Lithograph Animal Prints

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Strix Flammea” (Barn Owl) by John Gould, from his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Barn Owl perched on a log its three baby owls to the left. Another adult owl in the background on the right, presumably a male, watches over his family. There are leaves on the right contributing to this pleasant landscape composition. This striking framed Gould...

Roy De Forest, American (1930 - 2007) - Dogs at Campfire, Year: circa 1980, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: Shop Proof, Size: 18 x 23 in. (4...

This artwork titled "Famiglia di Acrobati" 1955, is an original color lithograph on Arches paper by noted Italian artist Marino Marini, 1901-1980. It is hand signed and numbered 7/50...

This exquisite lithograph after Pablo Picasso (1881–1973), titled Le Papillon (The Butterfly), originates from the rare 1970 folio Pablo Picasso, Histoire naturelle (Natural History)...

The Cat is a lithograph on ivory-colored paper realized by Giselle Halff in 1950 ca. Hand-signed by pencil on the lower right. Numbered. Edition, 19/20. Good conditions, slight fo...

Walasse Ting Red Horse – 1981 Print – Lithograph on Arches Paper 17.5” x 23.5” Edition: H.C. signed Hors d'Commerce Walasse Ting was a Chinese-American vi...

'1. 2. Helicopis acis 3. Zeonia chorinceus' Late 19th century colour lithograph of butterflies.

10-colour lithograph on Somerset Velvet White 300 gsm paper 23 3/5 × 29 9/10 in 60 × 76 cm - sheet size Edition 48 of 200 hand-signed and numbered by the artist in the bottom right ...

EASIN' EM HOME by the American Western artist Conrad Schwiering, is a hand drawn limited edition lithograph(not a photo reproduction or digital print) printed using hand lithography ...

Tinted lithograph with white highlights, from 'Thirty-Four Subjects of Cattle', published in 1837 by Thos. McLean, Ackermann and Tilt. Printed at A Ducote's Lithographic Establishmen...

This exquisite lithograph after Pablo Picasso (1881–1973), titled L'Epervier (The Sparrowhawk), originates from the rare 1970 folio Pablo Picasso, Histoire naturelle (Natural History...

Lithograph on Chine appliqué, 9 1/4 x 8 1/8 inches (235 x 206 mm), full margins. First state (of 4). Extremely minor uniform age tone, otherwise in good condition. A superb, richly-inked impression. [Delteil 61.1] ______ At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school.  He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life.  In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault.  His first exhibited work was Dante and Virgil...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

Cock Tease is a lithograph on paper, initialed lower right 'BD', 9 x 9" image size. From the edition of 395, numbered XXIX/C (there were also 275 Arabic and 20 AP), framed in a conte...

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...

Lithograph By Cho Tai Eok Published by New York Graphic Society, 1976. Measures 39 x 15.5 in. In Good Condition

This exquisite lithograph after Georges Braque (1882–1963), titled L’Oiseau Noir sur Fond Brun (The Black Bird on Brown Background), from the folio Les Peintres mes amis (The Painter...

This is a rare Franklin Simon Department store Christmas lithographic poster with an image after a James Thurber cartoon drawing of a man in a chair with...

Accidents, Injuries and other Calamities poster Judy Chicago (Hand signed and inscribed), 1988 Offset lithograph on thin board (signed and inscribed by Judy Chicago) 26 × 20 1/4 inch...

William Wind McKim, 'Bighorn', lithograph, 1940, edition c. 25. Signed and titled in pencil. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (2 to 4...

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...

Marc CHAGALL (1887-1985) Bible : Dove and Menorah candlestick, 1962 Original lithograph (Mourlot workshop) Unsigned On Vellum 32.5 x 24 cm REFERENCE: Mourlot catalog raisonné #366 ...

Artist: Slonem, Hunt Title: Autumn Sunrise Bunnies Series: Bunnies Date: 2025 Medium: Lithograph on Paper Unframed Dimensions: 16" x 24" Framed Dimensions: 22" x 29" x 1.25" S...

This exquisite lithograph after Georges Braque (1882–1963), titled Trois oiseaux sur fond bleu (Three Birds on a Blue Background), from Carnets intimes (Private Sketchbooks), Verve, ...

Barnet, Will. THE CAT. Szoke 120, Cole 117, Johnson 100. Color Lithograph, 1956. Edition of 12, titled and signed in pencil. Printed on Rives paper by Barnet. Estate of the artist v...

Georges BRAQUE Leda and the Swann Stone lithograph (Art-Litho workshop, Paris) Printed signature in the pate Limited to 399 copies unumbered On Arches vellum 18 x 23" (45 x 58 cm) E...

'Bassets D'Artois a Jambes Droites'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a Fr...

"Original Vintage Aquariums Mosans Poster – Art Deco Design by A. de Loof, 1930s European Travel Advertising" Discover the Captivating "Moselle Aquariums" - A Vintage Poster by A. d...

'1. 2. Polygoma C. album 3. Vanessa polychloros' Late 19th century colour lithograph of butterflies.

Color lithograph on paper. Hand signed and numbered. Edition of 19/50. Dry stamp "Il Torchio", Milan. Very good condition.

Works by Jon Corbino (1905-1964) feature drama. Here he's showing us the chaos produced by a major earthquake in rural Montana in 1936 -- an actual historical event. The horses (ear...

John James Audubon was born in Haiti in 1785. Most of his childhood was spent in France, where he first took interest in birds and drawing. He came to the U.S. at age 18, and made ma...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Syrnium Aluco" (Tawny or Brown Owl) by John Gould, from his "Birds of G...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

Warner Brothers Orchestra Bugs Bunny Daffy Duck Porky Pig Cartoon Movie Legends Al Hirschfeld (1903-2003) Warner Brothers Orchestra Etching and Aquatint Sight 15 1/4 x 23 1/2 inches...

'Paradiesvogel' (Birds of Paradise) German chromolithograph, circa 1895. 240mm by 155mm (sheet)

Artist: Benny Andrews, American (1930 - 2006) Title: Glider Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 275 Size: 30 in. x 22 in. (76.2 cm ...

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 ...

'Apteryx Owenii Juv.' (Young Grey Kiwi) From G.D. Rowley's, 'Ornithological Miscellany', 1875 - 78. Johannes Gerardus Keulemans (1842 - 1912) was a Dutch bird...

Salvador Dali (1904-1989) - Bucéphale Lithograph from 1972 The edition of 187/250.. Dimensions of work: 68 x 50 cm On B.F.K Rives paper as stated in the Field catalogue. Referen...

Original Kenny Scharf off-set illustrated exhibition poster published by Tony Shafrazi Gallery, New York, 1984 Medium: Off Set Lithograph printed in colors Dimensions: 29 x 23 inch...

Marc CHAGALL The Blue Cow, 1967 Original lithograph (Mourlot workshop) Not signed On paper 31 x 24 cm (c. 12 x 10 in) REFERENCE : Catalog raisonne Mourlot #488 Edited by XX Siecle ...

This is a hand-colored folio-sized lithograph entitled "Otidiphaps Nobilis" (Pheasant Pigeon) by John Gould from his monograph "The Birds of Asia", published in London in 1862-1879. The print, which was drawn by Gould and H. C. Richter and lithographed by Walter, depicts two Pheasant Pigeon birds...

Original antique French lithograph travel poster: Metropole Messageries Maritimes Union Francaise. Artist: Poulain. This unicorn-s...

This is a hand-colored folio sized lithograph entitled "Grypus Naevius" (Saw-bill Hummingbird with Nest & Eggs) by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three black, brown and peach-colored hummingbirds about a nest, containing at least two eggs. The beautiful soft grey-green foliage includes a white, soft pink and cranberry-colored flower. This beautiful Gould hand-colored hummingbird lithograph is augmented with iridescent gum-arabic paint. It is in excellent condition. The original text page is included, which has extensive foxing, as lower quality paper was used for the text pages. There are several other unframed Gould hummingbird lithographs available via our 1stdibs storefront. Two or more of these would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds...

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...

This is an original John James Audubon hand-colored lithograph entitled "Canvass Back Duck, 1. Male 2. Female, View of Baltimore, Maryland", No. 79, Plate 395 from Audubon's "Birds o...

This stunning original lithograph, titled The Passing Parade, is a signed piece by renowned American artist Ila Mae McAfee (1897-1995). Created in the 20th century, the artwork depic...

A close portrait of a horse wearing a laurel crown with the rays of the sun emanating from behind its head. The horse theme was frequently used by Dali throughout his career. The hor...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Deux Pigeons". The original painting was completed in 1960. In the 1970's after Picasso's de...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Ebony in White Year: 1982 Medium: Lithograph on wove paper Size: 33 x 24 inches Condition: Good Inscription: Signed by the artist N...

'Bassets Ardennais'. 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 i...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Bubo Maximus" (Great Horned or Eagle Owl) by John Gould, from the supplement to his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Eagle Owl about to feed her brood of babies who are in the their nest. A another adult (possibly the male) is seen in the distant background in the upper right. This striking framed Gould...

Lait Pur de la Vingeanne Stérilisé is an offset lithographic print reproduced after the original 1894-95 Belle Epoque advertising poster created by Théophile Steinlen, printed using 4-color offset lithography on heavyweight archival paper. Lait Pur de la Vingeanne Stérilisé depicts a seated rosy cheeked young girl (the artist's daughter) wearing a long red dress sipping milk from a bowl as a group of envious animal friends - 3 cats...

Printed in 1943, by the U.S. Government Printing Office for the U.S. Department of Agriculture Forest Service. The poster features the beloved Disney characters, Bambi (deer), Thumper (rabbit), and Flower (skunk) in wide-eyed shock leaning towards fear. With the slogan "Please, Mister, don't be careless" the poster is designed to tug at the heartstrings of the viewer and make them consider what actions they could take in their own lives to prevent forest fires. Poster: 20" x 14 1/4" Frame: 30" x 22 1/2" Framed to conservation standards with a 100% cotton fiber matboard border and UV clear glass that filters 99% of UV Rays. UV Rays can be especially damaging and cause fading to the inks used in poster making. All of these features are housed in a contemporary natural wood frame. Smokey Bear...

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...

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 is an original John James Audubon hand-colored lithograph entitled "Reddish Egret, 1. Adult, Full Spring Plumage 2. Young in Full Spring Plumage Two Years Old", No. 75, Plate 371 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1870-1871. It depicts an adult reddish egret standing in the water with leg up, looking to the left at a young white egret standing on land looking to the right at the adult bird. A beautiful landscape is depicted. This original hand-colored Audubon egret...

The Excavation is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux", 1852. Published by Manesq & Harvard, Paris. Good Conditions. Th...

This is an original John James Audubon hand-colored lithograph entitled "Collies Squirrel, No. 21, Plate CIV", from John James Audubon's Quadrupeds of North America, published in Phi...