Animal Prints and Multiples

Leopard Seal - chromolithograph from an English natural history series. 135mm by 200mm (image) 165mm by 255mm (sheet)

Most certainly, this is one of the most intense wild mustang pictures I have ever taken. The one horse bit the ear and neck of the leading horse as they raced forward. This immediate...

Gavin Dobson Puffin Gold Limited Edition Screen Print Edition of 50 Signed Size: H 50cm x W 35cm x D 0.1cm Puffin Gold is a limited edition print by Gavin Dobson. A special gold edit...

This piece is an original engraving with color added by pochoir by Salvador Dali. It is from Dali's suite of 12 original engravings entitled "Le Bestiaire de la Fontaine", which he c...

Nuthatch by Kate Heiss [2022] limited_edition Oil based inks on 300gsm Somerset velvet Paper Edition number 30 Image size: H:20 cm x W:15 cm Complete Size of Unframed Work: H:30 cm x W:25 cm x D:1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look. This print linocut print features a nuthatch perched in an oak tree amongst the acorns and autumn Leaves. A linocut print is a relief printing technique where lino is cut, inked and rolled to create an inverse relief print, generating the image as seen. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge...

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

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Bluebird Year: 1981 Medium: Serigraph, Signed and Numbered in Pencil Edition: AP 5/25 Image Size: 27.5 x 35.5 inches Fram...

Stag in the Foothills, 2025 Tom Hammick Reduction woodcut in colours On Saunders Waterford wove Signed, titled, dated, numbered and inscribed 'E.V.' (edition variable) From the edit...

Title: The Nightmare Artist: Cleon Peterson Year: 2021 Step into the dark and thought-provoking world of Cleon Peterson with "The Nightmare," a mesmerizing piece that captivates the...

A limited edition giclee print (675/700), entitled 'Vanishing', from an original drawing of a Scimitar-horned Oryx by the British artist Gary Hodges. The a...

'Chaffinch' Colour plate mounted on card with a printed border from 'The Detmold Nature Pictures', published circa 1919. Edward J Detmold (1883-1957) was an important early 20th century illustrator...

'Black Leghorn Chick' Colour plate mounted on card with a printed border from 'The Detmold Nature Pictures', published circa 1919. Edward J Detmold (1883-1957) was an important early 20th century...

'Gypoictinia Decepta - Northern Buzzard' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of Australia...

'Pachycephala Contempta - Lord Howe Island Thickhead' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of...

'Race a laine douce, du Pays de Galles' (Soft-woolled sheep of Wales) Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a ...

'Ancienne Race de Wiltshire (The Old Wiltshire Breed)' Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a painting by Wil...

"Lobster" is an original color serigraph by Hunt Slonem. The artist signed and dated the piece lower right, wrote the title lower center, and the edition number (AP/2) in the lower left. This piece depicts a still life of patterned pillows, vegetables, and animals. 19"x 19"image 21 7/8"x 29 3/4"paper 31 1/2 x 31 1/2" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

Artist: Jean Richardson, American (1940 - ) Title: Spring Pageant Year: 1995 Medium: Aquatint Etching, Signed and numbered in pencil Edition: 20/95 Size: 28.5 in. x 39 in. (72.39 cm ...

This woodcut print was created by American artist Leonard Baskin. Baskin is well known for his somewhat grotesque, intricate, surreal drawings and natural subject matter. This print ...

Etching and Aquatint realized by Auguste Lançon (1836-1887) in 1883. Published by A. Quantin, Paris, in an edition of 250 copies. This Series depicts scenes from the daily life of T...

Artist: Menashe Kadishman, Israeli (b. 1932) Title: Sheep 8 Year: 1977 Medium: Etching and Serigraph, signed in pencil Edition: 65 Size: 34 x 31 in. (86.36 x 78.74 cm)

Elephant Composition Caroline Schultz, American (1936–2004) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300 Image Size: 19 x 19 inches Size: 29 in. x 23 in. (73.6...

I Want To..., by Alessio-B, Contemporary Street Art Print. Dimensions 70 x 50 cm with release in 2015. Artist Proof. Beautiful piece perfect for families, in a nursery where children...

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...

Artist: Eric Fischl, American (1948 - ) Title: Beach Series 3 Year: 1989 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 38/100 Image: 33 x 41.5 inches S...

Dogs on a Beach By Tim Southall [2017] Limited Edition Etching Edition number 75 Image size: H:15 cm x W:20 cm Complete Size of Unframed Work: H:25 cm x W:30 cm x D:0.1cm Sold Unfram...

Artist: Jacques Barraband Title: La Perruche Javane Pt 69 Year: 1801 - 1805 Medium: Engravings with Original Hand-Coloring Sheet Size: 20" x 13.38" About the Artist: Jacques Barraba...

Enrique Gallart (Mexico, 1948) '2012', 2012 engraving, sugarlift on paper Guarro Biblos 250g. 20.9 x 28.6 in. (53 x 72.5 cm.) Edition of 20 ID: GAL-102 Unframed

ABOUT THIS PIECE: Amanda Pratt is known and admired for the energetic, inspiring brand of whimsy she brings to photography. Countless clients have benefitted from her technical preci...

ABOUT THIS PIECE: Amanda Pratt is known and admired for the energetic, inspiring brand of whimsy she brings to photography. Countless clients have benefitted from her technical preci...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

ABOUT THIS PIECE: A two week old foal and his mother in the delta of the River Rhone in the Camargue, southern France. The Camarguais is an ancient breed of horse indigenous to the C...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and articulate the world. As machine perception becomes more pervasive in our daily lives, the world as seen by computers becomes our dominant reality. White explores this phenomenon in his work. Collaborating with AI systems, White creates physical abstract prints that are reliably classified by neural networks...

Artist: Fran Bull Title: Horses of the Camargue Medium: Silkscreen Signed: Hand Signed Edition: From the edition of 250 Measurements: 22" x 29 1/4" Frame: This piece is sold UNF...

The Tiger by Vick Vibha, American XXth Date: 1978 Color Etching on Arches, signed and numbered in pencil Edition of 150, AP 25 Image Size: 16.5 x 22 inches ...

Allison McIntyre (b. 1999 West Virginia) pulls from animal imagery and digital aesthetics to respond to contemporary human-animal relations, wrestling...

Arctic Terns by Robert Greenhalf [2020] limited_edition Woodcut Print on Paper Edition number 100 Image size: H:28 cm x W:28 cm Complete Size of Unfr...

John Gould: 1804-1881. British ornithologist who was the British equivalent of Audobon. He produced these incredible books of The Birds of Great Britain and The Birds of Australia am...

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...

Josh Keyes, "Stairway To Heaven." Edition of 175 with dimensions of 26 x 18 inches / 66 x 45.72 cm. Fine art print on 290gsm paper hand signed and numbered...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Sheep Portfolio 7 Year: 1981 Medium: Serigraph and Etching, signed in pencil Edition Size: 65, AP 5 Size: 33.5 x 31 in. (85.0...

Artist: Benny Andrews, American (1930 - 2006) Title: Black Bird Year: 1980 Medium: Lithograph on Cream BFK Rives Paper, signed, titled and numbered in penci...

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.

Overal Size: H85 x W86.5 Paul Bartlett. Puffin landing. Puffin Print A puffin comes in to land, wings and feet outstretched to slow its descent. Paul B...

This digital print on handmade paper comes in a natural wood archival framing presentation I have called the body of work that I have done over the past decade “Imaging Biodiversity...

One of 6 prints of fish created by Franco-Iranian artist Marjan Seyedin. In her works, birds and animals provide an allegorical representation for mankind. Marjan has a contemporary...

One of 6 prints of fish created by Franco-Iranian artist Marjan Seyedin. In her works, birds and animals provide an allegorical representation for mankind. Marjan has a contemporary...

This Blue Dog work consists of a solid gold background with a blue dog in the center between 2 lit white candles. The dog has soulful yellow eyes. This po...

Original Print, hand made and hand printed by the artist. A penguin on a mission, a gentoo penguin striding along in the indomitable way a penguin does. Helen Fay is available online and in our gallery at Wychwood Art. Animals have always been at the heart of my work. I find the form, movement and behaviour of the creatures I draw a source of limitless fascination. I love the idea of them watching me, watching them as I draw. I hope my appreciation of the sentience and character of the animals I draw comes across in my work. Over my career I have drawn everything from primates to penguins, dogs, ostriches and even an echidna. These days dogs are my main focus, mostly because I adore dogs but also because they are such an integral part of life. I am delighted by the theory that humans and dogs co evolved, we wouldn’t be what we are without them and vice versa. I try to pare my images down to a balanced simplicity that directs attention to the subject of the picture. I try to balance the subject and the space it occupies, giving each equal importance. Light is hugely important to my work, I imagine my subject in three dimensions as I draw and the light describes the musculature and texture that gives the drawing it’s presence and grounds it in the picture. I aim to capture a pause, a moment where whatever I draw looks like it could wander off or leap up any minute. My influences include Japanese prints, Chinese and Japanese brush drawing and the European artists who were influenced by Japan. I am really excited by composition, by artists like Bonnard and Leon Spilliaert. I have long been a fan of Munch for his direct markmaking, colour and intensity and at the other end of the spectrum, Hammershoi for his limited palette, sense of space and calm. I am interested in black and white photography and film and have recently discovered and been amazed by the films of Yasujiro Ozu. The photographs of Andrei Tarkovsky are favourites too. Lastly, I would like to namecheck a great influence in natural history illustration...

The Gift of Flight [2021] limited_edition and Hand signed by the artist Screen print Edition number 45 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screen print depicts a geometric bird inset with a set of shapes in Seven colours including Metallic Gold ink. The flying Bird artwork...

Aardvark Engraving, 1951 Signed, dated, titled in pencil by the artist (see photo) Annotated "To Jon from Ray" (see photo) Printed by Jon Clemens, Master Printer, c. 1990 Condition: ...

Etude is a black and White etching realized by Jules-Joseph Lecurieux in the 1860s.  Titled in the lower. Image size: 23x31. Very good impression with wide margins and a very fres...

Artist: John James Audubon (American, 1785-1851) Title: "Herring or Silvery Gull" (Plate 448, No. 90) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medi...

The bulldog, known as Handsome Dan, is the mascot of Yale University, located in New Haven, Connecticut. This poster was created in 1909 by Abigail Kellogg Hazard. The poster complim...

Dragonfly by Chris Keegan [2021] limited_edition Screen print Edition number 50 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screenprint depicts a Dragonfly inset with a set of geometric shapes in Six colours including Metallic Gold ink. The artwork was created using procedurally generated patterns that overlap creating complex layered geometric shapes. The Metallic ink layer gives the print an extra brilliance and shines showing off the multi-layered liquid patterns on the surface. Limited edition of 50. Its 40 x 40 cm. Artwork printed on Southbank smooth 250 gsm. The Gift of Flight [2021] limited_edition Screen print Edition number 45 Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This handmade screen print depicts a geometric bird inset with a set of shapes in Seven colours including Metallic Gold ink. The flying Bird artwork...

Swallows over the Ley by Ann Burnham [2021] limited_edition linocut Edition number 1-10 Image size: H:16cm cm x W:30cm cm Complete Size of Unframed Work: H:28cm cm x W:48cm cm x D:3...

This print was created by Peruvian artist Victor Delfin. Delfin found the source of his inspiration in the ancient Paracan culture of Peru, part of the broader Incan civilization. De...