Men Animal Prints

The Cat is an Original etching and drypoint print on paper realized by an Anonymous artist in 1950 ca. Good conditions with some foxing.

Mr. Monkey Drowning Himself is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published by Mane...

Composition with Monkeys is an original artwork realized by Thomas Landseer (1795-1880) in the middle of the 19th century. Original etching. Good condition. Draughtsman and printmaker, chiefly of animal and satirical subjects. Eldest son of the engraver John George Landseer. Studied with his brothers Charles and Edwin under Benjamin Robert Haydon, alongside Thomas Bewick...

Equestrian Scene No. 10 by Charles Ancelin. Original hand-painted pochoir process print. Paris: Galerie Lutetia, circa 1920.

Ouistiti 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 ...

Claude LE BOUL The Cyclist Original lithograph Signed in pencil Numbered / 100 copies On vellum 75.5 x 57 cm (c. 29.5 x 22.4 in) Excellent condition

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Engraving after Paul Jouve From the work of Terrasse in 1948 490 copies Size etching: 23 x 18 cm Frame: 45 x 49 cm

Etching, 1937. Signed by the artist and dated in pencil lower right margin. A scarce etching by this important American western artist.

Original Amora Mustard Poster by Leon Dupin – Archival linen-backed French lithograph. Very fine to excellent condition. Undated, but it is presumed to be from the 1930s. No restora...

Edition 7/45

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 Edwards (1878 - 1966) The Berkeley Hunt...

"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 ...

Harry Bunce Love Wars Series, Frontline Limited Edition Hand Pulled Silkscreen Image Size: H 63cm x W 49cm x D 0.1cm Mounted Size: H 73cm x W 59cm x 0.5cm So...

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...

Artist: William Cavendish (English, 1593-1676) Title: "Captain Mazin Rides, and the Marquis Gives the Lesson" (Plate 17, Page 76) Portfolio: Methode et Invention Nouvelle de Dresser ...

Cecil Aldin (1870 - 1935) The Master Lithograph 48 x 40 cm A jolly lithograph of an MFH and his hounds. Cecil Charles Windsor Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rural buildings in chalk, pencil, and also wash sketching. He was an enthusiastic sportsman and a Master of Fox Hounds, and many of his pictures illustrated hunting. Aldin's early influences included Randolph Caldecott and John...

Marino Marini - Rider - Original Lithograph 1955 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

The single letter "M", from the alphabet, illustrated by mischievous monkeys . All letters from Kelvin Mann's bestiary alphabet are available, and the full set of 27 etchings in foli...

Medium: Screenprint Year: 2021 Image Size: 22 x 22 inches Edition of 25 Jos Sances was born John Joseph Sances in Boston and attended Montserrat School of Visual Art in Beverly, Mas...

In response to a massive oil spill off the coast of Southern California in 1969, Wisconsin Senator Gaylord Nelson initiated the idea of the first annual Earth Day on April 22, 1970, ...

The White Eagle 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 8.15 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...

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

Edmund Blampied (1886-1966), Ostend Horse, drypoint, 1926, signed in pencil lower margin [also signed and dated in the plate lower left], from the edition of 100, printed on ivory laid paper with full margins with deckle edges, 7 x 9, the sheet 9 1/4 x 12 1/2 inches, still in the original SFA Museum mat with extensive annotations. Provenance: Kennedy Galleries (with their stock number A49359) Ex Collection: Albert M...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

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...

Original “The Greatest Show on Earth” vintage US 1 sheet movie poster. Cecil B DeMille’s 1951 movie. Archival linen backed in very good condition, ready to frame. Original theater-issued fold marks restored during linen backing. Over 70 years old, 1st printing. Welcome to the circus. The Greatest Show on Earth starring Betty Hutton, Cornel Wilde, Charlton Heston, James Stewart (Jimmy Stewart...

Colour aquatint after Samuel Howitt (1756/7-1822). From Samuel Howitt's 'Foreign Field Sports' Samuel Howitt was an English painter, illustrator and etch...

(after) Raoul Dufy Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Di...

Raphael Macek Domino, 2020 Afresco series 60 x 40 inches Archival Pigment Print Edition of 10 Framed Large-scale photograph from the Equine Beauty series. The legendary and comple...

Raphael Macek Calceus, 2020 - Afresco series 71 x 48 inches 180 x 120 cm Archival Pigment Print Edition of 7 Framed Large-scale photograph from the Equine Beauty series. The legen...

Woman With Horse is an artwork realized by Enzo Assenza. Print in lithograph technique. Hand-signed by the artist in pencil on the lower right corner. ...

Rob Barnes Woodland Pheasants Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free...

SOLD UNFRAMED Mare and Foal by Orovida Pissarro (1893 - 1968) Etching 15.6 x 20.7 cm (6 ¹/₈ x 8 ¹/₈ inches) Artist's Biography Orovida Camille Pissarro, Lucien and Esther Pissarr...

"Untitled" serigraph of Native Americans and horse with attached color photo by artist Jean Le Gac from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to raise m...

paper: 22 x 15 in. printed image: 4 3/4 x 6 in. english translation: Long Hand Crab Latin

Reproduced Norman Rockwell lithograph. Piece measures 19 x 15 inches and is framed. The piece is in Good Condition.

Art Sz: 9 1/2"H x 12 1/2"W 1933 Proof Plate for 'Spills and Thrills' Published by Charles Scribner's Sons New York 1933

ANONYMOUS (20th century) Café Collas, Pearls of the Indies, 1927 Original lithograph poster (La Semeuse workshop) On paper, 113 x 74 cm (c. 45 x 30 in) INFORMATION: Beautiful vinta...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

This artwork titled "Le Cirque (The Circus) II" is an original colors lithograph on Arches paper by noted French artist Camille Hilaire, 1916-2004. It is hand signed and inscribed C/...

Original linen backed 1949 International Jumping Steeple Chase Van Gent poster. The events were held at the Royal Cercle Equestre Gent; at the Feestpaleis The Royal Cercle Eque...

A lively rendering of several horses and their riders jockeying for first place at a race track. A traditional dirt track has been foregone in place of a grass track. Behind the ride...

Silkscreen Image Size H 22 x 22cm Framed Size H 47 x 45cm Edition of 100 Additional information: Screen print on Paper Edition of 100 22 H x 22 W cm (8.66 x 8.66 in) Sold unframed ...

Harry Schaare, American (1922 - 2008) - Trapped, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 22 in. x 30 in. (55.88 cm x 76.2 cm), De...

Medium: 8 color Screenprint Year: 2023 Image Size: 16 × 32 inches Edition of 18 Pangas Launch from Punta Lobos by Jos Sances is a vivid contemporary woodcut that captures the tensio...

Medium: 8 color Screenprint Year: 2015 Image Size: 36 × 18 inches Edition of 11 Mariners, Renegades, and Castaways by Jos Sances revisits the brutal realities of nineteenth-century ...

This artwork titled "Le Cirque (The Circus) IV" is an original colors lithograph on Arches paper by noted French artist Camille Hilaire, 1916-2004. It is hand signed and inscribed I/...

Alice In Wonderland:Hookah Smoking Caterpillar is an original hand made etching by the American abstract painter Knox Martin. Printed in black ink on archival printmaking paper, 100% acid free. Erotic fantastical interpretation of “Alice’s Adventures in Wonderland”, where Alice first meets the Catepillar while he is sitting on a mushroom smoking a hookah. He helps her by advising her to eat from the mushroom if she wants to change her size. Print size- 18" x 15", Image size - 8.25" x 6.75" Edition size - 50 About the artist- Knox Martin (1923-2022) was an esteemed New York School painter. Knox Martin was born in 1923 in Barranquilla, Colombia. He was the son of the aviator, painter, and poet William Knox Martin, the first man to fly over the Andes mountains. After serving in World War II, Knox Martin attended the Art Students League of New York on the G.I. Bill from 1946-1950, where he studied with Harry Sternberg, Vaclav Vytlacil, Will Barnet, and Morris Kantor. In 1954, Knox Martin's friend Franz Kline placed a painting of his in the Stable Gallery Annual. Charles Egan of the renowned Charles Egan Gallery saw Knox Martin's painting at the Stable Gallery and asked Martin to show his work in a one-man show for the tenth anniversary of the Egan Gallery. Since then, Knox Martin was a celebrated painter, sculptor and muralist. Knox Martin had an extensive exhibition record and his work is in museum, corporate and private collections worldwide. His two best-known murals in NYC are Venus and Woman with Bicycle...

Raphael Macek Music, 2020 Afresco series Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. ...

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 in 1854. Good condition...

Original Gene Autry Gold Mine in the Sky linen-backed original vintage movie poster. The poster does show some foxing on the original theatrical fold marks. Republic Pictures. ...

Marino Marini - Knight - Original Lithograph 1970 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Mark Sabin Man In The Forest - 1980 Print - 26'' x 34'' in Edition: signed in pencil and marked 234/250 Mark Sabin is a fantasy painter, blending elements in a juxtaposition that ...

Duane Bryers, American (1911 - 2012) - Meanwhile Back at the Ranch, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Size: 21 in. x 27.5 in. (53.3...

'Finland Bear Hunting' Colour aquatint by Mathew Dubourg (1786-1838) after Manschirch. From Samuel Howitt's 'Foreign Field Sports'. Samuel Howitt was an English painter, illustrato...

Colorful Lithograph of Horse Race – Jockey on Norse No. 6 by Serge Medjisky, original poster: Linen-backed printer's proof without text of the horse race. In the lower right are the ...

Pierre LISSAC (1878-1955) Jockey Before the Horse Race, 1926 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of th...