Animal Prints

Becassine - Snipe French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illust...

Bright orange leaps up like flames, or swaying grass, over which hovers a large-eyed bee sketched in black and orange. Over the fire-red in neat handwriting Ron Padgett...

Rale D'Eau - Water Rail French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. 195...

Rocca Luis César Luna llena (Full Moon), 2023 Serigraph in five colors 21.70 x 21.70 in Edition of 30 This serigraph (silkscreen or screen print) is ...

This is an original 19th century John James Audubon hand-colored lithograph entitled "4128 Audubon, Purple Gallinule, Adult Male, Spring Plumage", No. 61, Plate 303 from Audubon's "B...

COOPER'S RAINBOW is an original, hand drawn, limited edition lithograph by the American painter Wayne Cooper printed in NYC using traditional hand lithogr...

Etching and drypoint on cream wove paper, full margins. Signed and numbered 59/75 in pencil, lower margin. Notations in pencil along the lower sheet edge, recto, well outside of ima...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In good conditions. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

'Torch Light Fishing in N America' Colour aquatint by Merke after John Heavenside Clark (c1770-1863). From Samuel Howitt's 'Foreign Field Sports'. Samuel...

Artist: Karel Appel (1921-2006) Title: Stalking Cat Year: 1980 Medium: Silkscreen on Arches paper Edition: 80/125, plus proofs Size: 24.75 x 32.25 inches Condition: Good Inscription:...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Original first edition printing of Scandinavia by SAS, Scandinavian Airlines System. The first edition has a greyish panel along the bottom. The poster also features the SAS logo...

Artist: Kitagawa Utamaro the First (Japanese, 1754-1806) Publisher: Tsutaya Jūzaburō (Japanese, 1750 - 1797) Page Size: 10 x 15 in. Frame Size: 16 x 22 in. An Edo Period color woodb...

Limited edition, 6/10. ANNA MIKKE (born in 1950) She graduated from the Academy of Fine Arts in Łódź in 1975. After graduation, she was engaged in graphic design, including designing...

This is an original 19th century John James Audubon hand-colored quadruped lithograph entitled "Caribou or American Rein Deer", No. 26, Plate CXXVI, from Audubon's "Quadrupeds of Nor...

Alfred Bendiner (1899-1964) was trained as an architect but worked as an artist throughout his career. He was a noted lithographer, as well an author, muralist, and caricaturist. The...

'Bassets Griffons de Bretagne et de Vendee'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. F...

Rale des Genets - Corn Crake French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. ...

"Walking Lion" Antoine Louis-Barye (France, 1775-1895) Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Lion," along with "Walking Tiger...

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...

Chris Forrest, American (1946 - ) - Owl Haven, Year: circa 1979, Medium: Lithograph, Signed and numbered in pencil, Edition: 300, AP 40, Image Size: 18 x 22 inches, Size: 23 in....

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

Paul Bartlett is a highly acclaimed artist who has won many awards for his original depictions of nature which inform and educate the viewer on conservation issues. Merging lines is...

'Chittering and Chattering III' Linoleum Block Print, Edition 10, 11 5/8 x 11 5/8 Inches, is one of a series of 6 related prints in this size in varying shades of blue. Sold ind...

Pug, Greyhound, Terrier 1883-84 Chromolithograph 8.5 x 11 inches

Bat II from the artist's Isolation Art series. Pink wood grain background with lunar cycle imagery around surreal triple headed bat, framed in beveled edge gold frame ABOUT THE ARTIST Deming King...

Artist: Mel Ramos, American (1935 - ) Title: Giant Panda Year: 2012 Medium: Lithograph, signed and numbered in pencil Edition: 199 Paper Size: 34.6 in. x 39.3 in. (87.88 cm x 99.82 cm)

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Photorealist flower screenprint by American artist Lowell Blair Nesbitt, signed and numbered in pencil. Title: Spotted Leopard and Iris Year: 1981 Medium: Serigraph, signed and num...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Deux Pigeons". The original painting was completed in 1960. In the 1970's after Picasso's de...

Tracey Emin Limited Edition Docket Purse, 2011 Leather purse with zipper with original price tag in Selfridges bag 3 3/5 × 3 3/5 × 3/10 inches Edition 40/100 Signed in plate, Bears T...

HEARTLAND is an original hand drawn, limited edition lithograph by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100% ...

Color stencil print titled "Dog Circus" by Andrée Ruellan (1905-2006). New York, American Artists Group, Inc., circa 1936. Unsigned. Presented in an arc...

Pink Panther [2022] limited_edition Cymk screen print Edition number 100 Image size: H:70 cm x W:50 cm Complete Size of Unframed Work: H:70 cm x W:50 ...

Guerrilla Girls Geroge Bush 1991: Rare vintage original early 90s Guerrilla Girls poster published as a political statement in reaction to the Gulf War. Classic Guerilla Girls statem...

Although this work is titled Horses. It nice to think it could be (Horses in a Field in Woodstock, NY), but it was printed by Will Barnet at the Art Students League, about 1938, and Wilson, who visited Woodstock with Arnold Blanche...

Sanglier (Wild Boar) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of ill...

BUCK RUN BRIDGE is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by Peter Sculthorpe(b.1948 Ontario, Canada) printed in 1990 at JK Fine Art Editions Co. NYC, using hand lithography techniques on archival Arches paper, 100% acid free. Buck Run Bridge depicts a finely detailed drawing of a historic covered bridge in Chester County, Pennsylvania. BUCK RUN BRIDGE is an elongated horizontal composition, image measures 11.5 in. H x 36.75 in. W; a very appealing scenic Pennsylvania winter landscape with subtle details exhibiting fine line drawing and watercolor-like washes blending to form a wintry blue sky. The landscape captivating the viewer's eye with its delicate branches on bare trees, stone walls, split rail...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

This is a contemporary black and white photograph of North American Wild Horses Photography by Shane Russeck Printed on archival photographic paper Edition of 10 Signed and numbere...

Elegant etching of pair of swans by French artist Francois Soulas, 1969. Signed in pencil lower right. Original artwork on paper displayed on a white mat with a gold border. Mat f...

William Kentridge (b. 1955) is an internationally acclaimed South African artist renowned for his dynamic prints, drawings, large-scale installations, and animated films. Kentridge balances universal experiences with the complexity of South African political history and society. Born in Johannesburg to two prominent lawyers active in anti-apartheid efforts, Kentridge’s proximity to the dissolution of apartheid gave him a unique social sensitivity. His upbringing would shape the socio-political lens that informed his work as an artist. Kentridge is somewhat of a polymath. Having pursued formal education across politics, fine art, miming, and theater, it comes as no surprise that his work cannot be contained to the bounds of a single medium. Charcoal and ink are often his first tools for creation. The density, darkness and texture of the medium is instantly recognizable throughout his oeuvre.. Click here to learn more about Kentridge’s artist process from inside his Johannesburg studio. "Scribble Cat" is a paradigm of Kentridge's work and is instantly recognizable for its strong aesthetic and composition of layered pages. Kentridge's interest in cats stems back to his childhood when the prominent South African artist Cecil Skotnes...

Original antique etching by Samuel Howitt (1756-1822) . C1810. Published by Edward Orme. An early 19th century etching by Howitt from a series depicting ...

"NEW INTERNATIONAL ECONOMIC ORDER" is a brightly colored serigraph by the American artist/sculptor Chaim Gross printed in 16 colors including shades of yellow, blue, purple, salmon p...

This is a 19th century hand-colored folio-sized lithograph entitled "Dendrortyx Leucophrys" (White Eye-browed Partridges) by John Gould, published in his monograph 'A Monograph of the Odontophorinae, or Partridges of America' in London between 1844-1850. Reportedly only 250 copies were printed. The print depicts two partridges, one standing and the other lying apparently on sand, surrounded by high grass. A landscape of plants and possibly water is seen in the background. This beautiful hand-colored lithograph is presented in a double cream-colored mat. There is one tiny spot in the left lower corner, faint spots in the right upper print and mild toning about the periphery which is covered by the mat. It is otherwise in excellent condition. It is accompanied by the original text page. John Gould (1841-1881) was an English contemporary of the American John James Audubon. Gould published his first illustrated book on birds in 1831 entitled "A Century of Birds from the Himalaya Mountains", followed by "Ramphastidae" and "Birds of Europe". He then extended the scope of his travels and research to include Australia, New Zealand and New Guinea, drawing birds in their natural habitat. Artists, such as his wife Elizabeth Gould, Henry Richter and Edward Lear, transferred his drawings to hand printed and hand colored stone lithographs, which are known for their beauty, detail and accuracy. As well as an exceptional and prolific artist, Gould was an outstanding scientific naturalist. In approximately 50 years he created approximately 3,000 lithographs of birds...

This is an original John James Audubon hand-colored lithograph entitled "Buff-breasted Merganser Goosander, 1. Male 2. Female", No. 83, Plate 411 from Audubon's "Birds of America, li...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Scolopaceous Courlan", No. 63, Plate 312 from Audubon's "Birds of America, lithographed, printed...

Chris Forrest, American (1946 - ) - Great Horned Owl, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 19 x 24 inches, Size: 23 in...

Offset Lithograph, exhibition poster Edition of Unknown Size Unsigned 20.87 x 25.20 in 53.0 x 64.0 cm This is an original vintage David Hockney poster - it is not a later reproduc...

This is an original John James Audubon hand-colored lithograph entitled "Canvass Back Duck, 1. Male 2. Female, View of Baltimore, Maryland", No. 79, Plate 395 from Audubon's "Birds o...

Mel Hunter, American (1927 - 2004) - Snowy Owl, Year: 1975, Medium: Lithograph, signed and dedicated in pencil, Size: 22 x 30 in. (55.88 x 76.2 cm)

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Celebrating the wild life with this unique piece by Mauro Oliveira. Limited edition of 30 museum quality Giclee prints on CANVAS, signed and numbered by the artist. A "Certificate...

Foulque - Common Coot French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of il...

David Hockney is an English painter, printmaker, photographer, designer and dog-lover. Perhaps the most popular and versatile British artist of the 20th century, Hockney made appa...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

'Canard Siffleur' (Eurasian Wigeon) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of...

'Cetaces - Dauphin ordinaire' Engraving with original hand-colouring by Beyer after Edouard Travies (1809-1865). From Dictionaire Universel d'Histoir...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

This is a contemporary black and white photograph of North American Wild Horses Photography by Shane Russeck Printed on archival photographic paper Edition of 10 Signed and numbere...