John James Audubon

KEY WEST DOVE, Havell Edition

1833

MARGUERITE KIRMSE (English/American 1885-1954) THREE’S A CROWD, c 1930 Etching, signed and titled in pencil. Plate 6 3/8 x 9 ¾ inches. Full sheet with edges on all sides. Sheet 10 5/8 x 13 5/8 inches. In good condition, save for old tape on sheet edges verso, showing through to recto. A hint of a mat line below the signature Kirmse is considered to be one of the most important etchers of Dogs. Sheet with even white tone - photos show oblique shadows From Wikipedia: Marguerite first trained as a harpist at the Royal Academy of Music but spent much of her spare time drawing animals. She went to the United States in 1910 on holiday with friends but stayed there.[4] She was not successful in advancing her musical career and focused her attention increasingly on her animal drawing, which she developed by frequent sketching trips to the Bronx Zoo.[5] In 1921 she started producing etchings of dogs...

(After) JOHN JAMES AUDUBON (1785 - 1851) MISSOURI MOUSE, 1846 - Plate 100 (C) No. 20 Lithograph with original hand coloring. From Audubon's "The Viviparous Quadrupeds of North America...

THOMAS HART BENTON (1889-1975) MISSOURI FARMYARD, 1936 (Fath 10) AKA KANSAS FARMYARD Lithograph as published by Associated American Artists. Edition 250. Signed in pencil and in the...

MILLARD SHEETS (1987 – 1989) HORSE FRIGHTENED BY LIGHTNING, 1939 Lithograph signed in pencil, annotated “TRIAL PROOF”. The published edition is 75. Image, 17 x 22”. Sheet 19 ½” x 2...

PARR (1893-1969) KINNGAIT (CAPE DORSET) HUNTER HAULING A SEAL, 1966 #2, Stonecut, signed, titled numbered 28/50 Dorset 1966. Image 14 x 22 ¼. Full sheet ...

JOSEPH MARGULIES (1896 - 1984) REFLECTIONS OF GLOUCESTER ca 1940 Aquatint signed in pencil. 8 ½ x 11 ¾”, sheet 10 ½” x 13”. Very good condition, asid...

Signed in pencil Edition: 75 Gargoyle Series No. 7 This impression probably printed by David Strang, 1937-38 Sheet: 9 1/4 x 11 1/4" Reference: William Dolan Fletcher, John Tay...

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

Neil Welliver Loon, 1998 color etching, ed. of 175 29 3/4 x 29 5/8 in. (75.6 x 75.2 cm)

"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...

A fine etching of a Pike Fish. Perfect for the angler or sport fisherman Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, an...

This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...