Paper Animal Prints

The Fisher-Bird is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard...

Artist: Billy Al Bengston – American (1934-2022) Title: Untitled Year: 1990 Medium: Lithograph, silkscreen on Arches paper Sight size: 19.5 x 25.5 inches. Sheet size: 24 x 30 inches. Signature: Signed lower right Publisher: Cirrus Editions, Ltd., Los Angeles, CA Edition: 250 This one: 120/250 Condition: Excellent This print is by Billy Al Bengston. It depicts what looks like a coyote staring out at the horizon on a full moon night. This print was created at the same time Bengston was creating his Moon paintings. The print has dark colors. As a result, my photographs are imperfect; they have a bit of glare. The print is in excellent condition. It is attached by two hinges to a matboard measuring 26 x 32 inches and has a Plexiglas frame. The frame is in fair condition with some light scratches. Billy Al Bengston (June 7, 1934 – October 8, 2022) was an American visual artist and sculptor who lived and worked in Venice, California, and Honolulu, Hawaii. Bengston was probably best known for work he created that reflected California's "Kustom" car and motorcycle culture. He pioneered the use of sprayed layers of automobile lacquer in fine art and often used colors that were psychedelic and shapes that were mandala-like. ARTnews referred to Bengston as a "giant of Los Angeles's postwar art scene." Early life and education Bengston was born in Dodge City, Kansas, on June 7, 1934. His family relocated to Los Angeles in 1948. He attended Los Angeles City College in 1952. Subsequently, he studied painting under Richard Diebenkorn and Saburo Hasegawa at the California College of Arts and Crafts, in Oakland, California, in 1955 and returned to Los Angeles to study at Otis Art Institute in 1956. Career Bengston began showing with the Ferus Gallery in Los Angeles (founded and run by Walter Hopps and Edward Kienholz, and later Irving Blum), having five shows between 1958 and 1963. As a fixture at the gallery, he was among a cohort of artists that included Kienholz, Ed Ruscha, Larry Bell, Kenneth Price, Ed Moses, and Robert Irwin. (The gallery closed in 1966.) In a 2018 article in Vanity Fair, Bengston recalled that he and Irwin hung the 32 pieces in Andy Warhol's Campbell's soup-can paintings show at Ferus in 1962. He notably described the atmosphere of Ferus as a "macho intellectual gang bang". After seeing the work of Jasper Johns at the 1958 Venice Biennale he adopted the motif of a set of sergeant's stripes. This recurring chevron image was painted with industrial materials and techniques associated with the decoration of motorcycle fuel tanks and surfboards. According to Grace Glueck of The New York Times, Bengston "was among the first to ditch traditional oil paint on canvas, opting instead for sprayed layers of automobile lacquer on aluminum in soft colors, achieving a highly reflective, translucent surface." Bengston encouraged viewers in the early 1960s to associate his art with motorcycle subculture; on the cover of a 1961 catalogue for a Ferus show, he was seen straddling a motorcycle. (He also competed in motocross competitions.) "When I painted these motorcycle paintings...

"Homage a Leonardo d'Vinci (Leonardo drawing, 3 Figures, Horse from De La Bataille Vol. I)" is an original color lithograph signed by Claude Weisbuch. A group of figures stand to the...

Badger Studies is an original etching by Will Taylor. It explores animal images and mathematics, including engineering analysis of tunnel linings. Each impression is marked on the re...

Kate Heiss Sunflower Fields Linocut Edition of 30 Image Size 30 x 30cm Mounted size 40x 40cm Oil based inks on 300GSM Soft white Somerset Velvet Paper Signe...

Be Here Bison Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 20 in Edition of 15 40 x 27 in Edition of 12 60 x 40 in ...

Be Here Bison Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 20 in Edition of 15 40 x 27 in Edition of 12 60 x 40 in ...

Be Here Bison Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 20 in Edition of 15 80 x 53 in Edition of 3 In this series...

God Save the Green by Artist Harry Bunce is a limited edition print. An expressionistic piece, depicting a rabbit with the caption above 'God Save the Green'. Harry Bunce artist wit...

David Shrigley I'm So Excited, 2022 17 colour screen print with a two varnish overlay on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edition of 125

Tracey Emin YES!, 2012 Home made color inkjet print 11 3/4 × 16 1/2 inches Edition 111/150 Pencil signed, numbered 111 and dated 2012 recto; bears Emin International stamp on the ver...

David Shrigley Fruits and Vegetables Series (Set of 4 Prints), 2020-2021 Consisting of: When Life Gives You A Lemon, 2021 You win this mushroom (Mushroom), 2020 The moment has arrived...

Walter Rogalski White Claw, 1952 Engraving on antique-white laid Homere paper Hand signed, numbered 6/25, dated and titled on lower front ; affixed to original matting Publisher The ...

It explores animal images and the science of induction. Each impression is marked on the reverse with the artist’s studio stamp. The Natural Sciences etchings have the feel of Leonar...

David Shrigley Witness My Joy, 2022 16 colour screen print with a two varnish overlay on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edition of 125

David Shrigley Truth, 2020 60 x 80 cm Off-set lithography Printed on 200g Munken Lynx paper

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 422. Philadelphia, J.T. Bowen, ca. 1839-44. Custom fr...

David Shrigley Everything is Good, 2023 15 colour screenprint with a two varnish overlay printed on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edition of 125

Be Here Bison Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available sizes 30 x 26 in Edition of 15 40 x 34 in Edition of 10 60 x 50 in ...

Keith Haring Stedelijk Museum 1986: Rare original, silkscreened Keith Haring Stedelijk Museum exhibition poster, 1986. Designed & illustr...

"Mop Head 8120", Black and White Horse Photograph, Horseshoes, Iceland ABOUT THIS PIECE: "Mop Head 8120" was part of a Black and White Photography landscape series featuring horses...

Vintage, 1975, Leo Castelli New York Gallery exhibition poster; signed, lower right, in felt pen, 'R. Lichtenstein' for Roy Lichtenstein (American, 1923-1997). Roy Lichtenstein firs...

Horse Race - Hand Colored Lithograph in Gouache Dynamic hand-colored lithograph by Eugene Pechaubes (French, 1890-1967). Five horses and their riders are racing directly towards the...

The image is 8 x 8 inches, and the paper it is printed on is 15 x 13.5 inches. This is a quirky and tender image of a naked man sitting on the floor holding a giant iguana on his la...

Salvador Girafe en feu/Salvador Dali (Salvador La jungle humaine): A 1976 lithograph Dali's "Le Jungle Humaine" suite. This work is hand signed and numbered and printed on Arches pap...

Aditya Dicky Singh, Untitled, Photograph on fine-art Hahnemuhle archival paper 44" x 65" unframed (112cm x 165cm) 2017 Edition 3/8 *Should you wish the photographs to be printed at a different size for a specific project, we are happy to discuss this. Please message with your request. This would still be Edition 2/8 Aditya Dicky Singh was an active member of a small band of experts, proactively ensuring the health of the Tiger population in the Park and at the same time the survival of the smaller communities whose livelihoods depend on the same land. Through his lens he documented generations of families of Tigers, learning behaviours and understanding their role in the wider context of the Forest. His knowledge was vast, not only of big cats but the other flora and fauna that co-exist in this special place. This tender artwork shows a small troop of backlit, Grey Langur...

Mayuka Yamamoto Sitting Bear, 2022 Lithograph in colors 27 3/5 × 21 3/10 in 70 × 54 cm Edition of 75

David Shrigley Untitled (Hiss), 2023 Off-set lithography Printed on 200g Munken Lynx 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 350

Mickalene Thomas Portrait de Priscilla Le Petit Chien, 2012 Pigment print on 100% cotton rag paper Edition 148/150 Frame included with official COA affixed to the back Hand numbered from the edition of only 150 with plate signed official Certificate of Authenticity on the verso of the frame. This exquisite print, published in 2012, is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. Highly acclaimed contemporary art star Mickalene Thomas created this collage specifically for children- though adults will appreciate it as well - as will pet lovers! Portrait de Priscilla Petit Chien features Priscilla, Thomas' own dog who frequently attends the artist's photoshoots. This limited edition archival pigment print is printed on cotton rag paper and accompanied by a plate (facsimile) signed and uniquely hand numbered certificate of authenticity. It is matted and comes in a 1"-deep wooden frame with Plexiglas®. Wired for hanging. Edition of 150. This professionally framed limited edition pigment print on 100% cotton rag paper is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. The print is matted and comes in a white wooden frame (16" x 19" x 1") with Plexiglas, wired for hanging. Dimensions: 11" x 14" sheet, 9-1/4" x 12" image. Mickalene Thomas Biography: Mickalene Thomas (b. 1971, Camden, NJ; lives and works in Brooklyn, NY) makes paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense of self are informed by the ways women are represented in art and popular culture. Rhinestones—the artist’s signature material and a symbol of femininity—serve as an added layer of meaning and a metaphor of artifice. Thomas uses rhinestones to shade and accentuate specific elements of each painting, while subtly confronting our assumptions about what is feminine and what defines women. Thomas has drawn inspiration from multiple artistic periods and cultural influences throughout Western art history, particularly the early modernists such as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse, Edouard Manet, and Romare Bearden. She models her figures on the classic poses and abstract settings popularized by these modern masters as a way to reclaim agency for women who have been presented as objects to be desired or subjugated. Though Thomas draws from a number of time periods and genres, her use of pattern and domestic spaces often references various periods throughout the 1960s to the 1980s. This was a time of immense social and political conflict, change, and transformation—the civil rights movement, the black is beautiful movement, and the second wave of feminism—during which many women, particularly African-Americans, rejected and redefined traditional standards of beauty. Thomas received a BFA from the Pratt Institute, Brooklyn, NY, in 2000 and an MFA from Yale University School of Art, New Haven, CT, in 2002. Solo exhibitions of her work have been organized at The Dayton Art Institute, OH (forthcoming, 2018); Henry Art Gallery, Seattle, WA (forthcoming, 2018); Pomona College Museum of Art, Claremont, CA (forthcoming, 2018); Georgia Museum of Art, Athens, GA (forthcoming, 2017); Newcomb Art Museum, Tulane University, New Orleans, LA (2017); Spelman College Museum of Fine Art, Atlanta, GA (2017); Museum of Contemporary Art, Los Angeles (2016); Aspen Art Museum, CO (2016); Aperture Foundation, New York (2016); George Eastman Museum, Rochester, NY (2014); Brooklyn Museum, New York (2012-13); Santa Monica Museum of Art (2012); Institute of Contemporary Art, Boston (2012); Hara Museum of Contemporary Art, Tokyo (2011); and La Conservera Centro de Arte Contemporaneo, Ceuti, Spain (2009). Select group exhibitions featuring her work include Third Space / Shifting Conversations About Contemporary Art, Birmingham Museum of Art, AL (2017); Constructing Identity: Petrucci Family Foundation Collection of African-American Art, Portland Art Museum, ME (2017); The Color Line: African American Artists and the Civil Rights in the United States, Musée du quai Branly, Paris (2016); SHE: International Women Artists, Long Museum, Shanghai (2016); No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, traveled to the National Museum of Women in the Arts, Washington, DC (2015); 30 Americans, Corcoran Gallery of Art, Washington, DC (2011), which has traveled extensively around the United States (2011-2017, ongoing); and Americans Now, National Portrait Gallery, Washington, DC (2010). Thomas’ work is in numerous international public and private collections, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo. Thomas has been awarded multiple prizes and grants, including the USA Francie Bishop Good & David Horvitz...

David Shrigley Untitled (Just Fly Away, Try Not to Look Back), 2022 Screenprint in colours 29 1/2 × 22 in 75 × 56 cm Edition of 125

David Shrigley Untitled (The Elephant, Every Time I Think of Him I am Happy), 2022 Screenprint in colours 29 1/2 × 22 in 75 × 56 cm Edition of 125

David Shrigley Untitled (Be Nice to Sharks), 2023 Off-set lithography Printed on 200g Munken Lynx 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 350

David Shrigley Fuck, 2021 Screenprint in colours 29 1/2 × 22 in 75 × 56 cm Edition of 125

Covey of Grouse I and Covey of Grouse II This diptych of acid etchings celebrates the beauty of birds in flight. Guy Allen’s etchings inspired by the fauna of Norfolk have a remark...

David Shrigley Cat Watches Your Seizure, 2023 Off-set lithography Printed on 200g Munken Lynx 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 350

Seal with a Kiss is a lithograph on paper, 9 x 9 inches image size. From the edition of 395, numbered 60/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silver-t...

David Shrigley Animal Series (Set of 4 Prints), 2019 Consisting of: I Will Not Fight Some of My Best Friends Are Pigs You Are Too Close He Will Only Eat Squid Ink Pasta 80 x 60 cm (e...

David Shrigley The Biggest Hottest Chilli in the World, 2023 12 colour screenprint with a varnish overlay. Printed on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edit...

David Shrigley Untitled (I've Got Your Lipstick), 2021 Screenprint in colours Frame included 29 1/2 × 22 in 75 × 56 cm Edition of 125

Set of four early 19th century English hand coloured caricature engravings of horses and carriages by S and J Fuller. Presented in period plain wood frames under glass. A charming s...

Deep in the forest, amidst the mists of dawn, a red deer stag appears… Guy Allen’s etchings inspired by the fauna of Norfolk have a remarkable level of detail. His etchings captur...

David Shrigley Untitled (You Make Them Happy), 2023 Off-set lithography Printed on 200g Munken Lynx 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 350

David Shrigley Untitled (Old Dog I Still Love You), 2021 Screenprint on Somerset Tub Sized 400gsm paper 76 x 56cm (30 x 22in) Edition of 125 plus 12 artist's proofs

A Pair Of Animals Triptych by Katie Edwards Consists of A Pair Of Flamingos A Pair Of Penguins A Pair Of Elephants Each piece is individually £50 Sold unmounted and unframed Each ...

David Shrigley Big Black Book, 2023 Format 50 x 65 cm Paper: Somerset 300 gr. Edition of 100

Izzy, a charming characterful terrier stands alert, holding her ball in her mouth. Colour etching hand made and printed by the artist. Helen Fay's art for sale online and in our gallery at Wychwood Art. Animals have always been at the heart of my work. I find the form, movement and behaviour of the creatures I draw a source of limitless fascination. I love the idea of them watching me, watching them as I draw. I hope my appreciation of the sentience and character of the animals I draw comes across in my work. Over my career I have drawn everything from primates to penguins, dogs, ostriches and even an echidna. These days dogs are my main focus, mostly because I adore dogs but also because they are such an integral part of life. I am delighted by the theory that humans and dogs co evolved, we wouldn’t be what we are without them and vice versa. I try to pare my images down to a balanced simplicity that directs attention to the subject of the picture. I try to balance the subject and the space it occupies, giving each equal importance. Light is hugely important to my work, I imagine my subject in three dimensions as I draw and the light describes the musculature and texture that gives the drawing it’s presence and grounds it in the picture. I aim to capture a pause, a moment where whatever I draw looks like it could wander off or leap up any minute. My influences include Japanese prints, Chinese and Japanese brush drawing and the European artists who were influenced by Japan. I am really excited by composition, by artists like Bonnard and Leon Spilliaert. I have long been a fan of Munch for his direct mark-making, colour and intensity and at the other end of the spectrum, Hammershoi for his limited palette, sense of space and calm. I am interested in black and white photography and film and have recently discovered and been amazed by the films of Yasujiro Ozu...

Series: Fairytale Silver Gelatin All available sizes & editions for each size of this photograph: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70" Edition of 3 + 2 Artist Proofs Mo...

Series: Fairytale Chromogenic Print on Kodak Endura Luster Paper All available sizes & editions for each size of this photograph: 18" x 18" 30" x 30" 45" x 45" 60" x 60" 70" x 70"...

David Shrigley Please Shut Up (Banana), 2022 Screenprint on Somerset Tub Sized 400gsm paper 29 1/2 × 22 in 75 × 56 cm Edition of 125 Hand-signed by artist

A Pair of Etchings by Kelly Fearing, done in 1982. The price is for the pair. Kelly Fearing ( American, 1918 – 2011 ) Title: Bird In The Rain 1982, #1 & #2 Medium: ...

David Shrigley No One Is Happier Than Me, 2022 11 Colour Screenprint on Somerset Tub Sized 410gsm Paper Edition of 125 Print Size: 76cm x 56cm

David Shrigley Stop Panicking, 2021 12 Colour Screenprint with a Varnish Overlay on Somerset Satin Tub Sized 410gsm Paper 29 7/10 × 22 in 75.5 × 56 cm ...

David Shrigley Distractions, 2022 Linocut, Somerset 300 gsm paper 20 1/2 × 15 in | 52 × 38 cm Edition of 100 Hand-signed and numbered

Available sizes: 18" x 18.70" , Edition of 8, Pigment Print 28" x 29.09", Edition of 8, Pigment Print 38" x 39.48", Edition of 6 Silver Gelatin 48" x 49.88", Edition of 6 Silver Gela...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

David Shrigley I Hate Human Beings, 2021 Screenprint on paper 29 9/10 × 22 in 76 × 56 cm Edition of 125

David Shrigley I Destroyed The Tennis Ball, 2023 26 colour screenprint with a two varnish overlay printed on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edition of 125

David Shrigley The Paper Weighs Nothing, 2014 Lithograph on paper 22 2/5 × 15 in 57 × 38 cm Edition of 100 Hand-signed and numbered