Impressionist Prints and Multiples

William Meyerowitz (1898-1981), Armistice Day, 1918, etching with watercolor. Edition not stated. Signed in pencil. Signed and dated in the plate, lower left. Image size 9 3/4 ...

Lithograph on Japon paper, Edition of 50 Paper size: 43.7 x 28.1 cms (17.2 x 11.1 ins) Image size: 39.1 x 23.7 cms (15 3/8 x 9 1/4 ins)

Arthur B. Davies (1862-1928), Girl Running (or Woman Running), drypoint, 1917, signed in pencil (twice) lower left and dated lower right. Reference: Czes...

Theodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed...

Jacques Villon (1875-1963), La Parisienne (tournee a gauche, petite planche), 1904, etching and aquatint in color (black, brown, red), signed and dated...

Arthur B. Davies (1862-1928), Afternoon, transfer lithograph, 1920, signed in pencil lower left. Reference: Czestochowski 188, only state, from the edition of 25 (another 300 unsigne...

Theodore Roussel (1847-1926), Study From the Nude of a Girl Lying Down, 1890, drypoint with plate tone, signed with the tab and inscribed “imp” [also ...

Jacques Villon (1875-1963), two drypoints, 1905, (Ginestet and Pouillion E156) each signed in pencil: an impression of the final state (third state of three) printed in bistre, with ...

Emile-Alfred Dezaunay (1854-1938) Jeune Fille de Rosporden, c. 1890 etching and aquatint printed in color on cream-colored laid ARCHES paper; Referen...

Hand embellished serigraph on canvas. Hand signed and numbered on front by the artist. Stretched. Artwork is in excellent condition. Certificate of authenticity included. Edition AP ...

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In g...

Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second...

Jacques Villon (1875-1963), Pour le Bapteme de Madeleine, 1900, aquatint , etching, printed in soft blue ink, signed in pencil lower right and numbered 7/10. On laid paper. Reference...

One of my first oil paintings, inspired by my stay in Annecy, France. Beautiful summer memory, seeing life in pink! Original painting sold, private collection in USA. Limited editio...

Hand embellished serigraph on canvas. Hand signed and numbered on front by the artist. Stretched. Artwork is in excellent condition. Certifi...

Original Lithograph by Jean-Gabriel Domergue Title: Parisienne Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisie...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

One hundred years ago 1805-1905 original print signed and dated 1905 by Albert w holden (British, 1848-1932) features a royal naval seaman admiring portraits and art wall in the form...

Sunflower is painted from nature, flowers donated for my birthday. They touched me with their simplicity, I imagined a picture of a sunny day on the field sown with a sunflower :: Di...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 7, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Size: 30 x 21 in. (76.2 x 53.34 cm...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

The composition is written under the influence of mood and the desire to produce something that comes out of the subconscious. :: Digital :: Impressionist :: This piece comes with a...

Philadelphia born American painter, illustrator, and etcher Margaret M. Taylor Fox ( 1857 - c.1941 ) attended the Philadelphia Academy of Fine Arts which house a collection of her ...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

The Lady of Shallott, Signed Digital Photographic Landscape Print, 2020 30" x 20" x 0.5" (HxWxD) Digital Print on Metal Hand-signed by the artist. An almost abstracted seascape color photograph by artist Amanda Lomax...

Duane Bryers, American (1911 - 2012) - A Time To Remember, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: Edition of 300, AP, Image Size: 18 x 22.5 inches, S...

Claude Tabet, French (1924 - 1979) - Dry Dock. Year: Circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Image Size: 18.5 x 22.5,...

Claude Tabet, French (1924 - 1979) - Eau Claire. Medium: Lithograph, signed and numbered in pencil, Edition: 250, EA, Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Claude Tabet, French (1924 - 1979) - Meditation. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 22 x 30 in. (55....

The composition is written under the influence of mood and the desire to produce something that comes out of the subconscious. :: Digital :: Impressionist :: This piece comes with an...

Flowers for mom's birthday, they are always special, filled with tenderness and love :: Digital :: Impressionist :: This piece comes with an official certificate of authenticity sign...

Color woodcut on Japan paper. Signed, numbered 1/30 and inscribed by the artist.

This original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It is an artist’s proof aside from the standard edition of 100. There was...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Original Lithograph by Jean-Gabriel Domergue Title: Dark Hair Lady with a Scarf Signed Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La P...

A superb, richly-inked impression of this etching. Edition of 150. Signed in pencil, lower left.

A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.

Hand signed numbered by the artist in pencil. Serigraph on Paper. Framed. Edition of 300. Artwork is in excellent condition. Certificate of authenticity included. All reasonable o...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Original Lithograph by Jean-Gabriel Domergue Title: Française Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisien...

Title: Hopi ca. 1920s Artist: Lon Megargee Medium: Block Print Size: 11 x 11 inches (Sight Measurement) SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & INSURANCE Creator of Stetson's hat logo "Last Drop from his Hat" Image of Lon Megargee not included in purchase. Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

Lon Megargee 1883-1960 "The Sheepherder" Wood block print Signed in plate, lower right Image size: 10 x 10 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

Flower Burst Ronald Julius Christensen, American (1923–1999) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 148/295 Size: 27.5 x 33 in. (69.85 x 83.82 cm)

Sea Garden Olga Poloukhine, French/American Etching with Aquatint, signed and numbered in pencil Edition of 150 Image Size: 17.5 x 23.5 inches Size: 22.25 i...

Lithograph on Japon paper, Edition of 50 Paper size: 35 x 27.8 cms (13 3/4 x 11 ins) Image size: 18.6 x 12.8 cms (7 1/2 x 5 ins)

Maurice de Vlaminck Original Lithograph Signed in the plate 1958 Title: House in Beauce Dimensions: 22 x 27 cm Reference: Catalogue raisonné Walterskirchen 275 Condition : Excellent Maurice de Vlaminck (1876 - 1958) Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Lithograph on Arches Velin paper, Edition of 25 Paper size: 45 x 32 cms (17 5/8 x 12 5/8 ins) Image size: 30 x 22.8 cms (11 3/4 x 9 ins)

limited_edition Brushed aluminium Edition number 25 Image size: H:61 cm x W:91 cm Complete Size of Unframed Work: H:61 cm x W:91 cm x D:0.3cm Sold Unframed Please note that ins...

Darkening Sky by John Scott Martin [2021] original Linocut Print on Collage Image size: H:36.5 cm x W:36.5 cm Complete Size of Unframed Work: H:36.5 cm x W:36.5 cm x D:0.1cm Frame Si...

Windmill Diptych by Joanna Padfield Consists of Norfolk Broads Marsh Harrier Cley Windmill Each piece is individually £65 Each piece is individually H29.7cm x W21cm x D0.2cm Mini...

‘Sunflower in a bottle’ is a Limited edition hand coloured collagraph print by Vicky Oldfield. Each print is individually painted, making every one unique. The bright colours and flo...

Peloton by Robyn Forbes [2020] limited edition Screen print on paper Edition of 20 Image size: H:20 cm x W:29 cm Complete Size of Unframed Work: H:29....

A Fine Day For Lapwings by Rob Barnes [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:...

Flight Over Barley [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.02cm Sold Unfram...

A Fine Day for Lapwings [2021] limited edition Linocut Edition of 50 in edition Image size: H:30 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.02cm Sold U...

Kees van Dongen Title: Montmartre 1900 Original Lithograph Edition of 180 Dimensions: 39 x 30 cm References: Juffermans JL 34 Information : This lithograph was created for the portf...

Serigraph on paper. Hand signed and numbered on front by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 160. All reasonable offers wi...