Paper Animal Prints

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Available Sizes: 32" x 32" Edition of 15 40" x 40" Edition of 10 48" x 48" Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, manki...

All available sizes and editions: 30 x 37.5, edition of 15 40 x 50, edition of 10 48 x 60, edition of 5 Narrative: Barbaro filled the room like a heavy piece of thick-stringed music...

Available sizes 32" x 32" Edition of 15 40" x 40" Edition of 10 48" x 48" Edition of 5 THE EYES OF A WOLF are not like the yes of a dog. But, they used to be. Rooted deep in the ve...

Nine late nineteenth century woodblock prints of birds. Meiji Period. Held in Giltwood frames with wash mounts.

This is a unique hand colored work. A one color screen print is used as a foundation, measuring 11x 14 inches. This is from my ongoing snoopies series I began in 1999. When I was a ...

A group of four late eighteenth century hand-coloured engravings depicting monkeys. Set within giltwood frames From “Histoire Naturelle des Singes et des Makis Peintres d’après Natu...

A Regency Period engraving depicting a prize bull and set within an ebonised and parcel gilded frame. Bearing the inscription: “PORTRAIT of the SHORT HORNED BULL...

drawing, limited edition archival print 8/10

Beautiful work by Koen Van Mechelen (Sint-Truiden, 1965). Made as a participation in the "museum to scale" exhibition At Ronny Van de Velde gallery from 2013 Signed on reverse Issued...

Beautiful work by Koen Van Mechelen (Sint-Truiden, 1965). Made as a participation in the "museum to scale" exhibition At Ronny Van de Velde gallery from 2013 Signed on reverse Issued...

The work comes directly from the artist, is numbered out of limited edition of 20, signed and made on sealed paper. Size of paper: ca 100 x 70 cm ( ca 39 x 20 inch) Dimensions of im...

Dr. Seuss Wisdom of the Orient Cat (Deluxe edition)Serigraph on Hand-made Japanese Paper Deluxe Edition of 250 Image Size: 58" x 29" Paper Size: 62” x 31” Adapted posthumously from ...

Bloch, Marcus Elieser. Ichthyologie, ou Histoire Naturelle, Generale et Particulaire. Avec des Figures Enluminées, Dessinées d'apres Nature. Cyprinus Tinga Auratus. Berlin, the auth...

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...

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...

Ed. 1/50 Color engraved etching by Bjorn Skaarup of a bald eagle.

Rosen was born in New York City where she grew up and began her career as an artist. Despite finding early success in galleries and a prestigious teaching position in New York, Rosen...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...