Horse Prints and Multiples

Etching and aquatint realized by James Barenger in 1822. Table from "The Sporting Repository", first edition. Very good condition. James Barenger (1780-1831) was an english animal ...

This striking 1937 lithographic poster by Swiss designer Hermann Eidenbenz captures the refined charm of Basel (Bâle), one of Switzerland’s oldest and most culturally vibrant cities....

ABOUT THIS PIECE: A beautiful Camarguais mare studying the photographer in the warm waters of the Mediterranean in southern France. The Camarguais is an ancient breed of horse indige...

'A Galop with Jem Hills from Bradwell Grove' Tinted lithograph with hand-colouring after the picture by Rev Tatton Winter. 340mm by 430mm (sheet)

Vincent HADDELSEY (1934-2010) Horse : Guardians Riders, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Colour aquatint by JC Stadler after Thomas Rowlandson and Auguste Pugin. From the series 'Microcosm of London', published by Rudolf Ackermann, the great Regency publisher of fine c...

Vincent HADDELSEY (1934-2010) Horse : Towpath, 1974 Original Lithograph Handsigned in pencil Numbered / 50 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Vincent HADDELSEY (1934-2010) Horse : Canadian Rodeo, 1974 Original Lithograph Handsigned in pencil Numbered / 50 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Vincent HADDELSEY (1934-2010) Horse : Woman In Yellow Hat, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

'Dept. du Calvados', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area of France is known for its production of Cal...

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...

A "Homelovers" print By permission of the Southampton Corporation, owners of the original painting Published by Frost & Reed London Art Sz: 20 1/4"H x 25 3/4"W Frame Sz: 27 1/2"H x...

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...

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...

Surrealist etching by British-American artist Malcolm Morley. In the 1980s Morley started to work with subject matter stemming from the Ancient Greeks and classical history...

Noel Daggett, American (1925 - 2005) - Last of the Strays, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 40, Image Size: 20 x 26 inches, Size: 22.5 ...

Leader of the Arab army (Capo dell'armata Araba) is an original water-colored lithograph on paper realized in 1848 ca. by Anonymous Artist of the 19th Century. In very good conditio...

The Rider is an original impressive color lithograph, realized in the first half of the XX century by Franz Müller-Münster. The artwork represents a naked rider with two horses on the beach...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

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...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

This artwork titled "Banderillas de Fuego" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Jose Bedia (Cuba, 1959) 'Encanto De La Madre', 2019 silkscreen on paper Guarro Super Alpha 250g. 27.7 x 35.2 in. (70.3 x 89.3 cm.) Edition of 30 Unframed

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...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

The Carriage and Horse is a drawing in charcoal and pencil on paper realized in the early 20th century by Fernand Bivel. On the rear, there is another drawing of a nude. The state ...

Artist: Popo and Ruby Lee Title: Horses Year: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: AP Size: 24 x 32 in. (60.96 x 81.28 cm)

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 "Hors Commerce" (HC) screen print of Equestrian Showcase by Wayland Moore, published by Pamplemousse Press in 1985. Featuring a lively and colorful depiction of a circus ho...

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

Dan is an etching on paper from Salvador Dalí's "Twelve Tribes of Israel." The image size is 19.62 x 14.37 inches and the framed dimensions are 34.25 x 27.75 inches. From the English...

A stallion stooped to graze… Guy Allen’s etchings inspired by the fauna of rural England have a remarkable level of detail. His etchings capture the ch...

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...

Rudolph Ackermann (20 April 1764 in Stollberg, Electorate of Saxony – 30 March 1834 in Finchley, London)[1] was an Anglo-German bookseller, inventor, lithographer, publisher and busi...

Very old poster which takes the cover of the Figaro Illustré. This first cover was published in 1895. A certain accuracy in the features, as well as this idea of movement that give ...

Shell Oil poster, vintage wall art, French lithograph, color lithography, 1980 art print, Bibliothèque Forney exhibition, Paris poster, vintage advert...

Ca. 1578, Engraving "Siculus" - from the portfolio “The Stables of Don John of Austria” (Equile Austriaci Caroli V)" After Jan van der Straet (Stradanus). An Old Master print from the series of 43 engravings depicting horses of different breeds from the stables of John of Austria (1547-1578), son of Emperor Charles V. Each print shows a horse in the foreground on a hilltop overlooking a distant landscape. Each bears it's title breed, centered upper edge, with two columns of brief explanatory Latin texts in the lower margins. Published by Philips Galle...

Les  Etrennes du Bebe is a black and White etching realized by Armand Queyroy in the 1860s.  Titled in the lower. Image size:21x28. Very good impression with wide margins and a ve...

Africa - The Elephant is an original artwork realized by Emmanuel Gondouin (Versailles, 1883 - Parigi, 1934) in 1930s. Original Lithograph, part of a collection entitled "Africa". ...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a horse on a monochromatic backroung. Artist's unique technique of printmaking c...

Les Arabes signalent l'approche de l'armée française is a Lithograph realized by Auguste Raffet in the 1860s. Signed in the plate. Good condition

Winter - Eight Scenic Spots in Suburban Edo is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Uta...

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Beaufort...

Le General Grant is a black and White etching realized by Louis-Sébastien Mercier in the 1860s.  Titled in the lower. Image size: 32x24. Very good impression with wide margins and...

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 original Prix du Jockey Club poster, designed by Bernard Villemot, captures the energy and elegance of one of France’s most prestigious horse races. Villemot, a master of visual storytelling through poster design, applied his characteristic bold use of color and minimalist forms to this piece. Known for his work in advertising for iconic brands and events, Villemot’s distinctive style combines vibrant colors and striking simplicity, making his posters instantly recognizable. This particular poster was created for the Loterie Nationale, a French national lottery, and advertises the Prix du Jockey Club, a major horse racing event often referred to as the French Derby...

Giclee limited edition print by worldwidely established Polish artist Rafal Olbinski. Figurative surrealistic print with man standing on the road. The road is transforming into a bir...

Artist: Raoul Dufy Medium: Lithographic Poster, 1963 Dimensions: 20.5 x 28.5 in, 52 x 72.5 cm Arches Paper - Excellent Condition A This lithographic poster was designed to promot...

Trait of Humanity of Capitaine Peyronny is a Lithograph realized by Auguste Raffet in 1837. Signed in the plate. Good condition with foxing.

Contemporary Mexican linocut print. El Caballito normally refers to a rocking horse or hobby horse, but this one is large enough to carry knights in armor, devils and the figure of death on his back. From the edition of 15. Daniel Gonzalez was raised in Los Angeles and received his training at the California College of Arts and Crafts. He also apprenticed with Artemio Rodriguez...

Senior Officer is a lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes a Senior Officer of the Hunter Battalions riding his horse. In excellen...

This artwork titled "A Kodak Moment" 1992 is an offset lithograph by renown Western artist Gary Carter, born 1938. It is hand signed and numbered 816/850 i...

Yves Brayer (1907-1990) Before the Trotting Race Original lithograph, c.1973 Handsigned in pencil by the artist Numbered /250 copies Size 50 x 65 cm, on Arches Vellum Information: ...

The 1974 original poster for the Prix de l'Arc de Triomphe, designed by the renowned French graphic artist Bernard Villemot, is a striking example of mid-20th-century poster art. Vil...

Uses and Customs - The Way of Milan is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the...

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

it is a drawing realized in the Mid-20th Century by Paul Emile Colin. Pencil on ivory-colored paper Good conditions with slight foxing. The artwork is realized through deft expres...

First edition advertising poster by Alexander Calder for Amnesty International in 1977. Artists for Amnesty, a series of art posters created by ...