who supposedly saw the first white man come to Death Valley, Emanuel A. Speegle, "The Last of the 49'ers" (over 90 years of age) and others. Orpha was active in keeping alive the memory of one historical event in particular, the signing of the Treaty of Cahuenga ending the Mexican War...

Beautiful figurative giclée and watercolor limited edition print titled "The Aunties", a homage to the classical figurative sculpture The Three Graces, by Anne Ormsby, a Aptos, Calif...

This artwork "Landscape #III' c.2000 is an original color monotype by American artist Thomas (Tom) Monaghan, b. 1961. It is hand signed and numbered 1/1 in pencil by the artist. The image (plate mark) size is 8 x 15.75 inches, the sheet size is 15 x 22 inches. it is in excellent condition, has never been framed. About the artist: Born in Chicago in 1961, Monaghan received his MFA from the University Northern Illinois. He moved west to Sonoma County in his mid-twenties and starting showing in galleries in San Francisco in the early 1990's, his move having a profound impact on his painting. The first impression of that sparkle on water upon the great lakes in Chicago continue his drive to seek out natural beauty in the landscape. Monaghan has had regional acclaim and International showing, include, International Art Fairs in San Francisco in 2011 and 2012. Selected exhibitions 1993 Claudia Chapline Gallery, Stinson Beach, CA., 1993 Heirloom Gallery, Chicago, I., 1994 Marinscapes., 1995 John Mallon, Editions Limited, Indianapolis, IN., 1996 Marinscapes., 1997 John Mallon, Editions Limited, Indianapolis, IN., 1998 Ira Wolk Gallery, St. Helena, CA., 2000 Erickson & Elins Gallery, San Francisco, CA ., 2001 Ira Wolk Gallery, St. Helena, CA, 2002 Ira Wolk Gallery, St. Helena, CA., Erickson Fine Art Gallery 2008. Selected collections The Prudential, Merrill Lynch, LaSalle National Bank, Chicago Mercantile Exchange...

Wonderful woodblock print titled "Weaving" by Aptos, California artist Virginia J Hughins (Virginia Brubaker DeWolf) (American, 1923-2004), circa 1990. Signed "Virginia" bottom rig...

Tony Bennett Title: Lovers in Monet's Garden Lithograph Signed and Marked PP  1/10 ( Printers Proof ) Paper Size: 30" x 24" inches Image Size : 25" x 20" inches Anthony...

West Wind Robert Kipniss, American (1931) Date: circa 1981 Lithograph, signed and numbered in pencil Edition of 151/250 Size: 4 x 3.25 in. (10.16 x 8.255 cm) Frame Size: 11.25 x 9.5 ...

This artwork titled "Fish" is an original color lithograph on Laid paper by California artist Robert Holdeman, 1912-1994. It is hand signed, dated and ...

Curtains and Leaves Robert Kipniss, American (1931) Date: circa 1975 Lithograph, Signed and numbered in Pencil Edition of 32/35 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Female Figure Underwater Realist Etching --"Separation" by Carol Bennett Unique etching of a female figure submersed beneath the surface of water by California and Hawaii artist Ca...

Collotype in colors on paper. Unsigned. Title and copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

LeRoy Neiman's art style is a blend of impressionism, expressionism, and realism, with elements of Pop Art. His work is known for its vibrant colors, spontaneous brushstrokes, and dy...

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. Morning View III Robert Kipniss, American...

"Fisherman's Wharf - San Francisco" Multi Layer Screen Print on Paper - Signed Rare and bold Screen Print (Silk Screen) of Fisherman's Wharf 1957 by Gordon Cope (American, 1906-1999). Several boats are docked at Fisherman's Wharf, with buildings directly behind them. In the distance, the hills of San Francisco can be seen meeting a pale blue sky. Of particular note is the skillful representation of the reflections of the boats in the water, and the clever use of grey paper as negative space. Numbered and titled in pencil in the lower left corner "22/100 Fisherman's Wharf - San Francisco" Hand signed and dated in pencil in the lower right corner "Gordon Cope 1957" Titled, signed, and dated "in plate" Presented in a silver colored frame with a double mat. Frame size: 22.5"H x 27"W Image size: 15"H x 20"W Gordon N. Cope (American, 1906-1999) was an educator and painter. Trained in Utah and France, he exhibited his landscape paintings and portraits in the United States and Europe, and he believed music was related to painting. Cope was born on May 14, 1906, in Salt Lake City. He was trained by Utahn artists LeConte Stewart and Lawrence Squires, and at the Académie Julian in Paris, France in 1928. He also studied singing at the Opéra-Comique. Cope taught art at Latter-day Saints University, and he served as the chair of its Department of Art in 1930–1931. He taught at the Mountain School of Art from 1932 to 1938, and he was the director of the Art Barn School in Salt Lake City in 1939–1941. Cope painted Utahn landscapes as well as a portrait of Henry H. Blood, who served as the seventh governor of Utah from 1933 to 1941. Cope exhibited his work in the United States and Europe. According to the Deseret News, Cope "felt that music and painting are closely interrelated, and that the study of one form may be used to complement the appreciation and understanding of the other." Cope died on June 10, 1999, in San Francisco, California. Gordon Nicholson Cope studied with well-known Utah artists A.B. Wright and LeConte Stewart, and became recognized as a major Utah artist of the Great Depression. Cope was born in Salt Lake City in 1906 and spent much of his life in Utah. Cope gained much of his artistic training from diverse environments and influences. Following his training with the previously mentioned artists, Cope spent the next year, 1924, working with Lawrence Squires in Arizona. To expand his knowledge and training, Cope traveled to Europe, where he studied the "old masters" such as Da Vinci, Michelangelo, and Raphael. From 1924 to 1928, Cope studied in England, France, Italy, Switzerland, Belgium, Holland, and worked for a year at the Acadamie Julian, where many early Utah artists...

Bold woodblock serigraph by Ruth Chaney (American, 1908-1973). Numbered (#17), titled, signed, and dated along the bottom edge. The Smithsonian American Art Museum has an edition of...

This 1927 etching by Frank W. Benson is entitled Winter Wildfowling. Printed in an edition of 150 this impression is signed in pencil, lower left. The image size 11 7/8 x 9 7/8" (30 x 24.8 cm) and sheet size 15 1/16 x 12 5/8" (38.3 x 32 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Wonderful woodblock print titled "Weaver" by Aptos, California artist Virginia J Hughins,(Virginia Brubaker DeWolf), (American, 1923-2004), circa 1990. Presented in a rustic black wo...

Brittany Landscape with Figure Etching & color aquatint, c. 1920 Signed lower right (see photo) Numbered lower left: "No. 21" (see photo) An early color etching by the artist, based ...

This original early 20th-century color aquatint etching by celebrated American printmaker George Elbert Burr (1859–1939) captures the majestic beauty of Longs Peak and Mount Meeker a...

Published 1998. Limited Edition Serigraph. (Image Area) Dimensions 30.75″ x 38.5.” Numbered 105/458 Signed and numbered by LeRoy Neiman. Also signed by Joe DiMaggio - as was the enti...

Keying Up - The Court Jester Etching with drypoint, 1879 Signed in the plate lower left corner (see photos) Proof before engraved title and engraved names Printed on thin light golden Japanese tissue paper In the final state, with engraved titled and typeface engraved artist’s signature below the image Condition: excellent Plate size: 6-5/8 x 4-1/4" According to Pisano, this image was very popular during Chase’s life. It is based on his famous painting, Keying Up-The Court Jester, in the collection of the Pennsylvania Academy of Fine Arts. The painting was created in Munich during the artist’s studies there. It was exhibited in the 1876 Centennial Exhibition in Philadelphia where it won a Medal of Honor and helped establish the artist’s reputation as a leading American painter. Chase, always conscious of self promotion, created the etching and had numerous impressions printed. He sold them for a modest price to increase his fame. The etching was later published in Sylvester R. Koehler, American Art Review, September 1878. It was for this American Art Review printing that the engraved titled and type face signature below the image were added to the plate. This example was part of a group of impressions that came down in the Chase family via his daughter Dorothy Bremond Chase, his third daughter. They were acquired at auction in a single auction lot, housed in a paper board folder. The consignor was Associated American Artist’s as they were liquidating their stock prior to closing the gallery. Dorothy was the subject of Chase’s painting, My Little Daughter Dorothy. C. 1894, in the collection of the Detroit Institute of Arts as well as numerous other portraits of her. Reference: Pisano/Bake, Volume 1, Pr. 3, illustrates the rare 1st state, this being a 2nd state before any other the engraved title and Chase's name in the bottom margin which are found in the third state. Artist bio in file (Chase) In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty. The exhibition featured loans of three works by Manet and urban scenes by the Italian Impressionist Giuseppe de Nittis. Both artists influenced Chase's Impressionistic style that gave rise to a series of New York park scenes. It is also thought that he was influenced by John Singer Sargent's In the Luxembourg Gardens (1879) which was exhibited in New York at this time. Indeed, Chase had met Sargent in Europe in 1881, the two men becoming lifelong friends with Sargent painting Chase's portrait in 1902. On another European trip in 1885, Chase met James McNeill Whistler in London. While Whistler had a reputation for being difficult, the two artists got along famously and agreed to paint one another's portrait. Eventually, however, Whistler's moods began to grate with Chase who wrote home stating "I really begin to feel that I never will get away from here". For his part, Whistler criticized Chase's finished portrait and, according to Hirshler, "complained about Chase for the rest of his life". While no record exists of Whistler's portrait of Chase; Chase's portrait of Whistler remains a well-known piece in his oeuvre. In 1887 Chase married Alice Gerson, the daughter of the manager of a lithography company. Though some fifteen years his junior (Chase was 37), he had known Alice for some time through her family's devotion to the arts. The pair, who would enjoy a happy marriage with Alice in full support of her husband's career, settled initially in Brooklyn where their first child was born. The couple would parent six daughters and two sons and it was only his family that could rival his devotion to his art. Indeed, Chase often combined his two loves by painting several portraits of his wife and children in Brooklyn parks before the couple relocated to Manhattan. Later Period Between 1891 and 1902, Chase and his family spent their summers at a purpose-built home and studio in Shinnecock Hills, a close suburb of the upmarket town of Southampton on the south shore of Long Island (roughly 100 miles east of New York). Chase set up, and taught two days a week, at the nearby Shinnecock Hills Summer School of Art which benefitted from the financial backing of local art collectors. It was at Shinnecock that Chase, taken in by the region's striking natural surroundings, painted several Impressionistic landscapes. As Bettis put it, "There, among the dunes, in the bright sunlight and sea air his painterly impulse was given free sway, and he produced some of his freest and loveliest work". His passion for the area was so felt he even gave his daughter Hazel the middle name of Neamaug, in honor of the rich Native American history of Shinnecock. Chase was equally focused on the students that came to the School and who he encouraged to paint in the modern plein air style favored by the French Impressionists. Although Chase was making a name for himself as an Impressionist, he never abandoned his commitment to the sombre tones and academic tropes he had learned in Munich, though these he reserved for his portraits, and for his series of striking still lifes featuring dead fish. Chase was in fact a successful society portraitist - he painted fashionable women for a fee of $2,000 - and would paint his students as "samples" which he then donated to leading art institutions (such as Lady in Black (1888) which he donated to the Metropolitan Museum in 1891). In 1896, facing financial difficulties, Chase flirted with the idea of giving up his teaching in New York and traveled with his family to Madrid where he developed a passion for bullfighting. Chase returned however to Shinnecock in June to teach his yearly summer art class, and in the fall of that year, established his own art school in Manhattan: the Chase School which was modelled on the Académie Julian in Paris. Chase lacked business savvy, however, and the Chase School lasted only two years before it was placed under new management. It continued as the New York School of Art (changed to Parsons School of Design starting 1941) with Chase as head the School for eleven more years. Chase also taught during this period at the Pennsylvania Academy of Fine Arts. In 1902, following the premature death of his friend John Twachtman, Chase was invited to join the Ten American Painters group (who included amongst its members, Frank Weston Benson, Thomas Wilmer Dewing...

Floral design extraordinaire! This is a lithograph of an original watercolor signed by Palo Verdes, California artist Dian Clapp Bartz.

Collotype in colors on paper. Unsigned. Title and copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

The etching "Running the Rapids" was created by Frank Benson in 1927. Printed in an edition of 150, this impression is signed in pencil, lower left. The image size is 5 13/16 x 7 7/8" (14.8 x 20 cm) and sheet size 8 1/16 x 10 5/16" (20.3 x 26.2 cm). Frank Weston Benson (1862-1951), well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Cityscape Harvey Kidder, American (1918–2001) Date: circa 1985 Aquatint Etching, Signed and numbered in Pencil Edition of 150 Image Size: 19 x 18 inches Size: 30 x 22 in. (76.2 x 55....

From the 'American Family' portfolio. Hand signed and numbered by the artist. Lithograph on arches paper. Printed by Atelier Mourlot, Paris. Published by Raymond & Raymond, Inc. in ...

Limited edition etching on Arches paper by artist Harold Altman. Although title on the piece is unknown, there is a hand signature from Altman. The framed piece is in stunning condit...

Ranchos Winter by American impressionist Robert Daughter shows two women approaching the pueblo with the sun reflecting off the sides of the buildin...

Rustic Beauford S.C. Etching and drypoint on Vidalon paper, c. 1930's Created during the artist's two visits to South Carolina. Signed by the artist in pencil lower right Titled in p...

Collotype in colors on paper. Unsigned. Title and copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

Artist: Itzchak Tarkay (1935-2012) Title: Waiting Year: Circa 2000 Medium: Silkscreen on wove paper Size: 13.5 x 10.75 inches Edition: 750, plus 100 Remarques Condition: Excellent In...

B.J.O. Nordfeldt, 'Broad Street (Wall Street)', etching, edition not stated, c. 1915. Signed in pencil. A superb impression, with rich burr, selectively wiped plate tone, and inky plate edges, on cream wove paper; the full sheet with margins (3/4 to 1 1/4 inches), in excellent condition. Printed by the artist. Matted to museum standards, unframed. Impressions of this work are in the permanent collections of the Fine Arts Museums of San Francisco, Princeton University, Smithsonian American Art Museum. A view looking down Broad Street past the New York Stock Exchange Building on the right with the columned Federal Hall...

Hand signed and numbered by the artist. From School Days portfolio. Artwork size 26 x 20 inches. Frame size approx 30 x 26 inches. Edition of 200. Artwork is in excellent condi...

LeRoy Neiman's art style is a blend of impressionism, expressionism, and realism, with elements of Pop Art. His work is known for its vibrant colors, spontaneous brushstrokes, and dy...

General Washington Saying Farewell to His Officers in Fraunces Tavern, New York This etching, 'General Washington Saying Farewell to His Officers in Fraunces Tavern, New York', was ...

From Poor Richard's Almanac portfolio. Hand signed and numbered by the artist. Lithograph on arches. Sheet size 25.5 x 19.5 inches. Image size approx 16.75 x 13.5 inches. From t...

Copper-line engraving with original hand-colouring by M Griffith after Charles Hamilton Smith, 1827. Depicts the Sewessissing, chief of the Iowa Indians. Charles Hamilton Smith (1...

Hand signed and numbered by the artist. Image size approx 17.25 x 13.25 inches. Frame size approx 30 x 26 inches. From the edition of 200. Artwork is in excellent condition. Cert...

Original World War 1 vintage poster: U. S. MARINES TEUFEL HUNDEN, a unique piece of history and artistry. Archival linen backed in A- condition, ready to frame. No paper loss. ...

"The Bridge" is a drypoint by Frank Benson created in 1923. Printed in an edition of 150 this impression is signed in pencil, lower left. The image size is 13 1/2 x 10 5/8" (34.2 x 26.8 cm) and sheet size 16 1/2 x 13 1/16" (41.8 x 33.3 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Hand signed and numbered by the artist. From Tom Sawyer Portfolio. Sheet size 25.5 x 19.5 inches. Image size approx 17 x 13 inches. Frame size approx 28 x 24 inches. AP edition. ...

Hand signed and numbered by the artist. From Tom Sawyer Portfolio. Sheet size 25.5 x 19.5 inches. Image size approx 17 x 13 inches. Frame size approx 30 x 26 inches. From the editi...

Beautiful nude figurative lithograph by Jim Smyth (American, b. 1938). Numbered, titled, signed and dated "8/12", "Study 2", "Smyth 75” along the bottom edge. Unframed. Jim Smyth has studied at the Academia de Belle Arti in Fiorenza, Italy, Ecole des BeauxArts in Geneva, New York Academy, and the Art Students League. He is also a graduate of UC Berkeley with a degree in Fine Art. Although academically trained, Smyth practices and teaches a more impressionistic style of painting, focusing on the Alla Prima technique. He is particularly knowledgeable about drawing, perspective, color theory and the human figure, his passion. Smyth, with extensive academic knowledge, has a profound love of all human representations as illustrated by his humorous quick sketches from life. He also practices and teaches oil painting and pastels. When not in Provence, or Southeastern France, Smyth teaches intensely in art schools, art centers and several colleges in the Bay Area. He is a beloved instructor and his classes fill in quickly as he is very knowledgeable. On his return to the United States, he began studying with Mr. Alanson Appleton at the College of San Mateo, San Mateo, California. Smyth was a founding member of the Appletree Etchers, Inc., an etching print shop organized by Mr. Appleton and his students to develop and promote color intaglio. Smyth served as Master Printer at the studio for many years perfecting the techniques of intaglio and developing the color theories of Mr. Appleton as applied to the deeply etched plate. Smyth received his degree from the University of California, Berkeley, in 1972 and holds the California Community College Certificate and an Adult Education Certificate. Smyth was invited to teach "Anatomy for Artists" at Foothill College, Los Altos Hills, California, as a result of his many years of dissection of the cadaver and developed the course of study of Perspective for the college. During this period, he began teaching Life Drawing at the Pacific Art League of Palo Alto, Palo Alto, California. During the following thirty years Smyth has taught an average of twelve classes per week at the Pacific Art League of Palo Alto, the Palo Alto Art Center and the Burlingame Recreation Department among others in all phases of drawing and painting. He has conducted many workshops for the California Academy of Painters in many aspects of drawing and painting. Currently, he is an Adjunct Professor of Drawing at the College of San Mateo, San Mateo, California. He is an authority on the materials of painting and drawing, techniques of traditional drawing and painting, color theory, perspective and anatomy for artists. In his career in Life Drawing, Smyth has made over two hundred thousand drawings from the model. In addition to studies at Berkeley, Smyth has studied at the College of San Mateo, Foothill College, De Anza College, Mission College, and West Valley College, all in California. One of the pivotal points in his career was studying with Mr. Maynard Dixon Stewart at the University of San Jose, California. He spent a year at the New York Academy of Art where he was offered a full scholarship and at the Art Students League of New York. He concurrently attended classes at the National Academy of Design in New York. Among others, Smyth studied with M. Andrejivec, Ted Schmidt, Elliot Goldfinger, Gary Fagin, Ted Jacobs, Leo Neufeld, David Leffel, Jack Ferragasso, Jim Childs and Everett Raymond Kinstler and Kim English. Smyth has also studied with the noted painter and colorist, Ovanes Berberian. In 2002 Jim was invited to study at the Academy of Art in St. Petersburg, Russia, where he worked in Life Drawing and Life Painting. Smyth is a popular lecturer, a sought after demonstrator and juror. He is the recipient of many awards for both his painting and his teaching. In 1988 and again in 2003, he received the Kenneth Washburn...

Vivid large scale giclee print, 27/95, titled Desert Spring 1996 by Laurie Bender (American, b. 1953). Displayed double linen mat and whitewashed wood frame. Signed lower right and n...

Hand signed and numbered by the artist. Image size approx 20.5 x 16 inches. Frame size approx 32 x 27 inches. From the edition of 200. Artwork is in excellent condition. Certific...

JOHN MARIN (1872 -1953) CANAL BRIDGE AMSTERDAM, 1906 (Zigrosser 13 i/ii) Etching, drypoint and plate tone. A PROOF IMPRESSION of the 1st state, Annotated...

This artwork is an original seriolithograph (serigraph with lithograph) by American artist Barbara A. wood, born 1926. It is hand signed and numbered 257/260 in pencil by the artist....

From Poor Richard's Almanac portfolio. Hand signed and numbered by the artist. Lithograph on arches. Sheet size 25.5 x 19.5 inches. Image size approx 16.75 x 13.5 inches. From t...

Harold ALTMAN New York : Break in Central Park MEDIUM : Stone lithograph SIGNATURE : Handsigned LIMITED : Artist Proof PAPER : Arches vellum SIZE : 56 x 76 cm (c. 22 x 30 in) INFORMATION : Bears the blind stamp of the printer "Atelier Desjobert...

"Eternal Problem" - 1924 Etching on Paper Etching on paper titled "Eternal Problem" by Elias M. Grossman (American, 1898-1947). A bearded rabbi is portrayed thinking with his hand p...