Impressionist Prints and Multiples

Gerald Brockhurst (1890-1978) Etching "Anais" c.1930 Very fine etching by listed English / American artist Gerald Brockhurst. Title "Anais" Pencil signed - From an edition of 55. ...

This artwork "Trois Danseuses" (Three Dancers) c.1940 is an etching in sepia on Wove paper after French artist Marie Laurencin, 1883-1956. It his signed in the plate as issue. This is a posthumous impression from the canceled plate. The image (plate mark) is 14.60 x 10.75 inches, sheet size is 16.5 x 12.85 inches. It is in excellent condition, hanging tape mark, small piece of tape and 3 small skinned area are visible on the back only. About the artist: Marie Laurencin, intimate of Braque, Picasso, Matisse and Appollinaire, was born in 1883. She held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron...

A quiet still life of a vase with cup and kettle is the subject of this lithograph by Robert Kipniss from 1986. Kipniss is known for his rather moody graphic works-- using simple sha...

Artist: Ellen Gunn (1951- ) Title: Winter Light II Medium: Screenprint Image size: 24 x 20 inches Sheet size: 24 x 20 inches Signature: lower left Edition:...

This artwork titled "Nature Morte aux Lapins" (Still Life with Rabbits) c. 1950 is an original color lithograph on Arches paper by noted French ...

Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...

Odilon Redon, French (1840 - 1916) - Portrait of Vuillard, Year: circa 1900, Medium: Lithograph on Japon, Image Size: 8 x 5.5 inches, Size: 14.5 x 8.75 in. (36.83 x 22.23 cm), Refe...

Auguste Rodin, After, French (1840 - 1917) - Jardin Des Supplices, Year: 1920, Medium: Lithograph, Image Size: 10 x 7 inches, Size: 17.75 x 12.5 in. (45.09 x 31.75 cm), Description...

Backyard VII Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 39/175 Size: 7 x 5 in. (17.78 x 12.7 cm) Frame Size: 13.75 x 11.25 ...

The Goethe House (Goethes Wohnhaus) is the main house lived in by the writer, poet, and statesman Johann Wolfgang von Goethe whilst in Weimar, Germany, though he did live in severa...

Artist: Ronald Julius Christensen – American (1923-1999) Title: Zannias (sic) Year: circa 1980 Medium: Color Lithograph on BFK Rives paper Image size: 24 x 19 inches. Sheet size: 30 x 22.5 inches Signature: Signed lower right Edition size: 295 This one: 114/295 Condition: Very good Unframed This exceptional vivid lithograph is by noted artist Ronald Julius Christensen (1923-1999). It makes use of vivid colors and bold strokes. The print is in very good condition. Born in Quincy, Massachusetts, Ronald Christensen established a fine-art career as a printmaker, painter and muralist in Boston where he had studied at the Boston Museum School of Fine Art and the Vesper George School of Art. He became a teacher in Color Theory at the New England School of Art in Boston in 1963. Exhibition venues included the National Academy of Design (1965) and the Rhode Island Art...

Artist: David Rosenthal (American 1876-1949) Title: Atlantic City Year: c.1930 Medium: Color Etching Image (Plate mark) size: 9 x 13 inches Sheet s...

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...

Wheeler Hall 1921 University of California at Berkeley Color Lithograph by Pedro Lemos (American, 1882-1952). Lithograph from a 1921 UC Berkely yearbook de...

Lithography on paper, e.d 1/10 Jean Duquoc is a French artist born in 1937 who lives & works in Belz, Brittany in France. In his work, we can see the skill with which he uses color,...

Serigraph on clayboard panel. Hand signed and numbered by the artist. Edition PA of 15. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offer...

Artist: Ronald Julius Christensen – American (1923-1999) Title: Wild Path Year: circa 1980 Medium: Color Lithograph on BFK Rives paper Image size: 26 x 18 inches. Sheet size: 30 x 22.5 inches Signature: Signed lower right Edition size: 295 This one: 263/295 Condition: Good Unframed This exceptional vivid lithograph is by noted artist Ronald Julius Christensen (1923-1999). It makes use of vivid colors and bold strokes. The print is in good, never-framed condition with some faint creases near the upper and lower edges of the sheet as well as some faint, tiny tiny spots in the upper left corner visible in strong light. Born in Quincy, Massachusetts, Ronald Christensen established a fine-art career as a printmaker, painter and muralist in Boston where he had studied at the Boston Museum School of Fine Art and the Vesper George School of Art. He became a teacher in Color Theory at the New England School of Art in Boston in 1963. Exhibition venues included the National Academy of Design (1965) and the Rhode Island Art...

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 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...

Auguste Rodin, French (1840 - 1917) - Antonin Proust (State Seven), Year: 1884-1888, Medium: Etching, Image Size: 6.75 x 4.25 inches, Size: 10.25 x 8 in. (26.04 x 20.32 cm), Referen...

Auguste Rodin, French (1840 - 1917) - Man Facing Left, Year: 1903, Medium: Lithograph on Japon, dated in the plate, Image Size: 5.5 x 5.5 inches, Size: 13 x 8.75 in. (33.02 x 22.23 ...

Lewis Teel Jr. 1913-1995 El Paso Artist Image Size: 9 x 7 Frame Size: 16 x 14 Medium: Etching Circa 1930s "City Market" Juarez, Mexico Biography Lewis Teel Jr. 1913-1995 Lewis Woods...

Artist: Georges Lambert (French, 1919-1998) Title: Nature Morte a la Bouteille (Still Life with Bottle) Year : Circa 1975 Medium: Color lithograph Edition: Numbered XX/C in penci...

Lon Megargee 1883-1960 "The War Bonnet" Wood block print Signed: original pencil signature, lower right Image size: 11 x 11 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...

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 ...

A simplified, illustration-style landscape by American artist Milton Glaser. This print is signed and numbered in pencil by the artist. View from Volpaia Milton Glaser, American (19...

Raoul Dufy, French (1877 - 1953) - Crows in Field, Year: 1912, Medium: Woodcut on laid paper, signed in pencil, Image Size: 1.5 x 3.5 inches, Size: 7.25 x 5.5 in. (18.42 x 13.97 cm...

Tall Skinny Trees Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 18/90 Image Size: 14 x 17 inches Frame Size: 22.5 x 25 inches

Theodore Rousseau (1812 - 1867) - Chenes de Roche II, Medium: Etching, Image Size: 5 x 6.75 inches, Size: 5.5 x 8.5 in. (13.97 x 21.59 cm), Description: From the collection of the ...

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...

Bottles Amos Yaskil Israeli (1935) Date: 1980 Lithograph, signed and numbered in pencil Edition of 375 Image Size: 17.5 x 25 inches Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Park Walk 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...

Auguste Rodin, French (1840 - 1917) - Antonin Proust State Five, Year: 1884-1888, Medium: Etching, Image Size: 4.5 x 3 inches, Size: 14.5 x 11 in. (36.83 x 27.94 cm), Reference: Tho...

Raoul Dufy, French (1877 - 1953) - Le Boeuf Sur Le Toit, Year: 1920, Medium: Lithograph on wove paper, signed in the plate, Image Size: 11.5 x 9 inches, Size: 12.75 x 9.75 in. (32....

Wonderful hand-colored lithograph of Sierra Mountain camping scene by Donald Masefield Easton (American, 1896 - 1956), published in 1931. Signed lower right (partially obscured by mat). Presented in rustic wood frame under glass. Image size: 14"H x 18"W. Donald Masefield Easton was a painter, illustrator with his subjects being California landmarks and western scenes. Born is Port Costa...

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Lovis Corinth (German, 1859-1925) Rare Etching c.1920 Fine etching by noted German Expressionist artist Lovis Corinth. This striking imag...

Nude Woman is an offset poster realized after Pierre-Auguste Renoir. In good conditions except for some rips on the margin. Signed on the lower right corner. The artwork represent...

Robert Delaunay, French (1885 - 1941) - Saint-Severin, Year: 1926, Medium: Lithograph on Japon, Size: 11.25 x 8.75 in. (28.58 x 22.23 cm), Description: From the collection of the l...

This artwork titled "Warming Up" c.1990 in an original color serigraph by American artist John Asaro, b.1937. It is hand signed and numbered 147/195 in penc...

Artist: Jean-Louis Forain (French, 1852-1931) Title: Vous Allez Nous Faires des Allemands Year: 1918 Medium: Lithograph Edition: Numbered 266/300 in pencil Paper: Wove Size pape...

Artist: David Rosenthal (American 1876-1949) Title: Bay Harbor Year: c.1930 Medium: Etching Image (Plate mark) size: 6 x 8.25 inches Sheet size: 8.25 x 10.5 inches Signature: Hand signed in pencil by the artist Condition: Very good About the artist. David Rosenthal (1876-1949) was a Cincinnati artist...

Leonardo Lasansky Signed & Framed Exhibition Poster C.1982 Dimensions 22" wide x 32" high The frame measures 26" wide x 35" high Signed at ...

Artist: David Rosenthal (American 1876-1949) Title: Village in France Year: c.1927 Medium: Color Etching with aquatint Image (Plate mark) size: 13.5 x 10 inches Sheet size: 14.75 x 11.25 inches Signature: Hand signed and numbered 9/50 in black ink by the artist Condition: Very good, margin slightly toned by age About the artist. David Rosenthal (1876-1949) was a Cincinnati artist...

Auguste Rodin, French (1840 - 1917) - Victor Hugo, de Face (State 6), Year: 1885, Medium: Etching, signed in the plate, Image Size: 9 x 6.25 inches, Size: 17.25 x 11.75 in. (43.82 ...

This artwork titled "Paris, Le Pont Neuf" c.1990 is an original color aquatint by noted California artist Arnold A. Grossman, 1923-2016. It is signed with...

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...

Duane Bryers, American (1911 - 2012) - The Audience, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: Edition of 300, AP, Image Size: 14 x 22.5 inches, Size: 2...

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

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...

Odilon Redon, French (1840 - 1916) - Paul Serusier, Year: 1903, Medium: Lithograph on Japon, dated in the plate, Image Size: 7 x 5 inches, Size: 12.25 x 9.5 in. (31.12 x 24.13 cm),...

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...

Maurice Vlaminck, After, French (1876 - 1958) - Boissy-Les-Perches, Year: 1951, Medium: Drypoint and Etching on Arches, signed 'MV' in the plate, Image Size: 10 x 12 inches, Size: 15...

This artwork "Landscape" is an original lithograph by Swiss artist Aime Daniel Steinlen,1923-1996. It is hand signed and numbered 235/260 in pencil by the artist. The image and sheet...

Raoul Dufy, French (1877 - 1953) - Woman With Shell, Year: 1930, Medium: Etching, signed in the plate, Image Size: 7.5 x 5.25 inches, Size: 10.25 x 7.75 in. (26.04 x 19.69 cm), Des...

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Reclining Nude Holding a Necklace Lithograph, c. 1908 Signed in pencil lower right (see photo) Edition: c. 15 Reference: Belleroche No. 525 Condition: Excellent Image: 16 3/4 x 20" ...

Artist: Jean-Louis Forain (French, 1852-1931) Title: Les Pessimistes Year: 1918 Medium: Lithograph Edition: Numbered 85/300 in pencil Paper: Wove Sheet size: 15 x 22.25 inc...

Artist: Jean-Louis Forain (French, 1852-1931) Title: Loin du Front Year: 1918 Medium: Lithograph Edition: Numbered 85/300 in pencil Paper: Wove Sheet size: 15 x 22.25 inche...