Horizontal Animal Prints

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 Blue Dog work consists of two blue dogs on a purple and blue background. One of the dogs is sitting upright and the other is upside down suspended over a red moon. The dogs ha...

It was an honor that I had the chance to photograph University of Texas mascot, Bevo XIV when he was still alive. So when the Alcalde, the publication of the Texas Exes, called and ...

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 t...

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.)

'Sarcelle D'Ete' (Garganey) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. ...

Nu Rouge Á L'Oiseau is an original hand drawn limited edition lithograph printed in vivid colors on archival Somerset paper 100% acid, free, by the Dutch artist known as CORNEILLE(Gu...

'Calonectris Leucomelas (White-Fronted Shearwater)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of Norfolk and Lord Howe Isla...

'Catching the Badger' Colour aquatint by Mathew Dubourg (1786-1838) after Franz Joseph Manskirch (1768-1830). From Samuel Howitt's 'Foreign Field Sports...

Hand numbered, signed and dated on the recto in the lower right margin. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Works, Cantz...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 423 Philadelphia, J.T. Bowen, ca. 1839-44.

"Leopard Dreaming" - Fantasy Lithograph in Ink on Paper Bold lithograph of a leopard by Carol Jablonsky (American, 1932-1992). A leopard is depicted in a fantastical, surrealist man...

ONCE I WAS THE SUN is a limited edition lithograph by the Dutch artist Karel Appel printed using hand lithography techniques on archival printmaking paper, 100% acid free. ONCE I WAS...

This is an original 1st octavo edition John James Audubon hand-colored lithograph entitled "yellow-breasted Rail, Adult Male in Spring", No. 62, Plate 307, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840 and 1841. It depicts an adult male yellow-breasted Rail bird on the left standing on a rock on the bank of a body of water, looking to the right, perhaps at something in the water or on an island on the right with trees. The landscape surrounding the bird is striking. This original 1st octavo edition hand-colored Audubon lithograph...

"What an honor it was to photograph the University of Texas mascot, Bevo XV, when he was a short-horned calf in 2016. At that time, I thought how great it would be if I had the oppor...

This artwork titled "Soaking Up" c.1970 is an original lithograph on Wove paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 68/100 in pencil by the artist. The artwork (image) size is 12.25 x 17.35 inches, sheet size is 17.5 x 21.65 inches. It is in excellent condition About the artist: Tom Ryan was born Jan. 12, 1922, in Springfield, Ill., to William Martin Ryan — whose family immigrated to Illinois from Ireland in the 1880s — and Sarah Helen Behrens, whose ancestry predates the Revolutionary War. They had nine children — six boys and three girls. He began drawing before he went to school. "I was 4 years old and drawing airplanes, and an older brother was helping me," Ryan told the Reporter-Telegram in a 2002 interview at the Haley Library's going away party held in his honor. "Those were my first art lessons." He did not decide to be an artist until after his service in World War II. While in the U.S. Navy during the war, he "made quite a bit of money" drawing portraits of his shipmates and other servicemen. After being discharged in 1945, he picked up a Life magazine that carried an article about N.C. Wyeth. "I read the article, and I liked what I read, and I loved the pictures reproduced from his paintings in the article," Ryan said in 2002. "I decided then and there to be an artist." Following his graduation from the American Academy of Art, an education made possible through the GI Bill, he returned to Springfield where he married Jacqueline "Jacquie" Harvey, daughter of a local doctor. She died in 1998. The Ryans moved to New York City where he continued his studies at the Art Students League. During his second year at the Art Students League, he won a contest. His winning painting became the cover for Western writer Ernest Haycox's novel The Outlaw. "Every month after that I also received an assignment from this publisher, and they would be Western novels," Ryan said in 2002. "So that's what I did for the next six or seven years. Then I started exhibiting at the Latendorf Gallery on Madison Avenue. What I sold mainly were the book covers. They would be published and I would get paid by the publisher, and I'd take them to the gallery, and I'd get paid again." Ryan began making trips west in the late 1950s. He would stay three or four months painting, sketching and photographing scenes he'd need later. At that time, his works centered around historical events and places. "I particularly liked to do some of the trail drive things that I did, like the old longhorns," Ryan said in 2002. In the early 1960s, a work by Norman Rockwell and one by Ryan appeared in the same catalog. Rockwell, who was doing the Boy Scouts calendars for Brown and Bigelow, the premiere calendar publishing company in the United States, told the calendar company about Ryan. "The art director gave me a call and asked if I'd like to do a contemporary cowboy...

This artwork titled "Aggressive Muskox" 1984 is an original color etching with aquatint on Wove paper by noted Canadian/Inuit artist Pudlo Pudlat, 1916-1992. It is hand signed, title...

Artist: Slonem, Hunt Title: White Bunnies III Series: Bunnies Date: 2017 Medium: Lithograph on Paper Unframed Dimensions: 16" x 24" Framed Dimensions: 22" x 29" Signature: Si...

"Silvio," the Property of Mr. Alfred Benjamin. "Serpolette,"the Property of Mr. Tom. B. Swinburne. "Salford," the Property of Sir Wm. E. H. Verner, Bart. English 19th century chrom...

shakespeare by Helen Fay [2016] Limited Edition Etching , hand printed on Hanemulle etching paper Edition number total edition number 75 Image size: H:27 cm x W:48 cm Complete Size o...

An original lithograph from the 1956 Derriere le Miroir “Miro-Artigas” folio. Printed by Mourlot, Published by Maeght, Paris. Artist: Joan Miro, Spanish (1893 - 1983) Title: Zephyr Bird...

This artwork titled "Pintail" c.1990 is a color lithograph by noted Wild life American artist Christopher Forrest, b.1946. It is hand signed, titled and numbered 86/300 in pencil by the artist. The image size is 17.5 x 22.85 inches, framed size is 27.35 x 32.5 inches. Custom framed in a oak frame, with light brown matting. It is in excellent condition About the artist: Born in Trenton, New Jersey, 1946 Interested in art from the age of 7, Christopher Forrest still speaks fondly of a set of colored pencils presented to him then by his parents; At 11, he won his first award for painting and started exhibiting in galleries. Along with his interest in art grew a keen attraction for the outdoors and the wildlife which thrived there. After considering schooling in art, Chris chose to study civil engineering. Upon graduation from Virginia Polytechnic Institute, Chris began a career as a commissioned officer in the United States Army Corps of Engineers. The Army provided Chris the opportunity to observe wildlife from the swamps of Florida to the lakes of Quebec, in addition to Europe and Viet Nam. In 1973, the Army sent Chris to graduate school at North Carolina State University, at this time Chris started to paint wildlife. Chris resigned from the Army in 1978 and took a position as an artist with Evergreen Publishing Co. He has produced more than thirty original graphic editions for Evergreen. His original graphics are handled by some 350 galleries in North America. He is currently General Manager at Evergreen. His work and articles about his work have appeared in numerous wildlife and art publications. Chris strongly believes in wildlife conservation and is a member of many conservationist organizations. His donated prints have raised a great deal of money for Ducks Unlimited, Newjersey, Audubon and Ward Foundations. In 1980 he realized one of his major professional goals. He was elected to membership in the Society of Animal Artists. "Creating a painting or graphic is an exciting adventure and challenge for me. Starting with the observation of the animal in the wilderness, I then approach the painting with the attitude that it will be my finest work." COLLECTIONS National Academy of Science, Washington, D.C. New Jersey State Museum, Trenton, N.J. Ferrum College, Ferrum, Va. Franklin Mint, Franklin Center, Pa. Parsons, Brinkerhoff, Quade & Douglas, consulting Engineers, N.Y.C. Fine Art Corporation of America, N.Y.C. Central Carolina Bank, Raleigh, N.C. Ward Foundation Museum, Salisbury, Md. New Jersey Audubon Society, Rancocas, N.J. I.B.M., Louisville, Ky. American World Airways (Pan Am), Miami, Fla. Baush & Lomb, Rochester, N.Y. Thermos, Norwich, Conn. Metro-Goldwyn Mayer, Ca. Ford Motor Co., Atlanta, Ga. Chemical Bank, N.Y.C. City Bank, N.Y.C. ONE-MAN SHOWS N.J. State Museum, Trenton, N.J. 1979 Palette Gallery, Cary, N.C., 1973,-74,-77,-78,-79 Lambertville House, Lambertvi lie, N.J., 1975-76 Triangle Art, Trenton, N.J., 1975 INVITATIONAL SHOWS Triangle Art Christmas Show, 1975 Golden Door Gallery Wildlife Show, New Hope, Pa., 1976 Ward Foundation Wildlife Art & Carving Exhibition, Salisbury and Ocean City, Md., 1976,-78,-79 Easton Waterfowl Art...

French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. 195mm by 265mm (sheet)

Available sizes: 18” x 24.29” , Edition of 8, Pigment Print 28” x 37.78” , Edition of 8, Pigment Print 38” x 51.28”, Edition of 6 Silver Gelatin 48” x 64.77”, Edition of 6 Silver Gel...

Moon Panther (blue) by Kate Willows [2021] limited_edition Ink on Paper Edition number 50 Image size: H:30 cm x W:40 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This print shows a moonlit panther, inspired by a woodcut by the 18th century English artist Thomas Bewick...

Charles Le Bars Funny Bird Eating Flags (France, USA, UK) Original screen print Handsigned Numbered / 100 copies On vellum 25 x 28 cm (c. 10 x 11 in) Excellent condition

Color lithograph, Edition 25. I have a long history of exploring the possibilities of animal and naturalist imagery to fabulist ends. This work serves as allegory, political commen...

Cat is an original Woodcut Print realized by Simon Haret in the Mid-20th Century. Good condition. Monogrammed on a plate.

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored royal octavo lithograph entitled "Red-throated Diver", No. 96, Plate 478, from...

The engraving "The Pink Of Condition" by George Wright was published in London in 1909. It depicts the beginning of a British fox hunting scene. The ...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Jean Marais (1913 - 1998) Astrology and Zodiac : Aries Original lithograph Signed with the stamp of the artist (Also bears printed signature in the plate) Numbered / 100 copies On v...

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

'Lesser Moddy and Moddy Tern' Chromolithograph from Gracius Broinowski's 'The Birds of Australia' , 1887-1891. Gracius Joseph Broinowski (1837-191...

Screen print on silk scarf. Edition size unknown, as they were intended as holiday gifts. Scarf size 35.5 x 36 inches. Frame size: approx 40 x 40.5 inches. Printed by Rupert Jasen...

Available Sizes: 30" x 45" Edition of 15 40" x 60" Edition of 10 48" x 72" Edition of 5 The second I saw Eva; I knew I had to create a portrait of her. Her classic leopard appaloos...

It was an honor that I had the chance to photograph University of Texas mascot, Bevo XIV when he was still alive. So when the Alcalde, the publication of the Texas Exes, called and ...

Wonderful Vintage Archibald Thorburn colored chromolithograph. The colors are amazing, giving the painting a really great appearance . Printed circa 1919, the picture is inscribed ...

The Cat is an Original etching and drypoint print on paper realized by an Anonymous artist in 1950 ca. Good conditions with some foxing.

The Physiognomy - Animals Muzzles is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and...

'Strepera Crissalis (Lord howe Island Crow-Shrike)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of N...

Turtle is an original artwork realized by Carlo Quattrucci in 1971. Hand Signed and dated on the lower right margin. Numbered on the lower left. Edition of 70 pieces plus some Arti...

Artist: Jack Beal, American (1931 - 2013) Title: Blue Crab Year: circa 1975 Medium: Silkscreen, Signed and numbered in pencil Edition: 52 Image Size: 9 x 12 ...

Artist: Dan May (American, 1955-) Title: "Cat with a Habit" *Signed and numbered by May in pencil lower left Year: 1995 Medium: Original Screenprint on unbranded white wove paper Lim...

The limited edition lithograph TROUBLE AT WALNUT RIDGE is a stylized rural landscape; a visual story depicting an expanse of farm country with rolling green hills, a turquoise blue r...

The Physiognomy - The Insects is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the...

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

'Sooty Tern and Panayan Tern' Chromolithograph from Gracius Broinowski's 'The Birds of Australia' , 1887-1891. Gracius Joseph Broinowski (1837-191...

'Marsh Tern and White Tern' Chromolithograph from Gracius Broinowski's 'The Birds of Australia' , 1887-1891. Gracius Joseph Broinowski (1837-1913)...

Hand signed numbered by the artist. Artwork is in excellent condition. Certificate of Authenticity included. Edition of 300. All reasonable offers will be considered.

"Collection Of The Most Rare Birds" - Hand Colored Engraving Collection of the Most Rare Birds Drawn and Engraved From Life, A Natural and Rational Histor...

Digital C-Print on Archival Photographic Paper Available sizes: 20" x 48", Edition of 15 30" x 72", Edition of 10 40" x 96", Edition of 5 Few photographers in the world have photog...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his diverse oeuvre. Yet unlike most artists associated with Pop Art, Self eschewed glossy, colorful bombast for nuanced drawings in a limited palette. Self's imagery has ranged from the geopolitical -- nuclear bombers, fallout shelters; to American icons -- hot dogs, Coca Cola cans; to the everyday -- intimate scenes of animals and plants, and whimsical figure drawings. This arresting portrait of a raven's body is executed in moody shades of black and grey. A tangle of short, sharp marks swirls against the white background, resembling flying birds. At the top, hand written text reads: "dead bird...

HOMAGE TO SIGMUND FREUD, is an original hand drawn, stone lithograph by the American artist/sculptor Chaim Gross. HOMAGE TO SIGMUND FREUD was hand proofed and printed from hand drawn lithographic stones on archival Arches paper in shades of warm yellow for the background texture and red brown for the master drawing. HOMAGE TO SIGMUND FREUD is a surrealistic portrait composition depicting Sigmund Freud's face(one portraying him with spectacles) surrounded by symbolic imagery including swirling birds, a child opening a heart-shaped lock, an embracing couple, fingers and bare leg. HOMAGE TO SIGMUND FREUD expresses an intriguing variety of visualized psychological references. This original, hand printed lithograph measures 18.5" x 22", registration marks are visible in print margins as evidence of the master printer's use of age-old printing methods first utilized in fine art lithography printmaking. HOMAGE TO SIGMUND FREUD is unframed, in excellent condition, pencil signed, dated and inscribed B.A.T., Trial Proof aside from the edition by Chaim Gross. Edition was published in 1976 as a fundraiser for the Hebrew University in Israel. Print size - 18.5 x 22 in., unframed, very fine condition, from the master printer's private collection Printer - Joseph Kleineman, J K Fine Art Editions Co. NYC Chaim Gross,(1904 - 1991) was a sculptor, artist, and teacher, known for his wood carvings, sculptures of moving human figures, religious imagery, acrobats, mothers and children. Chaim was born on March 17, 1904 to a Jewish family in Austrian Galicia, in the village of Wolowa in the Carpathian Mountains. In 1911, his family moved to Kolomyia. During World War I, Russian forces invaded Austria-Hungary; amidst the turmoil, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915, refugees of the war. When World War I ended, Gross and brother Avrom-Leib went to Budapest, where Gross attended the city's art academy and studied with painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna shortly before emigrating to New York City in 1921. In the U.S., Gross's studies continued at the Beaux-Arts Institute of Design, where he studied sculpture with Elie Nadelman and others, and at the Art Students League, with sculptor Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky. In the late 1920s and early 1930s Gross exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club (the precursor to the Whitney Museum of American Art). In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. Also in 1932, Gross married Renee Nechin (1909-2005), and they had two children, Yehuda and Mimi (Mimi Gross is a New York-based artist, and was married to the artist Red Grooms from 1963-1976). In 1933, Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration). Under these programs Gross taught and demonstrated art, made sculptures for schools and public colleges, and created works for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the 1937 Exposition universelle in Paris. Chaim Gross, Sculptor by Josef Vincent Lombardo, the first major book on Gross, came out in 1949 and included a catalogue raisonne of his sculpture. In the 1950s Gross began to make more bronze...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

This is an original John James Audubon hand-colored royal octavo lithograph entitled "The Cougar, Female and Young", No. 20, Plate XCVII, 97 from Audubon's "Quadrupeds of North Ameri...

ARTIST: Salvador Dali TITLE: Tauramachie Surrealiste The Giraffe on Fire MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: LXIV/C MEASUREMENTS: 20" x 26" YEAR: 1970 FRAMED...

Julian Trevelyan Lions ( Turner 194), 1966-1967 Color etching and aquatint on T.H. Saunders paper Pencil signed and numbered 28 from the limited edition of 125 Frame Included: held i...