Paper Animal Prints

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 60", Edition of 15 47" x 71", Edition of 15 55" x 80", Edition of 15 60" x 90", Edition of 10...

Archival Pigment Print Under Acrylic Glass Edition of 15 All available sizes and editions: 53" x 40", Edition of 15 63" x 48", Edition of 15 73" x 55", Edition of 15 80" x 60", ...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 53" x 40", Edition of 15 63" x 48", Edition of 15 73" x 55", Edition of 15 80" x 60", Edition of 10...

Archival Pigment Print Under Acrylic Glass Edition of 15 All available sizes and editions: 53" x 40", Edition of 15 63" x 48", Edition of 15 73" x 55", Edition of 15 80" x 60",...

Archival Pigment Print Under Acrylic Glass Edition of 15 All available sizes and editions: 53" x 40", Edition of 15 63" x 48", Edition of 15 73" x 55", Edition of 15 80" x 60",...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 60" x 40", Edition of 15 72" x 48", Edition of 15 80" x 55", Edition of 15 92" x 60", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 60" x 40", Edition of 15 72" x 48", Edition of 15 80" x 55", Edition of 15 92" x 60", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 60" x 40", Edition of 15 72" x 48", Edition of 15 80" x 55", Edition of 15 92" x 60", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 60" x 40", Edition of 15 72" x 48", Edition of 15 80" x 55", Edition of 15 92" x 60", Edition of 10...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 80", Edition of 15 44" x 88", Edition of 15 48" x 96", Edition of 15 54" x 108", Edition of 1...

Archival Pigment Print Under Acrylic Glass All available sizes and editions: 40" x 40", Edition of 15 48" x 48", Edition of 15 55" x 55", Edition of 15 6" x 60", Edition of 10 ...

Flamingo No. 1 Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Alejandra: Alejandra made us take our hats off, Mother Nature never fails...

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Available Sizes: 32" x 32" Edition of 15 40" x 40" Edition of 10 48" x 48" Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, manki...

All available sizes and editions: 30 x 37.5, edition of 15 40 x 50, edition of 10 48 x 60, edition of 5 Narrative: Barbaro filled the room like a heavy piece of thick-stringed music...

Available sizes 32" x 32" Edition of 15 40" x 40" Edition of 10 48" x 48" Edition of 5 THE EYES OF A WOLF are not like the yes of a dog. But, they used to be. Rooted deep in the ve...

Available sizes: 18” x 27.86” - Edition of 8 28” x 43.34” - Edition of 8 38” x 58.82” - Edition of 6 48” x 74.30” - Edition of 6 Lions have been momentous symbols to humankind for t...

An limited edition on paper numbered 96 of 175 of a racecourse by Henri Laville. Signed in pencil bottom right, titled in pencil bottom centre and numbered in pencil bottom left. Pre...

The delicacy of this lithography showcases a masterful interplay between the use of positive and negative spaces. The artist's deft hand has outlined the cat in black ink, strategically filling certain selected areas with profound blackness. The subject is probably her beloved cat named Tuffy, and the number 1 behind the work's title suggests that other studies of her cat have followed. Resting on his side, the feline's likely tabby coat gives serenity to the scene depicted. A scene approached with love, Infinite poetry, and subtle restraint. Reminiscent of the renowned art of stenciling, popularized by the acclaimed artist Banksy, this lithograph achieves a sense of balance through its minimalist use of black against a lighter background. The artist's signature is carefully penned in pencil, as for the number of the edition. We have no personal information...

This is a unique hand colored work. A one color screen print is used as a foundation, measuring 11x 14 inches. This is from my ongoing snoopies series I began in 1999. When I was a ...

A color, stone lithograph titled 'Edward' by Nura Woodson Ulreich (American, 1899–1950) with certification of authenticity stamped verso. A fresh ...

From the estate of Jerry and Ruth Opper Abstract Bird Print 1940-1950's Stone Lithograph on Paper 17.5" x 23" Unframed Came from a portfolio of his...

drawing, limited edition archival print 8/10

Beautiful work by Koen Van Mechelen (Sint-Truiden, 1965). Made as a participation in the "museum to scale" exhibition At Ronny Van de Velde gallery from 2013 Signed on reverse Issued...

Beautiful work by Koen Van Mechelen (Sint-Truiden, 1965). Made as a participation in the "museum to scale" exhibition At Ronny Van de Velde gallery from 2013 Signed on reverse Issued...

The work comes directly from the artist, is numbered out of limited edition of 20, signed and made on sealed paper. Size of paper: ca 100 x 70 cm ( ca 39 x 20 inch) Dimensions of im...

Dr. Seuss Wisdom of the Orient Cat (Deluxe edition)Serigraph on Hand-made Japanese Paper Deluxe Edition of 250 Image Size: 58" x 29" Paper Size: 62” x 31” Adapted posthumously from ...

"Quagga's Secret" by Alexis Kandra is a limited edition signed, titled, dated and numbered giclée print on Moab paper based on an original oil painting with metallic gold and copper foil with black grid line work. This print is an edition total of 5 by the artist Alexis Kandra. The image features a quagga, which is a now-extinct animal from the zebra family native to South Africa, a rhinoceros, and a flying bird called...

Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate XVI. Phila...

This is a unique original collage, decoupage style of Jiri Kolar, This is an exceptional artwork which was part of a collaboration between Hyman Bloom and fellow artist and his very good friend Martin Sumers. This is pencil signed by Martin Sumers. Provenance: Acquired from the Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

This is a unique original collage, decoupage style of Jiri Kolar, This is an exceptional artwork which was part of a collaboration between Hyman Bloom and fellow artist and his very good friend Martin Sumers. This is pencil signed by Martin Sumers. Provenance: Acquired from the Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

Ted Blaylock (b. 1946) "Nest Builder III" 1986 Print Ed. 586/950 Signed and Numbered Ted Blaylock opened his own art studio and gallery in Collinsville, IL in 1969. He eventually mo...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

Ed. 1/50 Color engraved etching by Bjorn Skaarup of a bald eagle.

Rosen was born in New York City where she grew up and began her career as an artist. Despite finding early success in galleries and a prestigious teaching position in New York, Rosen...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...