Horse Figurative Prints

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove pape...

FATHER & SON is a hand drawn, limited edition lithograph by the African American artist JONATHAN GREEN printed using hand lithography techniques on archival Arches paper, 100% acid free. FATHER & SON is a beautifully simple composition depicting a refreshing Lowcountry South Carolina landscape...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Artiste et la Ville (The Artist and the City), from the folio Derriere le miroir, No. 246, originates from the 1981 ed...

Original Piedmont, Take Off and Paint the Town vintage airlines travel poster. Archival linen backing in very good condition, ready to frame. This is a serigraph, so it features rich...

Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized from a design by Vincenzo Aloja in the 18th century. Signed on the plate...

La Montée is an artwork realized by Christian Johannes Nieuwenhuys in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of...

Chevaux de Poste is a black and white etching realized by Charles Amédée de Boret (1837–1916) in 1870s. Titled in the lower. Image size: 20cmx26.5cm. Very Good condition. Signed ...

Horse is an original artwork realized in the half of 20th Century by Domenico Purificato. Mixed colored lithograph. Hand signed on bottom right c...

This artwork "Village en Hiver" c.1980 is an original color lithograph by French artist Madeleine (Mady) De La Giraudiere, 1922-2018. It is hand signed a...

Uses and Customs - Horse Mounting Method is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples o...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (Royal Stallion), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in plate: Le Bonit...

Size of sheet is ca. 29.5 x 21 cm (A4) Contemporary figurative giclee print by Polish artist Rafal Olbinski. Print is signed, numbered and has a stamp of an artist's atelier. It com...

Grevy's Zebra, from Endangered Species. Screen print in colors on Lennox Museum Board. Hand signed and numbered by Andy Warhol. Edition 61/150 (there were also 30 AP's, 5 PP's, 5 EP's, 3 HC's, 10 numbered in Roman numerals, 1 BAT, and 30 TP's). Printed By Rupert Jansen Smith, Ny. Published By Ronald Feldman Fine Art Inc., NY. Artwork is in excellent condition. All reasonable offers will be considered. From the Endangered Species portfolio, which premiered in 1983. Warhol was commissioned by environmentalists and gallerists Ronald and Frayda Feldman to depict 10 endangered animals, bringing attention to their fragility. The US federal government had passed the Endangered Species Act (ESA) in 1973, making clear criteria for assigning the status of “endangered” to animals that had seen massive attrition of their populations. This designation has been adopted internationally and Warhol’s Endangered...

Marina Abramovic Offset lithograph poster The Hero, 2001 2023 Boldly signed in black marker on the image of the flag Bears Royal Academy authentication label on the back of the fram...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 10.24 x 7.87 inches Inscription: Signed in the plate and unnumber...

Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...

Although this work is titled Horses. It nice to think it could be (Horses in a Field in Woodstock, NY), but it was printed by Will Barnet at the Art Students League, about 1938, and Wilson, who visited Woodstock with Arnold Blanche...

This artwork titled "Intrepid Caribou" 2002 is an original color stone cut on Japan paper by noted Canadian/Inuit artist Kananginak Pootoogook, 1935-2010. It is hand signed, dated, titled, located, described and numbered 22/50 in pencil by the artist. The image size is 18.5 x 12.5 inches, sheet size is 23 x 16 inches, framed size is 24.85 x 29.65 inches. Custom framed in a black metal frame, with black matting. It is in excellent condition. About the artist: Kananginak Pootoogook was an Inuit sculptor and printmaker who lived in Cape Dorset, Nunavut, in Canada. He died as a result of complications related to surgery for lung cancer. Pootoogook was born at a traditional Inuit camp called Ikerasak, near Cape Dorset, Nunavut (then in the Northwest Territories) to Josephie Pootoogook, leader of the camp, and Sarah Ningeokuluk. The family lived a traditional lifestyle hunting and trapping while living in an iglu in the winter and a sod house in the summer and did not move into their first southern style house until 1942. In 1957 Pootoogook married Shooyoo, moved to Cape Dorset and began work for James Houston. Originally, Pootoogook did some carving, made prints and lithographs for other artists. At the same time he was a leader in setting up the West Baffin Eskimo Co-operative, the first Inuit owned co-op, now part of the Arctic Co-operatives Limited and served from 1959 until 1964 as the president. Although Kananginak had worked with his father, Josephie, in 1959, it was not until the 1970s that Kananginak began work as a full-time artist producing drawings, carvings and prints. According to Terry Ryan, former Co-op manager, Pootoogook was both influenced by and an admirer of the works of his uncle, photographer and historian Peter Pitseolak. The World Wildlife Commission released a limited edition set in 1977 that included four of Pootoogook's images and in 1980 he was elected to the Royal Canadian Academy of Arts. In 1997 Pootoogook built a 6 ft (1.8 m) inukshuk in Cape Dorset for former Governor General of Canada, Roméo LeBlanc. The inukshuk was dismantled and shipped to Ottawa and with the assistance of his son, Johnny, it was rebuilt at Rideau Hall and unveiled on 21 June, National Aboriginal Day. Pootoogook had several exhibitions and showings of his work. In 2010, he went to Vancouver for the 2010 Winter Olympics and to open a showing of his work at the Marion Scott Gallery. He also had a showing of his work, his first solo exhibition at a public institution, at the Museum of Inuit Art in Toronto from February to May 2010. He also received a 2010 National Aboriginal Achievement Award in the arts category from the National Aboriginal Achievement Foundation. While working on his final, and unfinished, drawing of a Peterhead owned by his father, he was struck by coughing spells, which he declared was cancer. Along with his wife, Shooyoo, he flew to Ottawa, staying at the Larga Baffin home, and was diagnosed with lung cancer. In October 2010, he underwent surgery and did not recover. He died 23 November 2010 in Ottawa. The work of Kananginak Pootoogook is held in numerous collections and museums, includingThe McCord Museum, the Dallas Museum of Art, Musee National des Baux Arts...

Fernando Botero Pedrito, 1975 Lithograph 38 x 29 in Artist Proof (AP) Signed, numbered, and named by Fernando Botero

Vibrant giclee limited edition print by worldwidely established Polish artist Rafal Olbinski. Figurative surrealistic print with an animal which is a black horse with wings made out ...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Down in the Valley Bill Schenck Serigraph 46/50 Edition of 50 Image size: 25 x 29 inches Paper size: 31 x 35 inches SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & INSURANCE UNFRAM...

Hand signed. Editions of 260 prints numbered and hand signed. Excellent conditions. Zhou Zhiwei He was born in Shangai in 1954 and started to paint when he was 9 years old. he was a disciple of two famous chinese painters...

The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the i...

Lars BO The Departure of The Horserider (Le Rêve de Jean Valjean 1/8), 1975 Original etching Handsigned in pencil On vellum, 35,5 x 45 cm (c. 13,9 x 17,7 inch) Edition limited to 10...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

Artist: Salvador Dali Title: American Trotting Horses No. 2 Date: 1971 Portfolio: Currier & Ives as Interpreted by Salvador Dali Medium: Litho...

This artwork titled "Chemin de Halage" c.1930 is a color etching with aquatint on Wove paper by French artist Ferdinand Jean Luigini, 1870-1943. It is hand signed and titled in penci...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Image dimensions: 20.2 x 15.3 cm. The Old Horse is a superb original etching (on copper matrix) on paper, signed on plate by the Italian Macchiaioli master...

"Cavalli e rovine" is an original hand-signed lithograph realized by Giorgio de Chirico in 1954. It comes from the Suite: "Cavalli e Ville". This is an edition of 125 prints. It was...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

Original vintage French 1921 opera poster: Antar. Artist: Georges Rochegrosse. Stone lithograph linen backed in very fine condtion, ready to frame. The image features a medie...

Color lithograph on Chine volant, 1899. Edition of aproximately 112. Printed by H. Stern, Paris. Published by Pierrefort, Paris. Reference: Wittrock; 308-2nd edition, vol. 2, pg. 6...

Mariage a la Campagne is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the French artist Michel Delacroix, printed using tradition...

Herd of Horses is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Signed on the plate. Good conditions with foxing. The artwork is realized t...

Don Quixote and Sancho is an etching and drypoint print on ivory-colored Japanese paper, realized by Wladyslaw Jahl in 1951. It belongs to a limited edition of 125 specimens. Good ...

Ancient Roman statue of a horse, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th ce...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Animals is an original artwork realized by Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) . Lithograph print, mid-20th Century. Perfect conditions. Jean Lurçat (1892-1966) ...

Una Reina del Circo is a modern artwork realized by Francisco Goya. Etching and Aquatint, from the Series "Los Proverbios", realized in 1815. Thi...

This artwork titled "Springtime in the North" c.1980, published 1996, is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. I...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (French Noblemen on Horseback), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in p...

Ancient Roman statue of a horse, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carol Nolli in the 18th ce...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Chocolat, scene (Chocolate, scene), originates from the 1952 album The Circus of Toulouse-Lautrec. Publi...

Life is a Struggle (The Golden Knight), no. 10 from the second installment of Das Werk Gustav Klimts With his golden armor meticulously and faithfully rendered after examples found ...

Turkish Carnival Etchings, Hand-Watercoloured. Tom. , Plate XVI Image Dim: cm 25.5 x 18; Sheet Dim: cm 37.5 x 23.8; Passepartout Dim: cm 49 x 34 Etching, Hand-watercoloured, show...

The donkey in the Roman Countryside is an original etching artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Signed on the plate, the rare edition of on...

Horse Team is a black and white etching realized by Frederic Jacque in the late 19th Century. The artwork represents a farmer and horses struggling with rural jobs Good condition e...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Le Chimere d'Horace from Dalinean Horses Year: 1972 Medium: Lithograph, Signed in Pencil Edition: 2...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

Don Quixote and Sancho Panza is an etching and drypoint print on ivory-colored China paper, realized by Wladyslaw Jahl in 1951. It belong...

Arab Knight is an original hand-colored etching, realized by a French master craftsman of the 18th century. With stamp of collection of the lower right. With description in pencil o...

Medium: Lithograph on vélin paper, hinged on archival backing paper, as issued Year: 1967 Paper Size: 17.32 x 14.17 inches (backing paper size) Inscription: Signed in the plate and u...

The First Meeting, Jerome Park, N. Y. is an original proof before letters of a hand colored lithograph published in 1873 by the prolific German American artist and publisher Henry Schile...

The Sorrel is an original print realized by the Italian artist Gianni Testa in 1986. Original mixed colored screen print. Hand-signed by the artist on the lower left. Numbered on...

Le Message 1880s is an original print in etching technique, realized after Eugène Isabey (Painter and Engraver French ; 1803-1886) by Charles Henri Toussai...

Plate from Journal Des Demoiselles is an original artwrok realized in the 19th century by Paul Lacourière Mixed colored lithograph from the Le...