Miniature Animal Prints

Mike Mitchell - Stellar's Jay - Artist Edition - Contemporary Artist Steller's jay (Cyanocitta stelleri) is a bird native to western North America, closely related to the blue jay found in the rest of the continent, but with a black head and upper body. It is also known as the long-crested jay, mountain jay...

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...

The Lion of Venice, representing Mark the Evangelist, is a winged lion, is an aspect of the Tetramorph. On the pinnacle of St Mark's Cathedral he is depicted as holding a Bible, and ...

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

The Cat is an Original etching print on paper realized by Giselle Halff in 1950 ca. Good conditions with some foxing. .

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...

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...

'Crustacea' Copper-line engraving with original hand-colouring. From Baron Georges Cuvier's (1769-1832) 'Animal Kingdom', published in London in 1837. 210mm by 130mm (sheet)

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...

This is a rare, original first edition hand-colored engraving of Peacock Butterflies and Water Betony Moths depicted in their natural botanical environment, which is plate 8 from Mos...

Limited edition print on Dibond featuring an autumnal anthropomorphic portrait composed of leaves, dandelions, and botanical forms on vibrant orange. This limited edition UV print o...

This is a handmade Linocut relief print of a cyclist riding along the Backs of Cambridge with Kings College Chapel in the distance and a robin in the foreground. It is a limited edit...

(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...

The Doctor Bird Ready For Injection is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published...

This is a hand-colored engraving of a turtledove entitled "Tourterelle a Collier, du Senegal (Turtledove of Senegal)" by Francois Nicolas Martinet, plate 161 from 'Histoire Naturelle...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a woman laying on her side with head resting on her arm. Artwork is monochromati...

Cat is an Original Lithograph realized by Giselle Halff (1899-1971). Good conditions. Hand-Signed. Numbered. Edition, 2/15. Giselle Halff (1899-1971) born in Hanoi, student of R....

"Floral Portrait with Tulip on Green Background" is an original limited edition high-quality Dibond direct UV Print of the Natasha Lelenco`s artwork titled "Scatsong". This piece, like the entire "Fetishes" series, is inspired by the idea of biophilia and the belief that, according to the artist, humanity must be repositioned as just one part of nature rather than its center. Based on Natasha Lelenco's original acrylic on canvas artwork created in 2021, each print, numbered 25 of 25, captures a vibrant fusion of floral elements and anthropomorphic forms. The result is a visually striking and emotionally resonant piece. It is worth noting that the original artwork from which this limited edition print is derived is still available and can be purchased on 1stdibs. Lelenco has subtly hand-finished each print, sometimes adding small details or enhancing the background colors. The prints are varnished, signed, and numbered on the back, and come ready to hang with a simple system that gives the impression of the artwork floating on the wall. Customers also have the option to frame it if they prefer. The artwork presents a striking silhouette composed of lush green leaves, a pink tulip, and other floral elements, set against a vivid green background. This combination of vibrant colors and intricate details showcases Lelenco's talent for transforming natural elements into extraordinary compositions, inviting viewers to explore the deeper connections between nature and human identity. The high-quality Dibond direct UV Print, finished and varnished by the artist herself, ensures durability and color quality, making this piece a lasting and valuable addition to any art collection. This edition is part of the "Fetiches" series, created by Lelenco since 2021, designed to work individually or as part of multiple panels with other pieces from the same series. Natasha Lelenco's "Fetiches" series blends portraiture and anthropomorphic forms through a meticulous accumulation of elements. These components intertwine with nuanced thematic exploration, touching upon both kitsch and popular iconography, while delving into the inseparable connection between humanity and the broader living community. Drawing from her personal biography, Lelenco constructs a dialogue between memory and imagery. Through a skillful process, she resurrects fragments of her past to craft fresh narratives that challenge conventional perceptions of existence. This narrative depth, coupled with psychological complexity, echoes classical influences, seamlessly bridging the gap between Renaissance portraiture and contemporary expression. Notably, Lelenco's "Fetiches" series reflects the artistic echoes of Italian painter Giuseppe Arcimboldo. Keywords: Scatsong, Floral Portrait, Green Background, Tulip, Biophilia, Anthropomorphic Art...

Offset lithograph Unsigned 11.02 x 16.54 in (28.0 x 42.0 cm) This is a vintage artist-authorised David Hockney poster print, printed in 1993. This is not a later reproduction. The ...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

In th Bighorns (Wyoming) Drypoint, c. 1930's Signed in pencil lower right (see photo) Titled in the plate lower left Condition: Excellent Image/Plate size: 6 3/8 x 4 3/8 inches Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

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...

The single letter "E", from the alphabet, illustrated by elephants. All letters are available, and the full set of 27 etchings in folio box is available for $3200. Animals, real and ...

This is an original 18th century hand-colored copperplate engraving of male and female woodpecker birds entitled "1. Pie Male de la Encenada, 2. Petit Pic des Moluques (Woodpeckers)"...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on pap...

Keith Haring record art 1983 & 1988: A set of 2 rare 1980s Japanese vinyl records featuring original artwork by Keith Haring: David BOWIE "Without You" & Hiroshima All Stars. Truly vibrant colors that make for stand-out wall art and unique vintage Keith Haring collectibles. *1st Pressings 1983 & 1988 (not re-issues). Medium: Off-Set Lithograph on vinyl record covers. Dimensions: 7 x 7 inches. Printed signatures on lower right & left dated - 1983 & 1988 respectively. Light signs of handling; otherwise good to very overall vintage condition. Includes the original records (very good condition). Literature/References: Taschen: Art Record Covers. _ Keith Haring Album Art: a brief history:  Whether collaborating with Grace Jones, Andy Warhol, and Jean-Michel Basquiat, regularly frequenting clubs like Paradise Garage alongside close friend Larry Levan, or sketching DJ robots, New York artist and activist Keith Haring’s work was deeply entwined with the music world lending his vision to sounds by everyone from David Bowie to Run DMC. Looking for something cool to complement this work? Please feel free to browse additional items like this from Jean Michel Basquiat, Andy Warhol, Damien Hirst, Keith Haring & more on our 1stDibs gallery page.  Related Categories Keith Haring prints. Keith Haring figurative. East Village art...

'Le Mouton de Barbarie' Copper-line engraving, circa 1765 From Buffon's "Histoire Naturelle, Generale et Particuliere Avec la Description du Cabinet du Roi" which was published in Paris. Jacques E. De Seve...

'Race a laine douce, du Pays de Galles' (Soft-woolled sheep of Wales) Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a ...

Clare Halifax J is for (Blue) Jay Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that ...

LEONOR FINI Cat Duo 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Le Chat Sauvage is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditions.

'Race des forets d'Angleterre' (The English Forest Breed) Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a painting by ...

This is a hand-colored engraving depicting the natural history of Pinkunderwing Moths, Cream Spotted Tyger Moths in their natural botanical environment, which is plate 4 from Moses H...

Le Chat d'Angora is an etching realized in 1771 by ` (1723-1807). It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Arti...

Turtles is an original print realized by George Edwards in the 18th century. Color lithograph. Original Title: Die kleine Moraft Tchildgröte, Tab. LXXVII. Good conditions, except...

Raoul Dufy, French (1877 - 1953) - Le Serpent, Year: circa 1911, Medium: Woodblock, Image Size: 8 x 7.5 inches, Size: 13 x 10 in. (33.02 x 25.4 cm), Descr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Robert Henry Lewis (mid 20th Century) "Sofie: : A sleeping cat Signed, numbered 4/5 and dated "(19)64" beneath in image in pencil Titled, "Sofie" Etching 5.5 x 6.5 inches (image) 14....

This set of four hand colored copper plate engravings are illustrations by early 19th century naturalist J. H. Jacob first published in Italy in 1812, and are referred to as "Jacob's...

Mr. C (Cat) Linocut, 1984 Signed in pencil (see photo) Edition: 250 (209/250) (see photo) Published by Associated American Artists, New York, NY Reference: AAA/Czestochowski 1984.009...

The Rabbit is an original woodcut print by Giselle Hallf in the first half of the 20th Century. Good conditions. The artwork is depicted through strong strokes in a well-balanced c...

This is a hand-colored antique engraving depicting the natural history of the Admirable Butterfly and the Small Magpie Moth, which is plate 6 from Moses Harris' publication "The Aure...

Original hand colored engraving from "Dictionnaire Universel d'Histoire Naturelle." Paris, 1849. Sheet size: 6" w x 6" h. Displayed in a custom, archival gray mat.

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on pap...

Le Coq is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière a...

The Cat is an original etching on paper realized by Gian Paolo Berto in 1970s. Good conditions. The artwork represents a cat through perfect hatching. The artwork is depicted skill...

This is a hand-colored antique engraving depicting the natural history of the the Brown Hairstreak Butterfly, the Larke Skipper Butterfly, the Small Skipper Butterfly, the Scarce Mar...

This is a rare, original first edition hand-colored engraving depicting the natural history of butterflies and moths, which is plate 10 from Moses Harris' publication "The Aurelian: ...

The Rabbit in Vase is an original artwork realized by the french artist Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) Lithograph print, mid-20th century. Very good condit...

DONALD BAECHLER Birds, 1995 Lithograph on wove paper 11 63/100 × 7 47/50 inches Hand signed, dated and numbered 9/20 on the front; bears the publishers' blind stamp lower left Publis...

Judith Bledsoe, American (1938 - 2013) - Cats, Year: circa 1980, Medium: Lithograph and Blind Embossing, signed and dedicated in pencil, Edition: EA, Image Size: 9.5 x 15 inche...

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

Lois Ward created a Fragile Series of images including "Crushed Beetle" in 1990 in a very small edition of just 9. This impression is #1 of 9. Ward has always been concerned with t...

This is an original rare and extremely collectible 1st royal octavo edition John James Audubon hand-colored royal octavo lithograph entitled "American Swan", No. 77, Plate 384, 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 an adult white American Swan swimming in a body of water. Plants with yellow flowers are in the foreground and hills are in the background. This original rare first edition hand-colored Audubon bird lithograph has a mildly wavy lower edge of the paper where it was previously bound. It is otherwise in excellent condition. The sheet measures 6.63" x 10.13". The original text pages 226-234 are included. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

Cat is an Original Lithograph realized by Giselle Halff (1899-1971). Edition of 4/13. Good conditions. Hand-Signed. Giselle Halff (1899-1971) born in Hanoi, student of R.X. Prine...

This subject, Heifer, relates to Citron's mural project focusing on the Tennessee Valley Authority. It is signed, dated, and annotated 'Et...

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...

Archival pigment print (Edition of 15) Signed in pencil, verso 9 x 9 inches, image From the series, "Allowed to Grow Old" This artwork is offered by ClampArt, located in New York C...

Clare Halifax C Is for Canary Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that in s...