Horizontal Animal Prints

(after) Raoul Dufy Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Dimensions: ...

Vibrant print of a coyote by Daniel Stolpe (American, 1939-2018). Titled, numbered ("Presentation Proof"), signed and dated along bottom edge. Presented in a black frame with a double mat. Sheet on verso with information about the piece, stating that only 5 Presentation Proofs were created, making this piece 1 of 5. Paper size: 24"H x 28"W. (2018) Master artist and Native Images lithographer Dan "Coyote" Stolpe slipped out of his non-functioning body, and is running free at last and howling in the hills. Born and raised in Los Angeles, Dan's father introduced him to Native American teachers of Art and Culture through the Woodcraft Rangers, who influenced Dan for the rest of his life. "Everything was patterned after a tribal structure," Stolpe said. We learned about Indian life and lore and we had Indian guys teach us how to make Indian costumes and about Indian dance and drums. That's what got me interested." Dan made his first drum when he was 14, and he was quietly playing that same drum during his final days of life. Stolpe attended LA Co. Art Institute (OTIS) on scholarship until 1962, when he dropped out to Apprentice with artist Don La Viere Turner in Glendora, and then with Master Printer Joe Funk in Venice until 1966. Commissioned by the Smithsonian Institute, he moved to Washington DC to illustrate extinct birds...

Georges BRAQUE Leda and the Swann Stone lithograph (Art-Litho workshop, Paris) Printed signature in the pate Limited to 399 copies unumbered On Arches vellum 18 x 23" (45 x 58 cm) E...

Zao Wou-Ki (Chinese, French, 1921-2013) Les Poissons, 1953 Lithograph Hand-signed in pencil Lower Right Hand-numbered 16/55 in pencil Lower Left 18 x 23 1/8 inches 29 x 33 inches wit...

Joseph Hecht, 'Asie (Asia) from the series Atlas', engraving, 1928, edition c. 50, Tonneau-Ryckelynck & Plumart 162. Signed and annotated 'epreuve definitive' (final proof) in pencil...

'Bassets D'Artois a Jambes Droites'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a Fr...

Presenting a monumental original etching by French artist Albert Decaris. Decaris won many honors in France during his extensive career. "Leda and the Swan", depicts the mythologi...

FAILE HOLLYWOOD, 2019 9.5" x 28.5" 7 ply maple wood Unnumbered edition of 150 Each deck comes with a COA from BEYOND THE STREETS signed by curator Roger Gastman that confirms authen...

Fish Wood-engraving with original colouring. 1879. 160mm by 245mm (sheet). Key below the image. From Oliver Goldsmith's 'A History of the Earth and Animated Nature'.

Etching and aquatint realized by Henry Alken in 1846. Plate from "The Analysis of the Hunting Field". Very good condition. Henry Alken (1765-1851) was en english painter and engrav...

Johan Wilhelm Palmstruch (1770-1811) Sweden Title: A Bear hand-coloured print early 1800s print dimensions approx 4.33 x 7.08 inches (11 x 18 cm) frame 11.81 x 15.74 inches (30 ...

Signed "5/75 / Empress of Silence / W. B. Montgomery 2010" Paper size is 15 x 22 1/2 inches Mat size is 18 x 24 inches Price includes 8-ply rag mat Ar...

Noel Daggett, American (1925 - 2005) - Mustangs on the Run, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 19 x 23.5 inches...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Artist: John James Audubon (American, 1785-1851) Title: "Long-billed Curlew (City of Charleston)" (Plate 355, No. 71) Portfolio: The Birds of America, First Royal Octavo Edition...

Rod Nelson (British, 20th Century) Angry cats woodblock print signed and dated ‘Rod Nelson 1992’ (lower left) 7.1/4 x 7.5/8 in. (18.3 x 19.3 cm.)

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Woodcut Image Size H 50 x 66cm Framed Size H 73 x 88cm Edition of 100 Woodcut print on Paper Edition of 100 50 H x 66 W cm (19.69 x 25.98 in) Sold unframed Image size: Height: 50cm...

'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...

10-colour lithograph on Somerset Velvet White 300 gsm paper 23 3/5 × 29 9/10 in 60 × 76 cm - sheet size Edition 48 of 200 hand-signed and numbered by the artist in the bottom right ...

American Trotting Horses No. 2 by Salvador Dali has dynamic movement in the two trotting horses with an added giant Dalian insect head in coll...

This serigraph was created by contemporary American artist Hunt Slonem. Slonem is best known for his Neo-Expressionist paintings and bright tropical palette, and his subject matter o...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Copper-line engraving. 1781. From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Plate number top left. Laid paper. John Latham was the leading English or...

Game Birds Wood-engraving with original colouring. 1879. 160mm by 245mm (sheet). Key below the image. From Oliver Goldsmith's 'A History of the Earth and Animated Nature'.

'Bassets Ardennais'. 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 i...

A dynamic, illustrative etching depicting two cockerels mid-fight, wings spread and spurs at the ready. Inscribed '1o ETAT' to the lower margin. Presented in a slim wooden frame with...

Galloping Horse is an artwork realized by  Jean-Marie Guiny, 2000s.  Etching, Edition 145/160. 40 x 50 cm ; with frame.  Hand signed in the lower right part. Good condtions! J...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

The horse "Lampo" is a modern artwork realized by Giorgio De Chirico in 1971. Mixed colored lithograph. Hand signed, titled and numbered on the lower margin. Edition of 30/48 inc...

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

“Carrier Pigeon,” 2012, Limited edition silkscreen print by Baltimore street artist Gaia. Three-color hand-pulled silkscreen on Coventry Rag, 100% Cotton Archival Paper. Edition 25/...

Mel Hunter, American (1927 - 2004) - Arabian, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), Descript...

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...

Duane Bryers, American (1911 - 2012) - Back Of The River, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22 in., Size: 21 in. ...

"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...

One of the last known photographs of the remarkable Orca "Granny''. Granny (born c. 1911, presumed dead between October–December 2016), also known as J2, was an orca (killer whale). ...

'German Manner of Netting Partridges' Colour aquatint by Merke after Franz Joseph Manskirch (1768-1830). From Samuel Howitt's 'Foreign Field Sports'. Samuel Howitt was an English p...

A La Queue (Join the Queue) original etching from the series Naughty Dogs of Paris showing a line of five dogs of various breeds trailing a small Chihuahua on a leash who is turning her head towards the queue. This original etching is in excellent condition, hand signed by the artist and published by Sidney Lucas. paper size 13.75 x 29.25 image size 8.50 x 24 Boris O'Klein ( 1893-1985 ) immigrated to France from Russia with his family when he was a young boy. He settled in Paris after World War I and became a prolific artist well known for his watercolors and etchings of dogs getting into mischief. His images are often risque and are considered very humorous. They have been referred to as the Naughty or Dirty Dogs of Paris.

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...

Born in Greenwich, Connecticut, Jack Coughlin studied at the Rhode Island School of Design in Providence and the Art Students League of New York. He is b...

Le Lion Qui Marche Antoine-Louis Barye (French, 1796-1875) Circa 1880 Etching on laid paper after the original bronze by master etcher Abel Lurat (F...

Original lithograph hand-colored at the time of publication from "Groups of Cattle Drawn from Nature" by Thomas Sydney Cooper. Mounted on artist'...

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...

MAGENTA HORSE, THREE GEISHAS is an original lithograph printed using hand drawn lithography techniques on archival Somerset printmaking paper, 100% acid free, by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010). Ting's use of bold colors and expressive calligraphic brush drawn forms convey vivid life energy. He is well known for his colorful images of women, flowers, fish, parrots and horses and was associated with artists Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group called COBRA. Throughout his artistic life, Ting imbued his passion and spirit into his paintings, poetry and sculpture. MAGENTA HORSE, THREE GEISHAS is a freely expressed Chinese Ink Brush drawing depicting a colorful magenta horse with dark purple black mane and tail standing with three lovely Asian women...

Waha Waharangin Sergio Gonzales-Tornero, Chilean (1927–2020) Date: 1983 Screenprint, signed, numbered, titled and dated in pencil Edition of 250 Image Size: 24 x 30 inches Size: 28 x...

'Basset Bleu de Gascogne'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French serie...

Mule is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a cre...

ABOUT THIS PIECE: A beautiful Camarguais mare studying the photographer in the warm waters of the Mediterranean in southern France. The Camarguais is an ancient breed of horse indige...

An original rare and extremely collectible first edition John James Audubon hand colored royal octavo lithograph entitled "Black-throated Diver", No. 96, Plate 477, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts three Black-throated Divers; an adult male (1), an adult female (2) and a young Diver (3). The male sits on the bank, while the young Diver floats in the water and the female watches...

Leo is a lithograph (2 colours, gold leaf on Fabriano 50% cotton 300 g paper) by contemporary artist Marcelo Martin Burgos, dimensions are 35 × 50 cm (13.8 × 19.7 in). The lithograp...

This is a contemporary black and white photograph of a American Wild Mustang. "They represent the ultimate expression of American freedom" 36 x 48 Edition of 12. Signed by artist. ...

Harry Schaare, American (1922 - 2008) - Polo Fields, Year: circa 1976, Medium: Screenprint, signed and numbered in pencil, Edition: 300, AP 50, Size: 28 x 36 in. (71.12 x 91.44...

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...

Etching with aquatint on heavy laid paper, 7 x 9 1/4 inches (172 x 233 mm), full margins. Signed in the plate, lower right image area. Minor corner loss, top right, and a 1/4 inch ed...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

The Cats and Kitty is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was ...

This is a contemporary black and white photograph of an African Lion by Shane Russeck. 36x48 edition of 12 Signed and numbered Printed on archival paper and using archival inks Fra...

Warner Brothers Orchestra Bugs Bunny Daffy Duck Porky Pig Cartoon Movie Legends Al Hirschfeld (1903-2003) Warner Brothers Orchestra Etching and Aquatint Sight 15 1/4 x 23 1/2 inches...