Unframed Animal Prints

12 Colour Screenprint with a Varnish Overlay on Somerset Tub Sized 410gsm Paper Edition of 125 Signed and numbered on the back Mint. Minor imperfections may appear due to the production process. Sold with COA from Jealous Gallery...

David Shrigley Untitled (Cat), 2019 Screenprint on 300gsm BFK Rives paper 76 x 56 cm Edition 30 of 125 Hand-signed and numbered by the artist David Shrigley is a British artist know...

This is a contemporary photograph of an African Lion. 30x40 Singed and Numbered Archival Pigment print. Framing available. Inquire for rates. FREE SHIPPING Shane Russeck has buil...

Donald Sultan is an American painter, sculptor, and printmaker. He is particularly well-known for large-scale still life paintings, and one of the first to employ a wide range of ind...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** **This Price Won't Be Repeated Again This Year - Take Advantage** Celebrating human's best friend with this unique and beaut...

Before You can Entertain Others... You Must First Learn to Entertain Yourself by David Shrigley 14 colour screenprint with a varnish overlay 75 x 56 cm Edition 40 of 125 Signed, date...

Amador Montes (Mexico, 1975) 'Debajo de la piel I', 2021 Mixed media, etching, aquatint woodcut on paper 49 x 118 in. (124 x 300 cm.) Edition of 30 Ref:...

This is a beautiful hand-colored folio-sized lithograph entitled "Muscicapa Atricapilla" (Pied Flycatcher) by John Gould from his monograph "The Birds of Great Britain ", published i...

Le Serval is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi...

Georges BRAQUE (1882-1963) Composition with Birds, 1965 Original lithograph (Mourlot workshop) Signed in the plate On vellum 30 x 24 cm (c. 11.8 x 9.4 in) REFERENCES : - Catalog r...

This artwork titled "Le Cirque (The Circus) III" is an original colors lithograph on Arches paper by noted French artist Camille Hilaire, 1916-2004. It is hand signed and inscribed I...

This Blue Dog work consists of 1 dog with a white background. Up close you can see a major city displayed in the body of the dog. The dog has soulful yellow eyes. This pop art origi...

Artist: John James Audubon (American, 1785-1851) Title: "Tropic Bird" (Plate CCLXII - 262; part No. 53) Portfolio: The Birds of America, Havell Edition Year: 1835 Medium: Original Hand-Colored Engraving with Aquatint on double-elephant folio, J. Whatman paper Limited edition: approx. 180 Printer: Robert Havell Jr., London, England Publisher: John James Audubon, London, England Framing: Not framed, but matted in a handmade custom French matting Matted size: 30" x 38.75" Sheet size: 25.5" x 36" Platemark size: 20.75" x 30.25" Image size: 18.5" x 27.75" Condition: A few tiny foxmarks. In excellent condition with clean paper and strong colors Rare Notes: Provenance: private collection - New York, NY. Engraved, printed, and hand-colored by English artist Robert Havell Jr. (1793-1878). Comes from Audubon's monumental book volume "The Birds of America", (Havell Edition, 1827-1838), which consists of 435 hand-colored, life-size prints, made from engraved plates, with each sheet originally measuring around 39" x 26". "J. Whatman 1835" watermark upper right. Based on a composition painted between 1832 and 1835. Audubon sailed the entire length of Florida, around the Keys and as far as the Dry Tortugas, from which, on another occasion, "The specimens - in the plate were taken - by my kind friend Robert Day, Esq. of the United States Revenue Cutter...

Le Chats Des Chartreux is an etching realized by Louis-Simon Lempereur in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet ...

Salvador DALI The Vitraux : Elephant-stork, 1973 Original lithograph Handsigned in pencil Numbered edition of 250 copies On Arches vellum, 65 x 48 cm (c. 25.6 x 18.9 inch) Refer...

Salvador Dali - Cherries - Original Hand-Signed Lithograph Dimensions: P. 57 x 37 cm Sheet: 75 x 56 cm Handsigned Edition: EC.d (collaborator edition "d") Excellent Condition Refer...

Rare print handsigned and numered by surrealist artist Leonor Fini, now rediscovered and inscreasingly esteemed with the movement of rediscovering art by women. It depicts a mytholog...

HOPI EAGLE DANCE is an original hand drawn, limited edition lithograph by the prominent Native American artist Dan Namingha, a member of the Hopi tribe. H...

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

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)

An original rare and extremely collectible first octavo edition John James Audubon hand-colored royal octavo lithograph entitled "White-headed Sea Eagle or Bald Eagle", No. 3, Plate ...

42" x 28.5" Unframed Limited Edition Giclée & Silkscreen on Paper Hand Signed by Tom Everhart

Original 1972 Salon du Cheval French Poster – Vintage Equestrian Art. Archival linen backed in Grade A condition, ready to frame Step into the golden age of French equestrian culture...

This is a contemporary photograph of an African Lion. Unsigned Print Archival Pigment print. Framing available. Inquire for rates. FREE SHIPPING Shane Russeck has built a reputa...

This Blue Dog work consists of a Blue Dog sitting to the left of a saxophone-playing chef. The chef is wearing a white apron, chef hat, and a brown shirt and trousers. The chef is ...

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

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

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...

Bizarre Horses is an original contemporary artwork realized by Aldo Pagliacci in 1973. Mixed colored oil on canvas. Hand signed and dated on the lower right margin. Titled and sig...

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...

Noel Daggett, American (1925 - 2005) - Roll your own, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 20 x 22 inches, Size: ...

Artist: Mario Avati, French (1921 - 2009) Title: Elephant Equilibriste Year: 1969 Medium: Mezzotint, signed and numbered in pencil Edition: 35/50 Image Size: 17.5 x 24 inches Size: 2...

Wes Anderson's Dogs - Battersea Power Station by Artist Mychael Barratt is a limited edition print. This humorous scene depicts three dogs looking over the edge of the picture, with a floating pig flying in between the pipes of the power station. Buy Mychael Barratt printmaker works with Wychwood Art...

Screenprint on Somerset Tub Sized 400gsm paper Edition of 125 Signed and numbered on the back Mint. Minor imperfections may appear due to the production process Since this item will...

This is a contemporary black and white photograph of a Costal Wolf. 30x60- 1 of 3 unsigned test prints Printed on Photo Rag using only archival ink. Framing available. Inquire for r...

David Shrigley My Artwork is Terrible, 2018 Linocut on 300gr Somerset paper 29 9/10 × 22 in 76 × 56 cm Edition of 125 Hand-signed and numbered Published by schaefergrafik

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

Edition of 300. Murakami signed and numbered in silver marker pen along the lower right edge. Offset lithograph with cold foil stamp and high gloss varnishing on UV paper—diameter si...

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

PARROTS AND FLOWERS is an original hand drawn lithograph by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010) printed on archival Somerset printmakin...

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:...

Ostrich is an artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Numbered, Edition of 150 pieces.

Original, Italian, Vini di Lusso lithograph vintage poster for fine wines. The Italian Society for Superior Wine. The image of a satyr (or Bacchus) getting ready to eat a group ...

Black Bird is an original colored lithograph realized by the artist Nino Terziari in the 1970s. Hand-signed by the artist on lower right. Artis's Proof (P.A is handwritten in pencil...

Noel Daggett, American (1925 - 2005) - We Shall Not Talk of War, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 19 x 25 inc...

This is a beautiful and vibrant hand-colored folio-sized lithograph entitled "Parus Major (Great Tit birds) by John Gould from his monograph "The Birds of Great Britain ", published ...

BRIAN DAVIS (American, b.1946) Galerie Michael, Century City/Los Angeles, December 1, 1981- January 1, 1982: “Parrot III”, 1980 Event Poster 33.125 x 22 in...

Metamorphosis Insectorum Surinamensium, Plate No. 6; Thistle and Moths. The Netherlands: 1705. Engraving with hand coloring in w...

'Einsiedlerkrebse' (Hermit crabs) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

The etching "The Game of Transformation. Butterflies" is an artist's play with meanings and associations. In this work, modern girls are presented in the form of glamorous fluttering...

Original pochoir process print. Paris, Galerie Lutetia, circa 1920.

SHARE Paco Pomet (b. 1970, Granada, Spain) lives and works in Granada, Spain. He uses his precise observation to reflect the humour and realism, emphasizing the aggressiveness, assa...

Original 1919 Give The World The Once Over in the United States Navy vintage poster. Archival linen backed. This poster presents itself very fine condition. The lower text por...

Alexander CALDER Elephant and Rhinoceros, 1966 Lithograph Handsigned in pencil On Arches Vellum 38 x 28 cm (c. 15 x 11 in) Excellent condition, light text report on the lithograph ...

Monkey is an original artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Edition of 150 pieces.

Original United Air Lines Hawaii vintage travel poster. Archival linen backed in excellent condition, ready to frame. The images shown are of the ...

This is a reproduction of Bust of a Woman Wearing a Striped Hat was painted by Pablo Picasso in 1939. This work is from his Surrealist period, during which he explored distorted form...

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...

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...

Artist: John James Audubon (American, 1785-1851) Title: "American Anhinga - Snake Bird" (Plate 420, No. 84) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 1,200 Printer: John T. Bowen, Philadelphia, PA Publisher: John James Audubon and J.B. Chevalier, New York, NY and Philadelphia, PA Sheet size: 10" x 6.69" Image size: 6.63" x 4.63" Condition: Minor toning to sheet and some faint discoloration in margins. Old glue staining along right binding edge as normal. It is otherwise in very good condition with strong colors Notes: Provenance: private collection - Cleveland, OH. Lithography and hand-coloring by American artist John T. Bowen (1801-c.1856). Comes from Audubon's famous seven volume portfolio "The Birds of America", First Royal Octavo Edition (1840-1844), which consists of 500 hand-colored lithographs. The preceding 1836 Havell edition of this work has a different title: "Black-bellied Darter", (Plate: CCCXVI - 396, No. 64). Based on a drawing inscribed "New Orleans 1822 - redrawn ... 1836". This conspicuous bird had various names including "water turkey" and "Bec à Lancette". The Anhinga, sometimes called snakebird, darter, American darter, or water turkey, is a water bird of the warmer parts of the Americas. The word anhinga comes from a'ñinga in the Brazilian Tupi language and means "devil bird" or "snake bird". To make 'The Birds of America' more affordable and widely available, in 1839 John James Audubon began the first octavo edition, a smaller version of the folio which was printed and hand-colored by J. T. Bowen in Philadelphia. Employing a new invention, the camera lucida, the images were reduced in size, rendered in intermediate drawings by John James Audubon and his son John Woodhouse, and then drawn onto lithographic stones. These miniatures exhibit a remarkable amount of attention to quality and detail, as well as a meticulous fidelity to the larger works. Some compositional changes were made in order to accommodate the smaller format. Like the Havell edition, John James Audubon’s first...