American Impressionist Prints and Multiples

A superb, richly-inked impression of this very scarce lithotint on Japan paper. Edition of approximately 55. Signed with the artist's cypher in pencil, lower right.

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...

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 fram...

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

Bomber And Buckeroos ca. 1939 Till Goodan Offset Lithograph PRINTS ARE IN GOOD CONDITION. PRINTS MAY HAVE SMALL FLAW ALONG EDGE OF PAPER, DOES NOT EFFECT THE PRINT IMAGE All the prints are 26 x 31 inches, Mustang Peeler, Bombers and Buckaroos, The stranger, Guardians of the Range and Range Baby. Note that “The Mustang Runner” is 3 inches shorter in height, 23 x 31 inches The print by Till Goodan was originally a painting and reproduced by the Westward Ho company as a set. Westward Ho produced the most sought after Western dinnerware ever made. The most popular pattern was the Rodeo pattern by Till Goodan. He Illustrated and branded many accessories sold by the Westward Ho Company. Tillman Parker Goodan 1896-1958 To the casual observer his paintings are exciting and colorful. To the scholars of the Western Era they are benchmarks of authenticity. Such is the style of Till Goodan. He was born Tillman Parker Goodan in Eaton, Colorado on March 27, 1896. His father was a true western pioneer, mayor of Eaton, publisher of its first newspaper, and County Commissioner for several years. After moving to California in 1905 and settling on a little farm that bordered the Michel Cattle Ranch, Till spent much of his boyhood with the Michel sons working on their ranch. There he developed his expertise as a calf roper and the skills of a working cowboy. As a young man Till pursued endeavors that would initially callous his emerging artistic hands. He worked for the famous Miller and Lux Ranch in California. He packed mules and ran pack trains into the Sierra Mountains. He broke horses and competed in local rodeos riding saddle broncs and roping calves. And during the quiet hours he would draw pictures of ranch life and the action of the rodeo. People began commenting on his talents as an artist. In 1917 he left the rodeo circuit and turned his full attention to a career in art. He studied with Roger Sterrett, William Paxton, and Dana Bartlett, all highly respected California artists. Till soon became a free-lance commercial artist doing work for Grauman’s Chinese and Lowe’s Theaters, Helms Bakery and Security Bank. He later assumed a position as Art Director for the Richfield Oil Company. However, his first love was still the art of the old west, horses, cowboys, and ranching. So, he left Richfield and gave his full attention to the field of fine arts. He did oil painting, water colors and lithographs. He drew the Gene Autry Comic Books. He illustrated and hand lettered a large collection of stories about famous bucking horses, ranches, horsemen of the world, and western gear. In association with W.C. Wentz, he started producing a complete line of western gift wares, ceramics, bronzes, leather, paper, and fabric. By the 1930′s he was beginning to receive recognition for his western art and by the early 1940s, he and his daughter, Betty, were illustrating comic books for his longtime friend, Gene Autry. Betty was also a world champion cowgirl. Till Goodan designs appeared in virtually every medium. But, the most famous was the four lines of dinnerware produced by Wallace China...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

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 ...

Reginald Marsh (1898-1954), Irving Place Burlesque, lithograph, 1928, signed in pencil lower right and inscribed 25 proofs lower left margin [also signed and dated in the plate upper...

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...

Arthur B. Davies (1862-1928), By the Sea (aka Idyll), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochowski 72, fourth state (of 5; see disc...

Gerald Geerlings (1897-1998), Black Magic, etching and aquatint, 1929, signed in pencil lower right, titled and annotated (New York, 1928) lower left margi...

This artwork "Landscape #IV' 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...

Reginald Marsh (1898-1954), Switch Engines, Erie Yards, Jersey City, Stone No. 3, lithograph, 1948, signed in pencil lower right. Reference: Sasowsky 30, o...

Arthur B. Davies (1862-1928), Amber Garden (Hand Raised, Autumn Mist), soft ground etching and aquatint, 1919, signed in pencil lower right margin. Referen...

This artwork titled "Keukenhof" 2000 is an original color wood block print by noted California artist Arnold A. Grossman, 1923-2016. It is signed, dated, titled and numbered 1/25 in...

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...

Lake fog Year: circa 1928-1932 Medium: lithograph Pencil signature, numbered 6 Image size: 9 9/16 x 11 7/16 Harold Keeler was born in Denver, Colorado in 1905. He studied at both th...

"Farm at Inlet" is an etching by Thomas R. Manley signed lower right. It depicts a waterfront scene in black and gray. 26 1/2" x 33 1/2" art 26 3/8" x 33 3/8" framed Thomas Manley...

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream...

Lithograph of a person sitting on a park bench by Mercado (20th Century). Signed by the artist in pencil in the lower right corner ("Mercado 69"). Numbere...

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...

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...

Arthur B. Davies (1862-1928), Against Green (also Three Figure Composition, Figures Against Green), soft ground etching and aquatint, 1918, signed in pencil lower right; also titled ...

John Marin (1870-1953), St. Germain-Des-Pres, Paris, etching, 1906. Signed in pencil lower right and titled lower left [also signed and dated in the plate]. Zigrosser 47, only state,...

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing ...

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...

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...

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

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...

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)

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...

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...

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 ...

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...

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...

Reginald Marsh (1898-1954), Two Models on a Bed, lithograph, 1928, signed and inscribed “15 proofs” [also initialed and dated in the plate]. Reference: Saso...

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...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Fodder by John Costigan (1888-1972) Signed Lower Right Titled Lower Left 9.75" x 12.75" Unframed 17.5" x 19.75" Framed John Edwards Costigan was born in Providence, Rhode Island on ...

DANIEL GARBER "Harmonville, Pennsylvania" c. 1925 Etching printed in black ink on wove paper. 7 7/8 x 11 3/4 inches, full margins. Signed, titled and inscribed "DG imp" in pencil, ...