Roland Clark Prints and Multiples

"Combat Equestre" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (24/100) in the lower left. This piece depicts mu...

paper: 22 x 15 in. printed image: 4 3/4 x 6 in. english translation: Long Hand Crab Latin

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

MARGUERITE KIRMSE (English/American 1885-1954) THREE’S A CROWD, c 1930 Etching, signed and titled in pencil. Plate 6 3/8 x 9 ¾ inches. Full sheet with edges on all sides. Sheet 10 5/8 x 13 5/8 inches. In good condition, save for old tape on sheet edges verso, showing through to recto. A hint of a mat line below the signature Kirmse is considered to be one of the most important etchers of Dogs. Sheet with even white tone - photos show oblique shadows From Wikipedia: Marguerite first trained as a harpist at the Royal Academy of Music but spent much of her spare time drawing animals. She went to the United States in 1910 on holiday with friends but stayed there.[4] She was not successful in advancing her musical career and focused her attention increasingly on her animal drawing, which she developed by frequent sketching trips to the Bronx Zoo.[5] In 1921 she started producing etchings of dogs...

Map of historical landmarks, American Indian territories, rivers, mountains, dams, colleges, federal grazing districts, cities, agriculture, and other activities that were present in...

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

Lice (Mallards grooming themselves) Drypoint, 1927 Signed and dated lower right (see photo) Titled lower left corner Condition: Excellent Image/Plate size: 6 7/8 x 10 3/4 inches Shee...

Etching, aquatint and drypoint. Not Signed and not Numbered as issued. Edition of 226 pieces. Belongs to the Suite "Histoire Naturelle de Buffon" (plate p. 86). Printed by Lacourièr...

JOHN J. AUDUBON (1785 – 1851) FORK-TAIL PETREL - PLATE CCLX Audubon, John James. FORK-TAIL PETREL - PLATE CCLX OF "THE BIRDS OF AMERICA by John James Audubon. From the "Double Eleph...

Drypoint etching with stencil on extremely fine Japanese paper, edited in 1974. Limited edition of 250 copies, numbered 235/250 in lower left corner. Hand-signed in pencil by artist ...

An original signed drypoint etching with color pochoir by Spanish artist Salvador Dali titled "La Cerf Malade", depicting a stag deer, from the Portfolio: Le Bestiaire de la Fontaine...

This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...