Animal Landscape Prints

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Newfoundland France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portraits...

Scandinavia by SAS - Storks. Original vintage European travel poster created by the artist Otto Nielsen. This poster features the prop plane and would be SAS's earliest printing of the image. Archival linen-backed, fine condition, ready to frame. Beautiful travel poster for Scandinavian Airlines. Excellent condition with wonderful artistry and soft warm colors. SAS was founded in 1946 as a consortium of the national airlines of Denmark, Norway, and Sweden. Over the years, it has played a crucial role in connecting Scandinavia with the rest of the world. Otto Nielsen was a Danish artist known for contributing to Scandinavian Airlines System (SAS) posters. Born on December 29, 1916, in Copenhagen, Denmark, Nielsen became a prominent figure in the world of graphic design and illustration, particularly for his work with SAS. Otto Nielsen created a series of iconic posters for SAS during the mid-20th century. His artwork often featured stylized and colorful depictions of Scandinavian landscapes, culture, and landmarks. These posters were part of SAS's marketing campaigns to promote air travel to and from Scandinavia. This is an Original Lithograph Vintage Poster; it is not a reproduction. The Vintage Poster has been working with collectors worldwide, helping them with their original vintage poster collections...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on pap...

This is a hand-colored engraving of a parrot bird entitled "La Bondree (Bird of Prey)" by Francois Nicolas Martinet, plate 420 from 'Histoire Naturelle des Oiseaux' in association wi...

This is an original John James Audubon hand-colored royal first octavo edition lithograph entitled "Semipalmated Snipe, Willet or Stone Curlew, 1. ...

This is a hand-colored folio sized lithograph entitled "Calothorax Yarrelli", Yarrell's Wood-star Hummingbirds by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three green, white, grey, and a little blue colored hummingbirds amid green cactus plants with white and pink colored flowers. The hummingbirds are augmented by gum-arabic paint, which gives them an iridescent appearance in areas in which it is used. This beautiful Gould hand-colored hummingbird lithograph is in excellent condition. The original descriptive text page from Gould's 19th century publication is included. There are several other unframed Gould hummingbird...

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...

Serge LASSUS (1933-) Horses : Riders in Winter, 1983 Original Lithograph Handsigned in pencil Numbered / 600 (the number you can see can be different) On Vellum 56 x 76 cm (c. 22 x ...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on paper condition: very good provenance: from...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Texan Lynx", No. 19, Plate XCII, 92, from Audubon's "Quadrupeds of North America", printed and colored by J.T. Bowen and published in Philadelphia from 1849-1854. The lithograph depicts a Texan Lynx laying on the ground with hills in the background. This antique hand colored Audubon quadruped lithograph is presented with the original descriptive text pages 293-296 from Audubon's 19th century publication. The print is in excellent condition, including the striking hand coloring. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

An original John James Audubon hand colored lithograph entitled "The Sewellel", No. 25, Plate CXXIII, from John James Audubon's Quadrupeds of Nort...

This is a remarkable hand-colored folio sized lithograph entitled "Dendrochelidon Mystaceus" (Bearded Tree-Swift) by John Gould from his monograph "The Birds of Great Britain", publi...

This is a hand-colored folio-sized lithograph entitled "Nycticorax Griseus" (Night-Heron) by John Gould from his monograph "The Birds of Great Britain...

This is an original 19th century hand-colored folio-sized lithograph entitled "Archibuteo Lagopus" (Rough-Legged Buzzard) by John Gould and Edward Lear, from Gould's "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Rough-Legged Buzzard perched on a branch of a tree looking to the left. This beautiful framed Gould hand-colored lithograph is presented in a gold-colored wood frame and cream-colored French mat, embellished by a gold-colored fillet. The frame measures 33" high, 25.5" wide and 1.25" thick. It is in excellent condition There are several other unframed Gould bird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio in the 1stdibs or InCollect search field to be taken to our storefront. John Gould (1804-1881]) was an English ornithologist and artist. He, like his American contemporary John James Audubon, published a number of books on birds in the mid 19th century, illustrated by hand-colored lithographs. His wife and fellow artist, Elizabeth Gould, and several other artists including Edward Lear and Henry Constantine Richter produced lithographs for his various publications. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. Charles Darwin referenced Gould’s work in his book, "On the Origin of Species" and Gould named a bird after Darwin; "Darwin's finches". Gould began his career in London as a taxidermist, but in 1827 became the first curator and conservator at the museum of the Zoological Society of London. In this position naturalists brought him collections of birds from all over the world. He began creating drawings and eventually hand-colored lithographs with his wife and Edward Lear, which were the basis for his first publications. Darwin brought him specimens from the Galapagos Islands, including 12 species of finches which had never been described. In 1838, Gould and his wife travelled to Australia and their work led to the seven volume publication of “The Birds of Australia”. Gould had a fascination for hummingbirds and collected specimens of 320 varieties before ever seeing a live hummingbird on a trip to the United States in 1857. He eventually published “A Monograph of the Trochilidae, or Family of Humming-birds". Other large publications include: "The Birds of Europe"," A Monograph of the Ramphastidae, or Family of Toucans”, “A Synopsis of the Birds of Australia, and the Adjacent Islands”, “A Monograph of the Odontophorinae, or Partridges of America”, “The Birds of Asia”, “The Birds of Great Britain” and "The Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia". John Gould (1804-1881) was a British ornithologist and illustrator who is best known for his monumental work, "The Birds of Europe," published between 1832 and 1837. Gould was born in Lyme Regis, Dorset, England, and began working as a taxidermist and natural history dealer in London in the 1820s. In 1827, Gould was appointed the first curator and preserver of birds at the Zoological Society of London, where he began to build his collection of specimens and began to study the birds of the world. He published his first monograph, "A Century of Birds from the Himalaya Mountains," in 1831, which included 80 plates of Himalayan birds. Gould continued to publish numerous volumes on the birds of the world throughout his life, including "The Birds of Australia" (1840-1848) and "The Birds of Great Britain" (1862-1873). His works were highly regarded for their accuracy and detail, and he was one of the most prominent ornithologists of his time. In addition to his work as an ornithologist, Gould was also a successful businessman, and he used his profits to fund expeditions and to support the scientific community. He was elected a Fellow of the Royal Society in 1843, and he was awarded the Royal Medal...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on paper condition: very good provenance: from...

This is an original John James Audubon hand-colored lithograph entitled "Canada Pouched Rat", No. 9, Plate XLIV from John James Audubon's Quadrupeds of North America, published in Ph...

This is an original John James Audubon hand-colored royal first octavo edition lithograph entitled "King Duck, 1. Male, 2. Female", No. 81, Plate 404, from A...

Red Breasted Merganser PL 58 from a rare black and white edition of Prideaux John Selby’s two volume set of 222 engravings “Illustrations of British Ornithology”. These original...

This is a hand-colored engraving of a Greenfinch bird and a tree sparrow ("1, Le Friquet, 2. Le Verdier") by Francois Nicolas Martinet, plate 227 from 'Histoire Naturelle des Oiseaux...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...

Medium: aquatint and drypoint Year: 2016 Edition of 21 Image Size: 16 × 12 inches Portrait of a plump and possibly perplexed owl in a nocturnal setting, by Franco-Iranian artist M...

Katrina Revenaugh “Along Came a Spider” Dye Sublimation Print on Aluminum, 2024 Size Options: 12 x 12 inches, 20 x 20 inches or 30 x 30 inches Color Options: Blue, Coral, Green, Pink...

This very rare, first edition, folio hand-colored engraving of an eagle is plate K2 from Ulisse Aldrovandi’s 'Opera Omnia', published between 1599 an...

Georges LE MEILLEUR (1861-1945) Landscape with a Mill on the River, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind...

Evergreen Chris Forrest, American (1946) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300, AP 40 Image Size: 18 x 22 inches Size: 22 i...

Linda Plotkin, American (1938 - ) - Cloud, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 6/50, Image Size: 6.75 x 8.75 inches, Size: 9.5 ...

This is an original 18th century hand-colored copperplate engraving of a pair of red and black woodpecker birds entitled "1. Pie Roux, de Cayenne 2. Petit Pie Noir, de Cayenne (Red a...

Johan Wilhelm Palmstruch (1770-1811) Sweden Title: A Wolf hand-coloured print early 1800s print dimensions approx 4.33 x 7.08 inches (11 x 18 cm) frame 11.81 x 15.74 inches (30 ...

This artwork "Two Horses" 1964, is an original color aquatint on paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered 107/120 in pencil by the artist. ...

(After) JOHN JAMES AUDUBON (1785 - 1851) MISSOURI MOUSE, 1846 - Plate 100 (C) No. 20 Lithograph with original hand coloring. From Audubon's "The Viviparous Quadrupeds of North America...

This rare original John James Audubon hand-colored royal octavo lithograph is entitled "The Jaguar", No. 21, Plate CI, 101 from Audubon's "Quadrupeds of North America". It was drawn ...

An original chromolithograph from the Celebrated Dogs of America by Alexander Pope Jr. and published by S.E. Casino, Boston,1882. This compositio...

This very rare, first edition, folio hand-colored engraving of an eagle is plate 215 from Ulisse Aldrovandi’s 'Opera Omnia', published between 1599 a...

"The King" by Alexis Kandra is a limited edition signed and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil and gold leaf pen. Edition ...

This is a hand-colored folio sized lithograph entitled "Iyngipicu Maculatus" (Sonnerat's Pygmy Woodpeckers) by John Gould from his monograph "The Birds of Asia", published in London ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 11.24 x 8.46 inches Inscription: Unsigned and unnumbered, as issued Notes: From the fo...

This is a hand-colored engraving of a turtledove entitled "Tourterelle a Collier, du Senegal (Turtledove of Senegal)" by Francois Nicolas Martinet, plate 161 from 'Histoire Naturelle...

"Morning Star" by Alexis Kandra is a limited edition signed and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil and gold leaf pen. Edition total of 5, signed and numbered by the artist Alexis Kandra. The image features a beautiful wildlife painting of a mother wolf...

Lithograph on grand vélin d'Arches pur chiffon spécialement fabriqués paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Œdipe ...

David Everett was born in Beaumont, Texas, and received both his B.F.A. and M.F.A. from The University of Texas in Austin. In 1978, Everett was awarded a Faculty Travel Grant from So...

This is a hand-colored engraving of a black guillemot bird entitled "Le Guillemot" by Francois Nicolas Martinet, plate 903 from 'Histoire Naturelle des Oiseaux' in association with G...

Night Night by Tammy Mackay Limited edition print and hand signed by the artist Edition of 50. Photopolymer, Chine Colle and Graphite on Paper. Images Si...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, The Intimate Sketchbooks of G. Braque, Verve: Revue Arti...

This is an original 1st octavo edition John James Audubon hand-colored lithograph entitled "Yellow-billed Cuckoo, 1. Male, 2, Female, Papaw Tree", No. 55, Plate 275 from Audubon's "B...

Set of 3 Colored Bird Prints each unframed, 10.5 x 14.5 inches condition: very good A beautiful set of 3 colored prints of classical birds in landscape settings. As a set, they make wonderful interior design either presented on their own or as a gallery wall grouping.

This is an original 18th century hand-colored copperplate engraving of male and female woodpecker birds entitled "1. Pie Male de la Encenada, 2. Petit Pic des Moluques (Woodpeckers)"...

High quality print on canvas. 40*50 cm +~4cm painted sides. Print was made from oil painting Forest Spirit originally created by artist Maria Matveyeva in 2022 year. Perfect Christmas gift...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer an...

This is a hand-colored folio sized lithograph entitled "Hemicircus Cordatus" (Heart Spotted Woodpecker) by John Gould from his monograph "The Birds of Asia", published in London in 1...

Medium: aquatint and drypoint Year: 2016 Edition of 21 Image Size: 16 × 12 inches Portrait of a plump and possibly perplexed owl in a nocturnal setting, by Franco-Iranian artist M...

"The Mountain" by Alexis Kandra is a limited edition signed and numbered giclée print on Moab paper based on an original oil painting with metallic gold foil and gold leaf pen. Edit...

Lithograph on grand vélin d'Arches pur chiffon spécialement fabriqués paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Œdipe ...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Wolfhound E France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portraits....

‘Lamb’ by Tammy Mackay Limited edition and hand signed by the artist Photopolymer print on paper Image Size: H:41.5 cm x W:59 cm Complete size of unframed work: H:41.5cm x W:59cm x ...

This is an original 19th century John James Audubon hand-colored 1st octavo edition lithograph entitled "Hudsonian Godwit, 1. Male, 2. Female, Summer Plumage", No. 70, Plate 349 from...

Medium: aquatint and drypoint Year: 2016 Edition of 21 Image Size: 16 × 12 inches Portrait of a plump and possibly perplexed owl in a nocturnal setting, by Franco-Iranian artist M...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, The Intimate Sketchbooks of G. Braque, Verve: Revue Arti...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Wallace Putnam, American (1899 - 1989) - Migration, Year: circa 1987, Medium: Etching, signed, dated and numbered in pencil, Edition: 5/16, Image Size: 12 x 11.75 inches, Size: ...

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...