Impressionist Prints and Multiples

This abstract landscape limited edition print by Ken Elliott features a forest-scape with bright yellow tree leaves which are mirrored by the yellow foreground, all of which is complemented by the light violet shadows between the trees and light...

This abstract landscape limited edition print by Ken Elliott features a bright palette and an impressionistic style. The forest scene is rendered with a vibrant green connecting the ...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a silver floater frame ...

This abstract landscape limited edition print by Ken Elliott features a predominately cool palette, which is offset by the warm yellow trees in the foreground, which are reflected in...

This abstract landscape limited edition print by Ken Elliott features a predominately cool violet palette, which is offset by the warm yellow trees in the foreground, which are refle...

This abstract landscape limited edition print by Ken Elliott features a warm, vibrant palette and captures a landscape with the sun just along the horizon. The painting has an impres...

.This is from his New York series consisting of 10 original lithographs signed & numbered. Limited edition of 150 numbered and 30 AP.. It is number 60/150 2 in the catalogue of lith...

This contemporary abstract landscape limited edition giclee print by Ken Elliott features abstracted trees in a cool-toned palette. The energetic blue and violet brush strokes that m...

This contemporary abstract landscape limited edition print by Ken Elliott features multi-colored tree trunks and foliage extend from the bottom of the canvas up to the top, with a ra...

This contemporary abstract landscape limited edition print by Ken Elliott features multi-colored tree trunks and foliage extend from the bottom of the canvas up to the top, with a ra...

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...

This contemporary abstract landscape limited edition print by Ken Elliott features tall, lush trees, the leaves of which are cool blue and violet tones. Small portions of the bottoms...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a silver floater frame ...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a silver floater frame ...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

Etching , fifth state , numbered 14/50, signed with stamp used for the edition of 50 by Lucien Pissarro on 1920. provenance : collection Henri PETIET , stam...

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...

This abstract landscape by Ken Elliott is a limited edition print. It depicts a forest of trees sitting in a blanket of snow, and a subtle sunset above the top of the forest. The thi...

Time passes. In summer, my garden is full of flowers and colors... I am so inspired to observe it daily! When the summer is over, I paint it in my art studio to prolong the good weat...

James Whistler (1834-1903), Penny Passengers, Limehouse, 1860. Etching and drypoint, signed in pencil with a butterfly and inscribed imp, printed in black ink on laid paper, trimmed at the platemark, leaving a signature tab, an impression in the second (final) state, one of only six recorded, 31/4 x 81/8 inches (8.2 x 20.7 cm) A fine impression of this great rarity. Provenance: Otto Gerstenberg, stamp verso [Lugt 2785] Reference: Kennedy 67; Glasgow 71 The buildings on the far bank of the Thames and the ship and their masts moored there show the distinctive draughtsmanship of the period 1859–1860 when Whistler worked in Limehouse and made an etching there which was published in the Thames Set. Penny Passengers, Limehouse is very rare, with only five impressions known, all but our impression in public collections. It shows in outline a group of passengers waiting for the ferry...

Theophile Steinlen (1859-1923), Interior of Tramway, lithograph, 1896, signed lower right in red pencil. Reference: Crauzat 173. In good condition, on Chine Volant with wide (full) m...

This artwork "Landscape #I' 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 im...

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...

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...

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 titled "Fish" is an original color lithograph on Laid paper by California artist Robert Holdeman, 1912-1994. It is hand signed in pencil b...

This artwork titled "Lanscape with Pond" is an original color serigraph by noted Bosnian artist Anton Sipos, b.1938. It is hand signed and numbered 225/275...

"Road Landscape" is an original etching and aquatint by Felix Bracquemond. This piece depicts a shadowy path through the foliage. The artist signed the piece in the lower right and i...

This artwork titled "The Old House" c.1980 is an original etching by noted California artist Arnold A. Grossman, 1923-2016. It is hand signed in pencil by th...

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...

Born in Paris in 1849, French painter, printmaker, etcher and illustrator Auguste Lepère apprenticed under British wood engraver Joseph Burn Smeeton in Paris at the age of thirteen. ...

A lovely drawing by Cortland Butterfield, signed, in an edition of 200 (this one numbered 110). Professionally float-framed and ready to hang. He...

Artist: Jean-Louis Forain (French, 1852-1931) Title: Paris Ville du Front Year: 1918 Medium: Lithograph Edition: Numbered 266/300 in pencil Paper: Wove Size paper: 15 x 22.25 i...

Arthur B. Davies (1862-1928), Round of Summer (aka Four Figures), soft ground etching, 1919, signed in pencil lower right. Reference: Czestochowski 91, first state (of 3), trial proo...

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...

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...

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...

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)

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

James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh sta...

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. Unsigned and unnumbered as ...

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, was in the collection of John H. Wrenn. On a commission from the Fine Arts Society, Whistler created the plates of his Venice series...

Arthur B. Davies (1862-1928), Torment, soft ground etching with aquatint and roulette, 1919-20, signed with the estate stamp lower right, and signed by the printer Frank A. Nankivell...

Theodore Roussel (1847-1926), The Sleeping Model or The Sleeper, etching and drypoint with additional pencil coloring, signed on the tab and inscribed “...

Lon Megargee 1883-1960 "The Bronc" Wood block print Signed in plate, lower right Image size: 9 x 10 inches Frame size 21 x 21.5 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...

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 ...

Arthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint and aquatint on zinc, 1916, signed with the estate stamp lower right. Reference: Price 2...

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...

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...

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

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

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...

Felix Buhot (1847-1898), Westminster Palace, etching, drypoint, roulette, 1884, signed in pencil and extensively annotated. Bourcard/Goodfriend 155, Bourca...