Impressionist Prints and Multiples

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 ...

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,...

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

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...

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 ...

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...

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...

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...

Original sold, private collection. Limited edition art print, signed by the artist, professionally printed on 100% cotton 300g / m² watercolor fine art paper, matte textured finish,...

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...

Jacques Villon (1875-1963), La Parisienne, (tournee a gauche, petite planche), 1904, etching, roulette and aquatint, signed in pencil [also signed in pla...

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...

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumou...

Theodore Roussel (1847-1927), Chelsea Children, Chelsea Embankment, etching, 1889, signed in pencil on the tab and inscribed “imp” [also signed in the plate]. Reference: Hausberg 32, only state, from the total printing of about 30 impressions. Printed in a reddish brown ink on a thin laid paper. In very good condition, trimmed by the artist on the platemark except for the tab, 7 1/2 x 5 1/16 inches. A fine impression, printed with a veil of plate tone, wiped a bit less toward the sky making the sky darker than the street scene. Hausberg notes that this etching “depicts, in reverse, a stretch of Cheyne Walk...

Theodore Roussel (1847-1926), The Street, Chelsea Embankment, etching, 1888-9, signed in pencil on the tab and annotated “imp” [also signed lower left in the plate]. Reference: Hausb...

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)

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

Enclosed is a rare etching of the famous image of "Sylvie" with either she was a model or a lover. Nicola was a Lady's man and loved woman who are his major theme. Sylvie, was origin...

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...

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...

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 ...

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

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

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...

Etching on paper Overall limited edition of 50 pieces plus 10 PA ( artist proofs ) signed in pencil by artist and numbered as: 28/50 paper size: 70 x 50 cm very good conditions A r...

Giclee on on deluxe paper. Hand signed and numbered on front by the artist. Image size 19.25 x 26 in. Frame size approx 27 x 34 in. Artwork is in excellent condition. Certificate o...

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...

A very good, dark and evenly-printed impression of this scarce lithograph on cream laid paper. From the edition of approximately 50.

Lon Megargee 1883-1960 "Self Portrait" Wood block print Signed in plate, lower right Image size: 15.63 x 12 inches Frame size xx x xx inches Creator of S...

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.

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...

Thames Bridge East is a limited edition etching by John Duffin. The monochromatic palette of this work allows you to look at all of the detail that Duffin has added to the piece. The...

This exquisite limited edition artist proof lithograph by Robert R. Copple ( American, 1963) captures the majesty of snow leopards against a rugged, mountainous landscape. Numbered...

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)

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 Faun. Jean-Gabriel Domergue Jea...

Giclee on canvas. Hand signed and numbered on front by the artist. Edition of 325. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included...

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...

Artist Commentary: White Sands, New Mexico (2016). Celebrating the beauty of the desert. Words that describe this piece: white sands, desert, sunset, subtle Artist Biography: Born ...

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....

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...

Lithograph on Arches Velin paper, Edition of 50 Paper size: 50.6 x 66 cms (19 7/8 x 26 ins) Image size: 45.4 x 54 cms (17 7/8 x 21 1/4 ins)

Print detail: Painting like photographic Fine Art Print, Printed on Museum Glass and Hand Gilded with Gold leaf in custom made frame. 41 x 57 cm (Framed) Glass Print from Edition of 1/5 Series: Blossom Blizzard (New Print on Glass edition 2022) About the work: "Despite T.S. Eliot's assertion that 'April is the cruellest month', I invariably feel a sudden surge of wellbeing and optimism when the first scent of spring hangs in the air. I know I'm far from alone in this - photographers and artists surely feel that sense of excitement as keenly as any gardener eagerly rifling though their seed packets. Mother Nature, it seems, is handing us our images on a plate. The light is soft and benign, the colours, gentle, and the countryside seems to suddenly be filled with boundless enthusiasm. Quotes such as 'Spring is nature's way of reminding us that every day is worthy of celebration' pop up on social media with unfailing regularity - long before the first cuckoo is heard. This image was taken at Stanmer Park, just outside of Brighton. A blustery day in early April, the air was filled with the sweet smell of April and the profligacy and exuberance of the new growth emerging was inspirational. Blossom-laden branches were everywhere but I concentrated on one small tree that stood apart from the rest. For reasons unclear, its tiny flowers seemed whiter, fluffier, altogether more generous than that of any of its neighbours. It was bitterly cold. The type of cold that can only be experienced when one has left home in overly optimistic clothing, only to realise that the wind chill factor hadn't been accounted for when getting dressed. I struggled on for about half an hour - reluctant to retreat to the warmth of the nearby cafe and the very enticing appeal of a cup of coffee. Fortunately, my inspiration came quickly - as the tiny petals blew around my head and I stood there shivering in all my reckless optimism, I realised it felt like nothing more than being encased in one of those half-domed snow globes. The fiercest blizzard was surely never this intense. I certainly couldn't imagine it ever being this cold. Photographic perfection is not my objective. Its obedient conformity initially attracts, but, for me, leaves little enticement to investigate further. So it was that the tangled complexity of branches and the disparate arrangement of blossom engaged, rather than frustrated my aspirations. By layering image upon image, frame upon frame, I was able to build up the layers of blossom and emphasise the movement of the branches. All photographic images represent a moment in time. The way I make my images combine several. I walked around the tree, back and forth trying to engage with the long-limbed gaucheness of its extended branches. The colour palette needed little intervention; I don't think anybody makes a paint called 'blustery blue' but perhaps they should. This contrasted beautifully with the jade and emerald grass, subsequently overlaid with soft white snowflakes and created, what for me, was a very pleasing and fresh arrangement of seasonal colours." - Valda Bailey

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...

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...

Serigraph in colors on paper. Hand signed numbered by the artist. From the eition of 250. Frame size approx 40 x 48 inches. Artwork appears to be in excellent condition. Has not be...

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...

Deluxe hand embellished enhanced canvas. Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 325. Stretched. ...

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

Three figures :: Hand Printed Work :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes :: Signa...

From the Shawl Suite. Serigraph on paper. Hand signed and numbered by the artist. Artwork is in excellent condition. Artwork image size: 18 x 11 in. Framed size: approx. 30.5 x 23 i...

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)