Modern Animal Prints

Elephant Engraing, 1957, printed 1988 Signed, dated, and titled in pencil by the artist Dedicated: "For Jon From Ray" Edition: 100 in two printings This is an artist's proof from th...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Edward Bawden (1903 - 1989) Aesop's Fables: Peacock and Magpie (1970) Linocut ...

Mokuchu URUSHIBARA Herons, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32.5 x 22 cm (c. 12.59 x 8.66 in) INFORMATION : Engraving published by Mo...

Mokuchu URUSHIBARA Koi Carp, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 30 x 24 cm (c. 11.81 x 9.44 in) INFORMATION : Engraving published by Mo...

Mokuchu URUSHIBARA White-billed Pie, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32 x 26.5 cm (c. 12.59 x 10.23 in) INFORMATION : Engraving pub...

Mokuchu URUSHIBARA The Flight of the Crows at Sunset, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 39.5 x 28 cm (c. 15,35 x 11.02 in) INFORMATIO...

Mokuchu URUSHIBARA Crows on a branch, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 38.5 x 28 cm (c. 15,15 x 11.02 in) INFORMATION : Engraving pu...

Mokuchu URUSHIBARA Horse bowing, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 35 cm (c. 10.2 x 13.7 in) INFORMATION : Engraving published by...

Mokuchu URUSHIBARA Pair of horses playing (red), c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 28 x 39 cm (c. 11.02 x 15.35 in) INFORMATION : Engr...

Mokuchu URUSHIBARA The Cat, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 27 x 39 cm (c. 10,6 x 15,3 in) INFORMATION : Engraving published by Moku...

Mokuchu URUSHIBARA Horse Turning Around, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 37 x 27 cm (c. 14,5 x 10,6 in) INFORMATION : Engraving publ...

Etching on laid paper Inscribed in pencil: Épreuve tirée de la planche donnée personnellement par l’artiste pour la Société des Aquafortistes Published by Cadart & Luquet, Éditeu...

2 Lazy 2P, ca. 1939 Lon Megargee Serigraph 20 x 24 inches Signed in screen Original serigraph print by Lon Megargee 1883 - 1960 Featured in "Hot Irons" by Oren Arnold and John Hale, 1940 SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & INSURANCE Lon Megargee created this serigraph from his commission with Oren Arnold and John Hale to do their dust jacket for the book, " Hot Irons", 1940. Arnold and Hale wanted to establish a reference work, an "authority", with a entertaining history about the evolution of the brand. Megargee created a painting of a steer that was branded with the script, 2 Lazy 2 P. Surrounding the steer is a random display of famous brands of ranches in the Southwest. It was well received and must have prompted Megargee to create the likeness as a print. The brand is described in chapter thirteen, page 207-208 and says, " Ed Stram, who was Arizona state veterinarian for sixteen years, fire-branded his cattle with this peculiar crest. It isn't peculiar unless you have an equally peculiar sense of humor. At a glance it appears to be just another typically unimaginative brand, but it has been used to make many a thousand girls blush, and a few thousand bashful young men as well". COLLIER GALLERY, FINE ART ESTATE OF LON MEGARGEE Born and raised in Philadelphia, Pennsylvania, Lon Megargee, at age 13, ran away from his upper class home and went West in 1896 led by his zest for the wild and adventuresome life. There he established a reputation as a cowboy painter and illustrator with work most associated with Arizona Brewing Company ads featuring humorous aspects of cowboy life. In his youth, he worked as a free-lance cowboy, exhibition roper, poker dealer, and bronco buster in Arizona, and then went east again to study art in Philadelphia at the Pennsylvania Academy of Fine Arts, and to New York at the Art Students League and Pratt Institute. He returned to Arizona, living in Cave Creek, Salt River Canyon, Phoenix and the last years of his life near Sedona. His Phoenix home later became a popular hotel and dining place called the Hermosa Inn. Megargee was a ranch owner and also did oil canvases of the places he loved and the cowboy life he admired. By 1910, he was among the earliest resident artists, and was probably the best known artist in Arizona. His name was first associated with a landscape series of 15 large murals for the Capitol Building, newly constructed just after Arizona became a state in 1912. Another one of his paintings, Elemental, was the first painting by an artist living in Arizona to be acquired for the Municipal Collection of Phoenix. These works were chosen from entries in the State Fair, where he continued to win prizes for figure and landscape painting. From 1911 to 1953, he did numerous commission works for the Santa Fe Railroad, including a work titledNavajos Watching a Santa Fe Train. Between 1915 and 1930, he also painted in the Los Angeles area of California and had entries in the California State Fair. He died in Cottonwood, Arizona. After his death, theSaturday Evening Post had a double-page reproduction of his painting Cowboy's Dream. Creator of the iconic logo for the Stetson Hat Company, " Last Drop From his Stetson", still in use today. Fine Art Estate of Lon Megargee We offer signed in print and original signature block prints. Custom, hand carved, signature frames, with archival standards and a speciality in hand dyed mats and french matting are provided for a beautiful and timeless presentation. Megargee explored different mediums; printmaking captivated him in particular. The contrast of the black and white block print method captured perfectly his interpretation of a bold American West. The first print was produced around 1921 and culminated with the creation of “The Cowboy Builds a Loop” in 1933 with 28 images and poetry by his friend, Roy George. Megargee continued producing prints throughout the 1940s and early 50s. At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar Ranch . . . and, after a few years, was offered a job by Billy Cook...

This artwork titled "Stag" 1957 is an original woodcut on laid paper by noted American artist Leonard Baskin, 1922-2000. It is hand signed and inscribed A.P. (Artist Proof) pencil by...

Georges Braque - Birds - Original Lithograph Published in the deluxe art review, XXe Siecle 1958 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

The Mother Hen is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 8 inc...

Artist: Georges Braque Title: Le Coq Portfolio: Verve Vol VII No. 27-28 Medium: Lithograph Date: 1952 Edition: 6000 Frame Size: 22" x 18 1/4" Sheet Size: 14" x 10" Signature: Unsigned

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...

The Physiognomy - The owl and peacock is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge...

Animal's Anatomy is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du...

This artwork "Horse" 1971, is an original etching on Wove paper by Japanese artist Akio Yamao, b.1933. It is hand signed, dated and numbered 13/50 in pencil by the artist. The artwor...

Petit Papion is an etching realized by Jacques Baron in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

The Monkey is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 7.9 inche...

Le Lapin D'angora is an etching realized by Jean Charles Baquoy in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec ...

Le Moufflon 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 R...

Le Saimiri 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 Ro...

The Goldfinch is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 11.2 x 8.25 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

Nutcracker is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by London, ...

Original, Linen backed New Orleans Jazz & Heritage Festival poster from 1983. A fun image with a crawfish holding an umbrella with streamers. 1983 JAZZ & HERITAGE FESTIVAL PRO-MO ...

"The Flight (Duck Flying) is an original color silkscreen by Schomer Lichtner. The artist initialed the piece lower right. This piece features a duck in flight through red hatched lines. 4 3/4" x 6 3/4" art 13" x 15" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows...

Etching with aquatint on white wove paper with a deckle edge, 23 1/2 x 17 1/2 inches (598 x 317 mm); sheet 30 x 22 1/2 inches (762 x 571 mm), full margins. Signed and numbered 4/10 i...

Lesser Black-Backed Gull is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & S...

Wigeon is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by London, Bell...

Redstart is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Name...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

Enrico Baj - Original Lithograph Colorful Abstraction 1962 From the art revue XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unumbered as issued

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Bat is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published i...

The Skull is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la N...

Tapir Pinchaque is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was pub...

Mordecai MOREH Cat and Mouse, 1982 Original etching Handsigned in pencil Numbered / 300 On vellum 9 x 21 cm (c. 4 x 8 inch) INFORMATION : This etching was created for the Greeting ...

"Le Bouclier" is an original drypoint etching by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (25/100) in the lower left. This piece depicts ...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

"Bovine Family" is an original etching by Leroy Neiman. The artist signed the piece lower left. It is edition 182/250 and dated 1980. It depicts a cow an...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Pablo Picasso "Paix, Désarmement pour le succès de la Conférence au Sommet, Paris, Mai 1960" Original Vintage Poster, 1952/1960. Archival linen backed and ready to frame. This pos...

Castore is a black and white artwork realized by Giorgio De Chirico in the half of 20th Century. Rare specimen on light blue paper. Black and white lithograph. Hand signed by artis...

The Lobster is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 7.9 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

Lithograph in colors on cream wove paper, 15 1/2 x 20 1/2 inches (394 x 520 mm); sheet 18 x 23 1/4 inches (457 x 590 mm), full margins. Signed and titled in pencil, lower margin. Som...

Strange Animals Engraving, 1949 Signed, dated, and titled in pencil by the artist The composition was created at the Univerisity of Iowa while the artist was enrolled in the famous M...

Vienna Lipizzaner Engraving, 1962 Signed and dated lower right (see photo) Titled and numbered lower left (see photo) This impression is from the second edtition printed c. 1992 1st ...

Paul Jouve (after) - Tiger - Engraving 19 x 14 cm Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Copper engraving heightened with pochoir.

Andre Francois, Hungarian (1915 - 2005) - Cheval Bleu, Year: circa 1960, Medium: Etching and Aquatint on Arches, signed and numbered in pencil, Edition: 7/50, Image Size: 15.5 x ...

MARGUERITE KIRMSE (American, 1885-1954) " GAEU AWA c. 1940 Etching, signed and titled depicting a Scottie dog on a dock, plate 6-5/8" x 9-5/8" plate. Sheet 11 ½ x 13 ½”.Generally ...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Le Coq (The Rooster), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the heightened emotional tension and expressive force characteristic of Soutines painterly vision, capturing in lithographic form the dynamic structure and psychological immediacy that define his mature still lifes. Executed as a lithograph on velin d'Arches paper, this work measures 26 x 20 inches. Unsigned and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1893–1943) Title: Le Coq (The Rooster), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 26 x 20 inches Inscription: Unsigned and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a time when renewed international interest in the artist was expanding. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural drama of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus-born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in German, French and English), reprod...