Small Animal Prints

This Blue Dog work consists of 3 dogs on a red background with a strand of holly trim across the bottom and drawings of a holiday light and Christmas tree ornaments. There is a blue dog in the center of a black and a white Retriever...

Artist/Designer; Manufacturer: George Rodrigue (American, 1944-2013) Marking(s); notes: signed; ed. 78/150; 2000 Materials: serigraph on wove paper Dimensions (H, W, D): 22.25"h, 17....

Artist: Pablo Picasso Title: Head of Satyr (Plate XXV) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" Sheet Size: 13" x 10 3/16...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

The Jack Ass (Playing Cards) is a lithograph on paper, 9 x 9" image size. From the edition of 395, numbered 40/275 (there were also 100 Roman and 20 AP). Robert Deyber’s lithographs ...

Raphael Sanzio da Urbino, Italian (1483 - 1520) - David Brings the Gold Shield to Jerusalem, Year: 1649, Medium: Engraving on laid paper, plate signed, Size: 9.5 x 11 in. (24.13 x...

Marc Chagall, Russian (1887 - 1985) - Nature Morte au Grand Oiseau, Year: 1968, Medium: Etching, signed and numbered in pencil, Edition: 41/50, Image Size: 8.5 x 6.5 inches, Size...

Lithograph in colors on cream wove paper, 15 1/2 x 20 1/2 inches (394 x 520 mm); sheet 18 x 23 1/4 inches (457 x 590 mm), full margins. Signed and titled in pencil, lower margin. Som...

Andy Warhol Sam 1954 Original offset lithograph on paper Estate stamped and authenticated. Accompanied by External Andy Warhol Foundation COA

Call of the Wild is a lithograph on paper, 9 x 9" image size. From the edition of 395, numbered 103/275 (there were also 100 Roman and 20 AP). Robert Deyber’s lithographs were create...

David Shrigley Sorry I Snapped At You, 2025 Woodcut 53 x 40 cm Edition of 30 hand-signed and numbered by the artist published by Shäfer Editions and comes with COA from the publisher...

This Blue Dog work consists of 2 blue dogs sitting on either side of a purple triangle with a large steer skull. The background is of blue sky, desert sand, and mountains in a South...

This plate is unique both for the unmistakable beauty of the bird species and for the great scientific and artistic skill of Elisabeth and Jhon Gould to have rendered it. The price ...

The Party Animal III (Buffalo) is a lithograph on paper, initialed lower right 'BD', 7.25 x 9" image size. From the edition of 395, numbered C/C (there were also 275 Arabic and 20 AP...

This Blue Dog work consists of a background of white and red with a lot of soulful yellow eyes of various sizes and 1 blue dog off-centered on the right. the dog also has soulful yel...

This Blue Dog work consists of 1 dog of varying shades of pinks and blues. There are several lines of yellow, red, pink, white and blue etched around the figure of the dog. The dog ...

Ass Nine is a lithograph on paper, 7.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 125/275 (there were also 100 Roman and 20 AP). Framed ...

David Shrigley, Into the Void, 2023 12 Colour Screenprint with Varnish Overlay on Somerset Tub Sized 410gsm Paper 55 x 55 cm (21.65 x 21.65 in) Edition of 125 Hand-signed and num...

This Blue Dog work consists of a blue dog face looking through what appears to be a window framed in black. The dog has soulful yellow eyes. This pop art animal original silkscreen...

This is a remarkable hand-colored folio-sized lithograph entitled "Schistes Albogularis (White-throated Wedge-bill Hummingbirds) by John Gould from his monograph " from A Monograph o...

This Blue Dog work consists of 4 frames each with a dog and different colored backgrounds. One is a red background with a yellow center, one is purple background with a yellow center...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

This Blue Dog work consists of dimensional dogs; 1 red dog between 2 blue dogs on a white background with Earth behind the head of the red dog. All the dogs have soulful yellow eyes...

This Blue Dog work consists of a blue dog on a yellow background wearing a blue striped jacket, a white shirt, and a yellow necktie with black specks. The dog is also wearing an eye...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, XXe Siècle, Hommage à Dalí, 1980. Publ...

"Ram Eating Bark" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/8" f...

Robert Grosvenor Robert Grosvenor at Karma (Hand Signed & Inscribed), 2017 Offset lithograph poster. Hand signed and inscribed. in black felt tip marker on the front 24 × 18 inches P...

Thierry Noir, Crocodile, 2013 Screenprint in colours on 300gsm Somerset Textured paper Edition of 50 60 x 60 cm (23.62 x 23.62 in) Hand-signed and numbered from an edition of 50...

"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...

"Two Rams Facing Each Other" is an original etching by Karel DuJardin. The artist signed the plate. DuJardin completed many delicate etchings of rams. ...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

Neck and Neck is a lithograph on paper, 9.5 x 6.75" image size. From the edition of 395, numbered XCII/C (there were also 275 arabic and 20 AP). Robert Deyber’s lithographs were crea...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: JF Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CXLI, CXLII, CXIII & CXLIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Grundy 36, published by R. Acherman. Inscribed in stone lower left: 'James Ward R.A. Pinxt et Delt. / Dogs of the Dalmation breed-from an original picture in the possession of Sir Jo...

This Blue Dog work consists of a red top, blue bottom background with scattered red ties surrounding a single blue dog wearing a red tie. The dog has soulful yellow eyes. This pop ...

See No Evil, Hear No Evil, Speak No Evil XV (Dogs) is a lithograph on paper, 6 x 9 inches image size. From the edition of 395, numbered 220/275 (there were also 100 Roman and 20 AP),...

Mark A Pearce Sunshine and Seagulls Limited Edition Print Edition of 45 Image Size: H 46cm x W 46cm Sheet Size: H 58cm x W 54cm Signed Sold Unframed Sunshine and Seagulls is a limited edition print by Mark A Pearce. At school I spent most of my time in the art department. I then went on to do a one year foundation course at Carlisle College of Art. It was here that I learnt the art of printmaking and then continued my studies at the Norwich School of Art doing a degree in graphic design. Keen to move to London I found my first job as a graphic designer with John Nash and Friends and my second with Michael Peters and Partners. I went on to win a D&AD (Design and Art Directors Club of Great Britain) silver award for the very first greeting stamps issued by the Royal Mail. These featured smiles from the likes of Dennis the Menace...

An abstract Lithograph by Lebadang , known as Hoi ( Vietnamese , French 1921 - 2015) of a horse in red with a hint of blue, yellow and black. The art work is signed by the artist " ...

This artwork titled "Sleeping Wolves" 1970 is an original color lithograph on B.F.K Rives paper by noted Italian/American artist Beniamino Benevenuto Bufano, 1890-1970. It is hand signed and numbered 81/100 in pencil by the artist. The image size is 12.35 x 11.35 inches, framed size is 23.75 x 21.5 inches. it is beautifully custom framed in a wooden gold frame, with gold color spacer. It is in excellent condition. About the artist: Beniamino Benvenuto Bufano was born in San-Fele, Italy on Oct. 14, 1889. At age three Bufano's family brought him to NYC where he spent his childhood and was educated by private tutors. He studied at the ASL in NYC from 1913-15, the pupil of James L. Fraser, Herbert Adams, and Paul Manship. He came to San Francisco in 1915 to work on a sculpture for the PPIE. For awhile he worked in the studio of coppersmith Dirk van Erp. He then traveled extensively for four years in France, Italy, India, and China. After returning to San Francisco in 1921, he remained there the rest of his life except for visits to the Orient and Europe. Always a radical, he lost his teaching position at San Francisco Institute of Art in 1923 because he was too modern for the conservative faculty. He later taught at UC Berkeley and the CCAC (1964-65). Henry Miller wrote of him, "He will outlive our civilization and probably be better known, better understood, both as a man and artist, five thousand years hence." His work, simple in style and monumental in scale, includes smoothly rounded animals in granite and icons sheathed in stainless steel. Only five feet tall, Bufano was a controversial, free spirit until his death in San Francisco on Aug. 16, 1970. Member: SFAA; NSS; American Artists Congress. Exh: Whitney Museum (NYC), 1917; Arden Gallery...

This is for the set of both (2) original Boris O'Klein prints, part of his series of the 'dirty dogs of Paris." Both are in very good condition,...

"Two Rams Looking Down, One Quarter View, One Straight Ahead" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of ram...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

Les poules by Georges Manzana Pissarro (1871-19610 Pochoir 30 x 46 cm (11 ³/₄ x 18 ¹/₈ inches) Signed with Estate stamp Manzana Pissarro and numbered 7/100 lower left Artist biograp...

Vincent HADDELSEY (1934-2010) Horse : Hunting with hounds, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

This is a hand-colored folio sized lithograph entitled "Gallinago Major" (Great Snipe) by John Gould from his monograph "The Birds of Great Britain", published in London in 1862-1879...

Dumb Ass II is a lithograph on paper, 9.25 x 9" image size. From the edition of 395, numbered 8/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silver-tone frame...

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

Cold Call (Arctic) is a lithograph on paper, 9 x 9 inches image size. From the edition of 395, numbered 138/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silve...

David Shrigley Pig Loves You, 2025 Woodcut 53 x 40 cm Edition of 30 hand-signed and numbered by the artist published by Shäfer Editions and comes with COA from the publishers David ...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

’3 Dogs’ By Tom Hammick Medium - Monoprinted lithograph Signed - Yes Edition - EV 11/15 Size - 505mm x 385mm Date - 2007 Condition - Excellent. 10 out of 10 Colour of print may not b...

1. This Blue Dog work consists of a blue dog on a yellow background wearing a blue striped jacket, a white shirt, and a yellow necktie with black specks. The dog is also wearing an...

Erwin Rambow, American (1925 - 2013) - Owl, Medium: Poster, Image Size: 15 x 15 inches, Size: 19.5 x 15.5 in. (49.53 x 39.37 cm), Frame Size: 21.5 x 17.75 inches

Lithograph on paper. Sheet size 19 x 12 inches. Hand signed, dated and numbered by the artist. Edition of 300. Certificate of Authenticity Included. Artwork in Excellent Conditi...

Ernesto Garcia Peña (Cuba, 1949) 'Our time" (from Porfolio Grabados Cubanos)', 1977 linocut print on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 Ref: GAE-309...

Howard Terpning Image Size: 10.5 x 13.5 Frame Size: 18 x 21 Medium: Print Dated 1980 "Shoshonis Indians" #962 of 1000

Signed, titled and numbered lithograph. An early work by this artist known for his southwestern imagery, showing an oncoming herd of buffalo appearing out of the vast space of the...

This Blue Dog work consists of a dog on a blue background surrounded by 6 floating candy canes. The dog has soulful yellow eyes. This pop art animal original silkscreen print on paper is guaranteed authentic and is hand signed by the artist. Artist: George Rodrigue Title: Blue Dog “George...

The Pecking Order is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 88/275 (there were also 100 Roman and 20 AP)....