1920s Animal Prints

Broadbills Drypoint, 1922 Signed in pencil, lower left (see photo) Initialed and dated in the plate (see photo) Edition: 150 (unnumbered) Condition: Excellent, professionally cleaned...

Lice (Mallards grooming themselves) Drypoint, 1927 Signed and dated lower right (see photo) Titled lower left corner Condition: Excellent Image/Plate size: 6 7/8 x 10 3/4 inches Shee...

Original, Italian, Vini di Lusso lithograph vintage poster for fine wines. The Italian Society for Superior Wine. The image of a satyr (or Bacchus) getting ready to eat a group ...

Peacocks by Georges Manzana Pissarro (1871-1961) Pochoir 31.3 x 49.5 cm (12 ³/₈ x 19 ¹/₂ inches) Signed with Estate stamp Manzana Pissarro and numbered 45/100 lower right Provenance...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Fear Ridden by Orovida Pissarro (1893 - 1968) Etching 12.8 x 17.5 cm (5 x 6 ⅞ inches) Signed and dated lower righ...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

"Cinderella" framed antique 1927 etching of Cinderella and her dog by artist Louis Icart. Signed Louis Icart on lower right. Inscribed "Edité par les Artistes Modernes, 5 rue Scribe ...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

SEGUY, E[ugene] A[lain]. Papillons. Paris, [1929]. Superb lithograph by the master of the format. “In comparison with their variety and brilliance, much Art Deco illustration s...

Leonard Tsuguharu FOUJITA Cat, 1927 Original woodcut Handsigned with ink Numbered /160 Bears the blind stamp of the editor (Lugt 1140a) On Vellum 32.5 x 25.5 cm (c. 13 x 10 inch) R...

Composition of Animals is a lithograph realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Goo...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Beaufort...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The South No...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Berkeley Hunt...

Original “Next Monday” Vintage 1929 Work Incentive Poster The original “Next Monday” (also known as the "Futurist Monday") vintage 1929 Work Incentive poster is a reminder of a bygone era. This aesthetically magnificent lithograph by artist Willard Frederick Elmes created is a scarce print from the 1920s. It is striking for its intricacy and its size; the poster is linen backed and has a huge image, measuring approximately 28” x 20”. The poster displays...

Chromolithograph of Goldcrest Antique Print Image Size 10.5cm x 17 cm

Chromolithograph of Nuthatch Antique Print Image Size 10.5cm x 17 cm

Chromolithograph of a Snow Bunting Image Size 10.5cm x 17 cm

Chromolithograph of Nuthatch Antique Print Image Size 10.5cm x 17 cm

Chromolithograph of Nutcracker Antique Print Image Size 10.5cm x 17 cm

The Hunting Prince by Orovida Pissarro (1893 - 1968) Etching 15 x 20 cm (5 ⅞ x 7 ⅞ inches) Signed and dated lower right Orovida 1926 Inscribed lower left Trial proof no.14 and titled lower middle Provenance: Private collection, Europe Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects...

1922 Initialed, titled, and dated in pencil, lower margin Woodcut on cream wove paper with original colophon (Edition of 125) 10 x 15 inches (25.4 x 38.1 cm), sheet This work is ...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Man & Beast by Orovida Pissarro (1893-1968) Etching 27 x 22 cm (10 ⁵/₈ x 8 ⁵/₈ inches) Signed and dated lower right, orovida 1924 Inscribed lower left, Final state no 12/40 and titled lower centre Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE The Green Woodpecker by Georges Manzana Pissarro (1871-1961) Pochoir 31 x 47 cm (12 ¹/₄ x 18 ¹/₂ inches) Signed w...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Peccarys and Tiger Pranks by Orovida Pissarro (1893-1968) Etching and aquatint 31.5 x 23 cm (12 ⅜ x 9 inches) Sig...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les cygnes by Georges Manzana Pissarro (1871-1961) Watercolour monotype 49 x 63 cm (19 ¹/₄ x 24 ³/₄ inches) Signe...

George Biddle (1885-1973), Banana Grove, lithograph, 1928. Signed, titled and numbered in pencil [also annotated in the plate “Biddle/1928, lower right “47). References: Pennigar 81, Trotter 47. In excellent condition, the full sheet, on cream wove BFK RIVES paper, with their (partial) watermark. 12 1/2 x 9, the sheet 20 x 16, archival mounting (non attached mylar hinging between acid free board, glassine cover). A fine fresh rich impression in pristine condition. After Groton, Harvard College...

Ohara Koson (1877-1945), 'Carp and Water Chestnut', color woodblock print, 1926. A fine impression, with fresh colors, on cream Japan paper; the full sheet, in excellent condition. Signed 'Koson' with the artist’s red seal 'Koson'. Published by Watanabe Shozaburo. With the Watanabe 'C' seal in the lower right margin, indicating a lifetime impression printed between 1929-1942. Image size 13 1/2 x 7 1/4 inches (343 x 184 mm); sheet size 14 1/2 x 7 1/2 inches (368 x 191 mm). Archivally sleeved, unmatted. Literature: 'Crows, Cranes, and Camellias: The Natural World of Ohara Koson', Newland, Amy R.: Jan Perree & Robert Schaap, Leiden: Hotei Publishing, 2001. S39.1, pl 169. Collections: National Museum of Asian Art (Smithsonian), Smart Museum of Chicago (University of Chicago). In Japanese art, the carp represents good luck and good fortune. ABOUT THE ARTIST Koson Ohara...

The Nomads by Orovida Pissarro (1893-1968) Etching and aquatint, final state 21/42 27 x 41 cm (10 ⁵/₈ x 16 ¹/₈ inches) Signed, Orovida, and dated 1925 Orovida was a gifted printmake...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Man & Beast by Orovida Pissarro (1893-1968) Etching 27 x 22 cm (10 ⁵/₈ x 8 ⁵/₈ inches) Signed and dated lower rig...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

Chromolithograph of a Jay bird Matt size 24.5cm x 29.5cm Image Size 10.5cm x 17 cm

Chromolithograph of a Snow Bunting Matt size 24.5cm x 29.5cm Image Size 10.5cm x 17 cm

Original pochoir process print. Paris, Galerie Lutetia, circa 1920.

Chromolithograph of a Red-Throated Pipit Matt size 24.5cm x 29.5cm Image Size 10.5cm x 17 cm

George Biddle (1885-1973), Goat Herder’s Wife, 1928, lithograph, signed in pencil lower right and titled and numbered (64/100) in pencil lower left margin [with the inscription ”Bidd...

E.H. Raskin Sea Stars Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is part of the set "Fantaisies...

'La Bergère Turque' (The Turkish Shepherdess) by Georges Manzana Pissarro (1871-1961) Etching 33.5 x 27 cm (13 ¼ x 10 ¾ inches) Signed lower left, Manzana Pissarro, titled and inscri...

E.H. Raskin Aquatic Fantasy Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is part of t...

Clark, Roland (American 1874-1957). JACK SNIPE. Etching, 1928. Edition of 70. Signed in pencil. 8 1/2 x 12 inches. In excellent condition.

Clark, Roland. EVENING FLIGHT. Derrydale 11. Etching and drypoint, 1929. Edition of 75. Signed in pencil. 12 x 15 inches. In excellent condition.

Marples was a painter, etcher, writer on ornithology, and principal of Huddersfield, Hull and Liverpool School of Art. He specialized in etchings of fish...

Not signed. Includes passepartout (49 x 34 cm).

Robert BONFILS The lover's, interlacing, 1920 Original woodcut Handsigned in pencil Numbered /105 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagi...

Hand Signed. Edition of 100 prints (plus 100 not signed). From the series “Les Fables de La Fontaine”, realized by Chagall between 1952 Image Dimensions : 30 x 24 cm Ref. Cramer 2...

Robert BONFILS At the Circus, 1927 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de la Gr...

Ostend Horse. 1926-27. Drypoint. Appleby 125. 7 x 815/16 (sheet 9 1/8x 12 1/5). Proof B, apart from the edition 100. A rich impression with tonal wiping and drypoint burr, printed on...

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4 (sheet 11 7/16 x 16 1/8). Edition 100. A rich impression printed on cream laid paper wi...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. He taught at the Connecticut College for Women, and after the death of Grant Wood, the University of Iowa State...

Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 5/8 x 18 1/16). Edition 100, #86. A rich impression with drypoint burr. Printed with ...

Figures in Red is an original modern artwork realized in the first half of the XX Century by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original Lithograph on paper...