Lithograph Animal Prints

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...

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...

A gathering of prehistoric plants, fantastic animals, and people along with elements that represent fertility, seem to be craved as ancient drawings in stone. These lithographs, orig...

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 off...

Elegant Tit - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING This remarkable ornithology lithograph wi...

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...

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...

Lithograph on paper. Hand signed and numbered by the artist. Edition of 300. Certificate of Authenticity Included. Artwork in Excellent Condition. All reasonable offers will be ...

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...

Hand signed and numbered by the artist. Image radius approx 24 inches. From the main edition of 300. Artwork is in excellent condition. Certificate of Authenticity is included. All...

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...

Hand signed, titled and numbered by the artist. Image size approx 24 x 36 inches. From the roman numeral edition of 150 (CL). Artwork is in excellent condition but please note due t...

Hand signed and numbered by the artist. Image radius approx 20 inches. From the main edition of 450. Artwork is in excellent condition. Certificate of Authenticity is included. All...

From the ' Ventanas' series. Lithograph on paper. Hand signed, dated and numbered by the artist. Edition PA of 12. Sheet size: 31.5 x 24. Additional images available upon request. Ce...

White-throated Tit - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia...

Lithograph on paper. Hand signed and numbered by the artist. Edition of 300. Certificate of Authenticity Included. Artwork in Excellent Condition. All reasonable offers will be ...

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 off...

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 off...

MacGregor's Niltava - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia...

Charles Pachter is one of the most collected and cherished Canadian artists. His iconic, uplifting and patriotic images have independently earned their place in the nation's museum...

Philippine-Islands Thickhead - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of A...

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...

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...

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 off...

Afghan Tit - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING This remarkable ornithology lithograph with hand-finished colour is from the esteemed John Gould’s Birds...

Antoni Clavé - Original Lithograph - For Alexander Pushkin's Queen of Spades Dimensions: 325 x 247 mm. 1946 Original lithograph of Antoni Clavé Edition: 300 The Queen of Spades. Tr...

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

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 off...

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 off...

Cinnamon-bellied Nuthatch - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING This remarkable ornithology lithograph with hand-finished colour is from the esteemed John Gould’s Birds...

This artwork titled "Insect, Simulating Seeds" from the suite "Bestiary and some Correspondences" 1968 is an original lithograph on Arches paper by renown British artist Graham Vivia...

Provenance: “John Richardson: A Scholar Collects” was a sale held at Sothebys in December 2020. A unique collection of more than 50 paintings, works on paper, sculptures, and prints ...

Pablo Picasso’s Woman, Clown, and Monkey, a lithograph published by Verve in 1954, exemplifies the artist’s ability to distill complex emotions and narratives into strikingly simple ...

Charline von Heyl Hawk Moths, 2016 Lithograph with pochoi 47 1/4 x 31 1/2 inches (120 x 80 cm) Edition 8/30

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

Marc Chagall "Le Christ a l'Horloge, Paris" (Christ in the Clock) 1957 (M. 196) Color Lithograph on Arches Wove Paper Signed in Pencil "Marc Chagall" Lower Right Initialed "H.C." (Hors Commerce) Lower Left, aside from numbered edition of 90 *Floated in Gold Frame with Linen Matting, UV Plexiglass Sheet Size: 18 3/4 x 14 3/4 inches (47.5 cm x 38 cm) Image Size: 9 3/4 x 8 1/2 inches Framed Size: 28.5 x 24.25 inches Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant. Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly. His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew, and Modigliani lived on the same floor. To Chagall's astonishment, he found himself heralded as one of the fathers of surrealism. In 1923, a delegation of Max Ernst, Paul Eluard and Gala (later Salvador Dali's wife) actually knelt before Chagall, begging him to join their ranks. He refused. To understand Chagall's work, it is necessary to know that he was born a Hasidic Jew, heir to mysticism and a world of the spirit, steeped in Jewish lore and reared in the Yiddish language. The Hasidim had a special feeling for animals, which they tried not to overburden. In the mysterious world of Kabbala and fantastic ancient legends of Chagall's youth, the imaginary was as important as the real. His extraordinary use of color also grew out of his dream world; he did not use color realistically, but for emotional effect and to serve the needs of his design. Most of his favorite themes, though superficially light and trivial, mask dark and somber thoughts. The circus he views as a mirror of life; the crucifixion as a tragic theme, used as a parallel to the historic Jewish condition, but he is perhaps best known for the rapturous lovers he painted all his life. His love of music is a theme that runs through his paintings. After a brief period in Berlin, Chagall, Bella and their young daughter, Ida, moved to Paris and in 1937 they assumed French citizenship. When France fell, Chagall accepted an invitation from the Museum of Modern Art to immigrate to the United States. He was arrested and imprisoned in Marseilles for a short time, but was still able to immigrate with his family. The Nazi onslaught caught Chagall in Vichy, France, preoccupied with his work. He was loath to leave; his friend Varian Fry rescued him from a police roundup of Jews in Marseille, and packed him, his family and 3500 lbs. of his art works on board a transatlantic ship. The day before he arrived in New York City, June 23, 1941, the Nazis attacked Russia. The United States provided a wartime haven and a climate of liberty for Chagall. In America he spent the war years designing large backdrops for the Ballet. Bella died suddenly in the United States of a viral infection in September 1944 while summering in upstate New York. He rushed her to a hospital in the Adirondacks, where, hampered by his fragmentary English, they were turned away with the excuse that the hour was too late. The next day she died. He waited for three years after the war before returning to France. With him went a slender married English girl, Virginia Haggard MacNeil; Chagall fell in love with her and they had a son, David. After seven years she ran off with an indigent photographer. It was an immense blow to Chagall's ego, but soon after, he met Valentine Brodsky, a Russian divorcee designing millinery in London (he called her Fava). She cared for him during the days of his immense fame and glory. They returned to France, to a home and studio in rustic Vence. Chagall loved the country and every day walked through the orchards, terraces, etc. before he went to work. Chagall died on March 28, 1985 in the south of France. His heirs negotiated an arrangement with the French state allowing them to pay most of their inheritance taxes in works of art. The heirs owed about $30 million to the French government; roughly $23 million of that amount was deemed payable in artworks. Chagall's daughter, Ida and his widow approved the arrangement. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources: Hannah Grad Goodman in Homage to Chagall in Hadassah Magazine, June 1985 Jack Kroll in Newsweek, April 8, 1985 Andrea Jolles in National Jewish Monthly Magazine, May 1985 Michael Gibson...

Ted Blaylock (b. 1946) "Nest Builder III" 1986 Print Ed. 586/950 Signed and Numbered Ted Blaylock opened his own art studio and gallery in Collinsville, IL in 1969. He eventually mo...

Learning French, Melanie Yazzie lithograph black white giraffes French language As a printmaker, painter, and sculptor, my work draws upon my rich Diné...

Ronnie Cutrone (1948-2013) "Bird's Eye View" c. 1980s Color Lithograph Ed. 222/250 Signed, Numbered and Titled Image Size: 17 x 23.5 inches Framed Size: approx. 24 x 30 inches. Ronnie Cutrone, a figurehead of the Pop and Post-Pop art scenes, was Andy Warhol's assistant at the Factory atop the Decker Building from 1972-1980, and worked closely with Roy Lichtenstein, combining stylistic elements of both. Cutrone's large-scale paintings of American cartoon icons, like Mickey Mouse, Felix the Cat, and Woody Woodpecker further reinvented kitsch and popular media in terms of fine art. Executed in fluorescent monochromatic colors with the finesse of mass-produced silkscreen and prints, Cutrone's works are the reverse of tromp-l'oeil; they use fine art media (watercolor, pastel, crayon - on high-quality paper) to celebrate, rather than hide, the artifice of their subjects. "Everything is cartoon for me", Cutrone is noted for saying, even "ancient manuscripts...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

Artist: Man Ray (American, 1890-1976) Title: Mythologia Moderna II Year: 1969 Medium: Color lithograph Edition: numbered 46/175 in pencil Paper: Arches watermarked Image siz...

Color Lithograph Image Size: 30 x 19 inches Framed Size: 40.25 x 29.75 inches Edition 392/950 Artist Signed and Numbered Artist and naturalist Roger Tory Peterson...