Animal Figurative Prints

Le Furet is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière...

L' Ecureuil is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Ar...

Le Campagnol is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

Le Furet Putois is an etching realized by Juste Chevillet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good con...

La Civette is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

La Tourterelle is an etching realized by Catherine Haussard in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". A...

Le Bamier is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

Macaque is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

Le Bouquetin is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particul...

La Chevre Naine is an etching realized by Juste Madeline Rousselet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. ...

Le Tendrac is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good cond...

Le Paca is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditi...

Le Blaireau is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particuli...

La Loutre is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

Le Rat D'Eau is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good co...

The Skeleton is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particul...

La Souris is an etching realized in 1771 by Jean Moitte Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descr...

Le Gazelle is an etching realized by P.F. Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist's si...

The Skeleton is an etching realized by Juste Madeline Rousselet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Go...

Le Renard is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

Le Loup is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved low...

Le Cabiai is an etching realized in 1771 by Claude Jardinier. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la...

Le Tendrac is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good cond...

L'Outarde is an etching realized by Madeleine Rousselet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

L'Elan is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière a...

The Horns is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

Le Chamois is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist's...

Le Chamois is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist's...

Le Hocco is an etching realized by F. Hubert in in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions wi...

Autre Belier is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good co...

Skeleton is an etching realized in 1771 by Louis Legrand (1723-1807). Signed one the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la d...

La Perdrix is an etching realized in 1771 by Jaqcues Blanchon. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire Naturelle de Buffo". Good conditions.

Le Buffle is an etching realized in 1771 by Claude Jardinier. Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la...

Le Brebis is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulièr...

La Vison is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions

Le Caose is an etching realized by Madeleine Ruosselet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condit...

Le Chincher is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good con...

Le Zorille is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good cond...

La Marmose is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particuliè...

La Marmose is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good cond...

Paris: Jules Géruzet, 1860. Etching on cream laid paper, 3 1/2 x 5 inches (88 x 121 mm), full margins. Minor uniform age tone. Printed by George Bertauts, Paris. [Beraldi II.140.24...

Un rêve vert Color lithograph on Arches without watermark, 1975 Signed lower left in red area (see photo) Numbered lower left in red area Dated in same red area Edition: 100 (67/100) There are also some AP's and 10 HC's in Roman numerals Printed by Michel Cassé, Paris Published by Berggruen, Paris Condition: Excellent Image/Sheet size: 25 3/4 x 19 3/4 inches Reference: Corneille p. 305, No. 453 Corneille Guillaume Beverloo (1922-2010) From Wikipedia, the free encyclopedia Born Cornelis Guillaume van Beverloo 3 July 1922 Liège, Belgium Died 5 September 2010 (aged 88) Auvers-sur-Oise, France Movement COBRA Corneille – Guillaume Cornelis van Beverloo (3 July 1922 – 5 September 2010), better known under his pseudonym Corneille, was a Dutch artist. Corneille was born in Liège, Belgium, although his parents were Dutch and moved back to the Netherlands when he was 12. He studied art at the Academy of Art in Amsterdam, in the Netherlands. He was one of the founders of the REFLEX movement in 1948 and in 1949 he was also one of the founders of the COBRA movement, which has had great influence on Scandinavian art. He was active within the group from the beginning, not only painting but also publishing poetry in the Cobra magazine. He was a cofounder of the Experimentele Groep in Holland [nl]. Corneille was inspired by the drawings of children, and believed in the importance of approaching children with art that connects with their experience. When he heard during a Cobra Museum visit in the nineties that there was an “Art Lending for Children” he talked with the founder Roby Bellemans and asked him to send more information to his home in Paris about this project. He decided to promote the initiative. He started with a support list and persuaded other artists such as Shinkichi Tajiri...

Animal's Skeleton is an etching realized by Pierre Charles Baquoy in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Ro...

"Butterfly 19" (FRAMED) Photography 50" x 40" in Edition 1/8 by Giuliano Bekor Title: Butterfly B19 Year: 2018 Print size: 50" x 40" Inch Framed size: 52" x 42" Inch Edition: 1/8 A...

The Absolute Real is a lithograph realized by Man Ray in 1964. Hand-singed in pencil by the Artist. Lithograph in Red Ink, 1964. Published by Schwarz, the lithograph is part of th...

The Sick Stag is an artwork realized in 1974. Etching and drypoint with stencil. 80 x 59 cm. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. It belongs to the suit...

The Stag Reflected in the Water is an artwork realized in 1974. Etching and drypoint with stencil. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. It belongs to the...

Skeleton is an etching realized in 1771 by Pierre François Tardieu.. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descrip...

Leo quasi Bos comedens paleas ( The Lion eating straw like the Ox ) is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ editionis published by Rizzoli-Mediolani betwe...

Le Lievre (The hare) is an etching realized by Pierre Francois Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet...

Small Elephant Skeleton is an etching realized by J.-B. Guélard in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec ...

"Corralled Horse", is an etching on paper by western artist Ethel Magafan (1916-1993) of a single dark horse standing outside in a wooden fenced corral. Presented in a custom frame, outer dimensions measure 19 x 23 inches. Image size is 10 x 14 inches. This is marked as an Artist Proof Piece is in very good condition - please contact us for a detailed condition report. Provenance: Estate of Artist, Ethel Magafan Expedited and international shipping is available - please contact us for a quote. About the Artist: Ethel Magafan Born 1916 Died 1993 The daughter of a Greek immigrant father and a Polish immigrant mother who met and married in Chicago, Ethel Magafan, her identical twin sister Jenne and their elder sister Sophie grew up in Colorado to which their father relocated the family in 1919. They initially lived in Colorado Springs where he worked as a waiter at the Antlers Hotel before moving to Denver in 1930 to be head waiter at the Albany Hotel. Two years later during the Great Depression Ethel and Jenne experienced at sixteen the tragic loss of their father who had encouraged their artistic aspirations. He was proud when Ethel, a student at Morey Junior High School, won top prizes in student poster contests sponsored by the Denver Chamber of Commerce and the Denver Post. At East High School in Denver she and Jenne contributed their art talents to the school’s and by their senior year were co-art editors of the Angelus, the 1933 yearbook. At East they studied art with Helen Perry, herself a student of André Lhote in Paris and the Art Institute of Chicago. Her decision to abandon an arts career to teach high school students served as an important example to Ethel and Jenne, who early on had decided to become artists. In a city-wide Denver competition for high school art students Ethel won an eighteenweek art course in 1932-33 to study at the Kirkland School of Art which artist Vance Kirkland had recently established in the Mile High City. Perry encouraged the Magafan twins’ talent, exposing them to the work of Matisse, Picasso and Cézanne and introducing them to local artists and architects like Frank Mechau and Jacques Benedict whom she invited to speak in her high school art classes. She paid the modest tuition for Ethel and Jenne to study composition, color, mural designing and painting at Mechau’s School of Art in downtown Denver in 1933-34. In the summer of 1934 and for a time in 1936 they apprenticed with him at his studio in Redstone, Colorado. When they returned to Denver in 1934 with no family breadwinner to support them, their mother insisted that they have real jobs so they worked as fashion artists in a Denver department store. When Jenne won the Carter Memorial Art Scholarship ($90.00) two years later, she shared it with Ethel so that both of them could enroll in the Broadmoor Art Academy (now the Colorado Springs Fine Arts Center) where they studied with Mechau. When the scholarship money ran out after two months, he hired them as his assistants. Along with Edward (Eduardo) Chavez and Polly Duncan, they helped him with his federal government mural commissions. At the Fine Arts Center Ethel also studied with Boardman Robinson and Peppino Mangravite, who hired her and Jenne in 1939 to assist him in his New York studio with two murals commissioned for the post office in Atlantic City, New Jersey. Like their Denver high school art teacher, Robinson also stressed the need to draw from nature in order to "feel" the mountains, which later become the dominant subject matter of Ethel’s mature work after World War II. Mechau trained her and her sister in the complex process of mural painting while they studied at the Colorado Springs Fine Arts Center, teaching them the compositional techniques of the European Renaissance masters. This also involved library research for historical accuracy, small scale drawing, and Page 2 of 4 the hand-making of paints and other supplies. Ethel recalled that their teacher "was a lovely man but he was a hard worker. He drove us. There was no fooling around." Her apprenticeship with Mechau prepared her to win four national government competitions, beginning at age twenty-two, for large murals in U.S. post offices: Threshing – Auburn, Nebraska (1938), Cotton Pickers – Wynne, Arkansas (1940), Prairie Fire – Madill, Oklahoma (1940), and The Horse Corral – South Denver, Colorado (1942). In preparation for their commissions Ethel and her sister made trips around the country to pending mural locations, driving their beat-up station wagon, dressed in jeans and cowboy boots with art supplies and dogs in tow. She and Jenne combined their talents in the mural, Mountains in Snow, for the Department of Health and Human Services Building in Washington, DC (1942). A year later Ethel executed her own mural, Andrew Jackson at the Battle of New Orleans, January 8, 1814, for the Recorder of Deeds Building, also in Washington, DC. Her first mural commission, Indian Dance, done in 1937 under the Treasury Department Art Project for the Senate Chamber in the United States Capitol, has since disappeared. Ethel and her sister lived and worked in Colorado Springs until 1941 when their residence became determined by the wartime military postings of Jenne’s husband, Edward Chavez. They moved briefly to Los Angeles (1941-42) and then to Cheyenne, Wyoming, while he was stationed at Fort Warren, and then back to Los Angeles for two years in 1943. While in California, Ethel and Jenne executed a floral mural for the Sun Room of the Beverly Hills Hotel and also painted scenes of the ocean which they exhibited at the Raymond and Raymond Galleries in Beverly Hills. While in Los Angeles they met novelist Irving Stone, author of Lust for Life, who told them about Woodstock, as did artists Arnold Blanch and Doris Lee (both of whom previously taught at the Colorado Springs Fine Arts Center school. In summer of 1945 Ethel, her sister and brother-in-law drove their station wagon across the country to Woodstock which became their permanent home. A year later Ethel married artist and musician, Bruce Currie, whom she met in Woodstock. In 1948 with the help of the GI Bill they purchased an old barn there that also housed their individual studios located at opposite ends of the house. The spatial arrangement mirrors the advice she gave her daughter, Jenne, also an artist: "Make sure you end up with a man who respects your work…The worst thing for an artist is to be in competition with her husband." In 1951 Ethel won a Fulbright Scholarship to Greece where she and her husband spent 1951-52. In addition to extensively traveling, sketching and painting the local landscape, she reconnected with her late father’s family in the area of Messinia on the Peloponnese peninsula in southern Greece. At the same time, her sister Jenne accompanied Chavez on his Fulbright Scholarship to Italy where they spent a productive year painting and visiting museums. Shortly after returning home, Jenne’s career was cut tragically short when she died of a cerebral hemorrhage at age thirty-six. It deeply affected Ethel whose own work took on a somber quality for several years conveyed by a darkish palette, as seen in her tempera painting, Aftermath (circa 1952). In the 1940s Ethel and her sister successfully made the important transition from government patronage to careers as independent artists. Ethel became distinguished for her modernist landscapes. Even though Ethel became a permanent Woodstock resident after World War II, from her childhood in Colorado she retained her love of the Rocky Mountains, her "earliest source of my lifelong passion for mountain landscape." She and her husband began returning to Colorado for annual summer camping trips on which they later were joined by their daughter, Jenne. Ethel did many sketches and drawings of places she found which had special meaning for her. They enabled her to recall their vital qualities which she later painted in her Woodstock studio, conveying her feeling about places remembered. She also produced a number of watercolors and prints of the Colorado landscape that constituted a departure from the American Scene style of her earlier paintings. Her postwar creative output collectively belongs to the category of landscape abstractionists as described by author Sheldon Cheney, although to a greater or lesser degree her work references Colorado’s mountainous terrain. She introduced a palette of stronger pastels in her paintings such as two temperas, Evening Mountains from the 1950s and Springtime in the Mountains from the early 1960s. In 1968 she was elected an Academician by the National Academy of Design in New York. Two years later, based on results of her many summer trips to Colorado, the U.S. Department of the Interior invited her to make on-the-spot sketches of the western United States, helping to document the water resources development and conservation efforts by the Department of the Interior. Her sketches were exhibited at the National Gallery in Washington, DC, and then sent on a national tour by the Smithsonian Institution. Similarly, her previous work as a muralist earned her a final commission at age sixty-three for a 12 by 20 foot Civil War image, Grant in the Wilderness, installed in 1979 in the Chancellorsville Visitors Center at the Fredericksburg National Military Park in Virginia. In the 1970s, too, she taught as Artist-in-Residence at Syracuse University and at the University of Georgia in Athens. Her many awards include, among others, the Stacey Scholarship (1947); Tiffany Fellowship (1949); Fulbright Grant (1951-52, in Greece with her husband); Tiffany Fellowship (1949); Benjamin Altman Landscape Prize, National Academy of Design (1955); Medal of Honor, Audubon, Artists (1962); Henry Ward Granger Fund Purchase Award, National Academy of Design (1964); Childe Hassam Fund Purchase Award, American Academy of Arts and Letters (1970); Silver Medal, Audubon Artists (1983); Champion International Corporation Award, Silvermine Guild, New Canaan, Connecticut (1984); John Taylor Award, Woodstock Artists Association, Woodstock, New York (1985); Harrison Cady...

(after) Pablo Picasso - Flying Dove with a Rainbow - Lithograph 1952 Dimensions: 28 x 38 cm Signed and dated in the plate Numbered in pencil Edition : /10...

Skein Flock, by Kelvin Mann Medium: Woodblock with silk screen and flock fibers Image size: 29.5 x 29 inches Edition of 50 Kelvin Mann's "Flock" prints are made by screen printing ...

Le Paon is an etching realized by Haussard in 1771. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la d...

Le Jaguar is an etching realized in 1771 by Juste Chevillet (1729–1802) Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la desc...

Ian Hugo, 'On Stage', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (3 5/8 to 4 7/8 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 3 7/8 inches (149 x 98 mm); sheet size 15 1/8 x 11 1/8 inches (384 x 283 mm). Ian Hugo originally created "Ten Engravings" in 1945, and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the United States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

Chien Turc Metis ( Dog breed) is an etching realized by Pierre Francois Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description d...