Animal Landscape Prints

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

"Hermit, " a High-Bred Modern Foxhound 1887 Etching 3 x 5

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 a hand-colored engraving of male and female woodpeckers entitled "1. Le Petit Pie varie, 2. Sa Femelle" by Francois Nicolas Martinet, plate 598 from 'Histoire Naturelle des O...

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...

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...

This is impression #12 from an edition of 45 Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed see more ....

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

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 royal first octavo edition lithograph entitled "Semipalmated Snipe, Willet or Stone Curlew, 1. ...

An original rare and extremely collectible first edition John James Audubon hand colored royal octavo lithograph entitled "Golden Eye Duck", No. 82, Plate 406, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts male and female Golden Eye ducks in flight. This original rare first edition hand colored Audubon bird lithograph is in excellent condition. The sheet measures 6.25" x 10". The original text pages, pages 362-366, from Audubon's publication are included. 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...

This is an original 19th century John James Audubon hand-colored quadruped lithograph entitled "White American Wolf", No. 15, Plate LXXII, from Audubon's "Quadrupeds of North America...

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...

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 ...

Policeman is an original lithograph realized by Jules Renard in the 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, ac...

This is a hand-colored folio sized lithograph entitled "Phaethornis Augusti", Salle's Hermit Hummingbird 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 brown, grey, black, white and some green colored hummingbirds about a plant with green leaves and coral and yellow flowers. This beautiful Gould hand-colored hummingbird lithograph is in excellent condition. The original text page is included. There are five other unframed Gould hummingbird...

This is a hand-colored engraving of an Icelandic Ger Falcon entitled "Gerfault d''Islande" by Francois Nicolas Martinet, plate 210 from 'Histoire Naturelle des Oiseaux' in associatio...

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...

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...

En Écosse is an artwork realized by Otto Weber in the 1870s. Etching. Image size:19x31 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of t...

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...

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 ...

Duane Bryers, American (1911 - 2012) - Lonesome Train Whistle, Year: Circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22 in., Siz...

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...

limited_edition Original Silkscreen Print Edition number 50 Image size: H:20 cm x W:28 cm Complete Size of Unframed Work: H:40.5 cm x W:30.5 cm x D:0.2cm Sold Unframed Please note th...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

Medium: Aquatint and drypoint Year: 2011 Edition of 21 Image Size: 7 × 3.54 inches Portrait of a bird from a series by Franco-Iranian artist Marjan Seyedin. In her works, the an...

The pretty boats is an artwork realized  by Giovanni Omiccioli (February 25, 1901 – March 1, 1975). Etching on cardboard. The artist wants to define a well-balanced composition, th...

As dawn breaks in the frozen north, a herd of reindeer roam across a winter landscape. This print is made on a copper plate using acid to etch the drawing into the plate. It is print...

Goats 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 only 25...

Longing for your return by Emma Reynolds [2022] A celebration of the developing season as the swallows arrive. Additional Information: limited_edition Screenprint Edition number ...

"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...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. He taught at the Connecticut College for Women, and after the death of Grant Wood, the University of Iowa State...

Christian Ludwig Martin worked in Vienna. He was an artist, illustrator, and art teacher. 'Geese' is titled in German, and titled and signed in pencil. It is on a large sheet. While ...

"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...

Le Cheval Blanc is an artwok realized in early-20th century, by the French Artist Paul Emile Colin . Black and white etching on paper. Hand Signed on the right corner. Limited editi...

Le Sacre is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cab...

Paradise by Sophie Harden Limited edition print and hand signed by the artist Giclée Print on Paper Image Size: H:60cm x W:90cm Complete size of mounted work: H:75cm x W:105cm x D:0.1cm Please note that insitu images are purely an indication of how a piece may look Large Limited Edition print...

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...

Nursing is an etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Good conditions with foxing. The artwork is realized through s...

Medium: etching and aquatint Edition of 250 Year: 2014 Image Size: 9 x 12 inches Signed, titled and numbered by the artist. Inspired by a scene of seven Canadian Geese in Lake Padde...

Tunis is al photolithograph realized in 1996 by the Italian politician Bettino Craxi. Hand-signed in on the lower right "Craxi d'après Lumieère", Numbered, edition of 120 prints. V...

Alexander Calder Sun and Sea 1972 Lithograph 22 3/4 x 30 5/8 in. Edition of 150 Pencil signed and numbered Alexander Calder is one of the most celebrated artists of the 20th century...

Lonely Flag is an original etching and aquatint realized by Leo Guida in 1972. Good condition. Hand signed with pencil by the artist. Leo Guida (1992 - 2017). Sensitive to curren...

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

Landscape is an original etching on paper realized by Italian artist Giordano Belardinelli. Edition of 20 specimens. Image Dimensions: 22 x 16.5 cm. Titled in French on the lower...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Greyhounds D France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inc...

Surreal Scene is an original etching realized in the 1970s by the Italian Contemporary artist Leo Guida. Good conditions. The artwork is depicted through soft strokes in a well-ba...

Horse in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

Bulls in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

Bulls in the Roman Countryside is an original artwork realized after Charles Coleman (1807, Yorkshire - 1874, Roma) in 1992. Good condition. Not signed. 1992 edition in 25 copies....

Sherpherds with flock is a beautiful etching on cream-colored paper, realized by an artist of the XIX century. Image Dimensions: 37 x 46.5 cm In good conditions, except for some tea...

Thistle by Anna Harley [2022] limited_edition screenprint Edition number 30 Image size: H:22.5 cm x W:25 cm Complete Size of Unframed Work: H:26 cm x W:26 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Part of my flower print series...

Pianta Di Roma e Dell'Esposizione is an original print realized in 1911 on a drawing by Ludovico Beranger. Black and white etching. The artwork was realized ...

Kampf is a very beautiful black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, as is remembered Franz Von Bayros (Agram, 1866 – Vienna, 1924). From M...

Deer in the Snow is a limited edition, multi block, linocut print of a Roe Deer standing in the snow. Surrounding the deer are deep red berries, Mistletoe and winter leaves. There ar...

Orchid and small swallows (Hokuri, kotsubame). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparatory watercolo...

"Hecate, " Second Cross from the Bulldog 1887 Etching 3 x 5