Collections · Seurat
Seurat, restored for print
Georges Seurat died in 1891, at thirty-one — his entire output has been public domain for more than a century. We restore his paintings and studies from archival scans and sell them as 130+ finished prints in four formats. Twelve, chosen and annotated by the studio, are below.
LumenArtee is our own Etsy storefront — one of the three shops this studio runs. Every sale funds the next restoration.How we restore ·our open ledger
The icons, restored
A Sunday on La Grande Jatte, 1884–1886
Two summers of studies went into one Sunday afternoon, and Seurat finished it with a border of painted dots. Cheap copies fuse the lawn into a single olive — restored, the yellows and greens sit side by side, arguing, the way the method demands.
La Grande Jatte · four formats
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Models (Poseuses), 1886–1888
His answer to critics who said the dot could not draw a human being: three models undressing beside his own Grande Jatte, propped against the studio wall. The picture runs on the quietest flesh tones we handle, and they are the first thing a tired file loses.
Paris studio · four formats
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Circus Sideshow (Parade de cirque), 1887–1888
Seurat's first night scene — a sideshow band playing under a row of gas jets to draw the evening crowd in. Everything lives in the murk between the lights, exactly where careless copies go to mud; here the murk keeps its violet.
Paris · four formats
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Le Chahut, 1889–1890
Seurat believed rising lines carry gaiety, so the whole cabaret rises — kicked legs, moustaches, the conductor's baton. The blue painted border is his own, and the print keeps it.
Paris · four formats
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Young Woman Powdering Herself, 1889–1890
The model is Madeleine Knobloch, the companion Seurat kept secret almost until his death. In the little wall mirror he first painted his own reflection, then thought better of it — the vase of flowers covers the only self-portrait he ever attempted.
Paris · four formats
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The Circus, 1890–1891
Still unfinished when Seurat hung it at the Indépendants in March 1891; he died before the exhibition closed, at thirty-one. He built it from three colours — red, yellow, blue on a white ground — so the balance is everything, and the balance is what came back.
Paris · four formats
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Deeper into the catalogue
Six more, in the order he made them — the studies to the circus.
The Forest at Pontaubert, 1881
Painted in his early twenties in the woods near Avallon, before the first dot — light coming through patch by patch into a dense weave of greens. Shadow passages this deep are where grey scans give up; ours reads to the bottom.
Early work · four formats
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Evening, Honfleur, 1886
From his first marine summer, on the Channel at Honfleur — a becalmed evening with the light powdered evenly across sky, sea and shingle. His signature sits low in the pebbles at the right and survives at print size.
Honfleur · four formats
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The Bridge at Courbevoie, 1886–1887
A winter-still stretch of the Seine, all verticals — masts, poplars, waiting figures. Deliberately hushed pictures die fastest in reproduction; one degree too grey and it is fog, so the work here was keeping every blue apart.
Courbevoie · four formats
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Port-en-Bessin, Entrance to the Outer Harbor, 1888
The dark drifts on the green water are cloud shadows, the only moving things in an otherwise motionless harbour. Seurat spent the summer of 1888 in this small Normandy port; the flowering cliff-top in the foreground carries the print.
Port-en-Bessin · four formats
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The Eiffel Tower, 1889
Painted while the tower was brand new and much of artistic Paris had signed a protest against it; Seurat sided with the iron, dissolving the engineering into dots of rose and gold. A small panel that enlarges with surprising grace.
Paris · four formats
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The Channel of Gravelines, Petit Fort Philippe, 1890
From the last summer, 1890, on the channel at Gravelines — light bleached nearly to white, the quay swinging out to a single bollard. The palest painting we handle; everything rides on tints a dull file flattens into blank paper, and they are all here.
Gravelines · four formats
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The rest of the room
The works above are a taste — the catalogue holds 130+ Seurat works. Browse it by subject:
Choosing a format
Rolled poster
The cheapest way in — pick it if you already own a frame or want one chosen for the room, not the shipment.
Framed paper
Arrives ready to hang, glass over paper — the classic museum-print look, and the safest default for most rooms.
Stretched canvas
No glass, no glare — texture close to a painting's, and a natural fit for painterly surfaces.
Framed canvas
The canvas texture with a finished edge — the most furniture-like of the four, and the largest sizes live here.
Prices vary by size and format; every listing shows all options in your own currency. Undecided? Ourprint format guidecompares the four honestly.
From the journal
Why is this work free to print in the first place?Seurat and the public domain — the full guide →