David Barnett Gallery Animal Prints

"Homage a Leonardo d'Vinci (Leonardo drawing, 3 Figures, Horse from De La Bataille Vol. I)" is an original color lithograph signed by Claude Weisbuch. A group of figures stand to the...

"East River Dance" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and wrote the edition number, 77/275, in the lower left corner wi...

"Finest Hope" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and wrote the edition number, 182/300, in the lower left with graphite...

"Brave Venture" is an original color lithograph by Michael Knigin. The artist signed the piece lower right, titled it lower left, and wrote the edition number (142/300) in the lower ...

"Majestic Manner" is an original color lithograph by Michael Knigin. The artist signed the piece lower right and titled it lower center. This piece features a swan in front of an abs...

"Invading Knight" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and wrote the title/edition number 200/275, in the lower left corn...

"In Real Form" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and titled/editioned "A/P" in the lower left with graphite. This piec...

"Fabled Ambassador (Bird Suite)" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and wrote the edition num...

"Silent Witness" is an original color lithograph by Michael Knigin. It features a realistic rendition of an Emperor Angelfish swimming in front of the New York skyline including the ...

"Boldest Flyer" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower center with graphite. This piece featu...

"Royal Applause" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower left with graphite. This piece features two yellow-headed birds known as Gannet Seabirds. To the right of the birds is shown a rendition of an ornate wood...

"Final Spring" is an original color lithograph by Michael Knigin. The artist signed and titled in the lower center of image. This piece is an artist's proof and features a brightly c...

"Loyal To Me" is an original color lithograph by Michael Knigin. The artist signed and dated the piece in the lower right with graphite. Then editioned and titled it in the lower lef...

"L'oiseau de sables" ("Bird of the Sands") is an original signed lithograph by Georges Braque executed in 1962. It is 37 of an edition of 125. The work is one of five lithographs cre...

"Les Chevres (The Goats)" is an original etching by Claude Lorrain. It depicts two pairs of goats and a shepherd watching over them. This etching is also in the collections of the Me...

This piece is from a collection of originally designed etchings with drypoints by Rembrandt. It is printed on Ingres D'arches off-white laid paper. The prints are the sixth and final state Posthumous Impression. Printing plates were made in 1650, this collection was printed in 1998. Rembrandt van Rijn was one of the masters of the landscape genre in his prints and drawings. In his etching, "Landscape with a Cow...

"Simple Things Are In Fashion. The Cow That Laughs." Authenticated by the Laughing Cow Museum Curator of Collections and History department. Artist is Jacques Parnel. Color lithograp...

"A Round of Birds" is an original linocut by Mark Herrling. It depicts a radial pattern of black birds and abstract, geometric shapes. The artist signed, titled, and wrote the editio...

Printed in 1943, by the U.S. Government Printing Office for the U.S. Department of Agriculture Forest Service. The poster features the beloved Disney characters, Bambi (deer), Thumper (rabbit), and Flower (skunk) in wide-eyed shock leaning towards fear. With the slogan "Please, Mister, don't be careless" the poster is designed to tug at the heartstrings of the viewer and make them consider what actions they could take in their own lives to prevent forest fires. Poster: 20" x 14 1/4" Frame: 30" x 22 1/2" Framed to conservation standards with a 100% cotton fiber matboard border and UV clear glass that filters 99% of UV Rays. UV Rays can be especially damaging and cause fading to the inks used in poster making. All of these features are housed in a contemporary natural wood frame. Smokey Bear...

"Ilsee's Palace" and "The Princess's Creation" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 67 & 68 of "...

An original color silkscreen print by Ruth Grotenrath. A lovely assortment of different foods both vegetable and animal alike. The photos do not do this piece justice. The dark color...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

Art: 29-3/8"x 21-1/8" Frame: 31'x 22-1/2" Original signed lithograph poster Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' École des Beaux-Arts de Nanc...

Art: 11-1/4 x 11-7/8 Color lithograph, signed (2/10) Rozman received his BFA (with honors in 1967) and MFA (1969) from UW-Milwaukee, and would later become a Professor at Mount Mary...

This poster, produced for the 1978 International Meeting of Fine Art Dealers in Washington, features prominently one of Claude Weisbuch's dynamic images: Le Condottiere. It is an original color lithograph advertising his new works, and is one of only twenty-five that bears the artist's signature in the lower right. In line with Weisbuch's interest in the Renaissance and Baroque in Europe, this image looks back to the early modern period. Condottieri were Italian captains...

'Polichinelle Et Ses Trois Chiens,' or in English 'Pulcinella and His Three Dogs,' is an original signed lithograph by the contemporary artist Claude Weisbuch – and it is an excellen...

'Boeuf Ecorche' is an original color lithograph, signed by Claude Weisbuch – and it is a quintessential example of the contemporary artist's interest in the old masters. In the image...

In 'The Rabbit,' Wisconsin artist Clarice George Logan presents the viewer with a multi-figural scene: under a wood-frame structure, four children crouch on the ground, gathered around a young woman who presents a rabbit. Under normal circumstances, such an image of children with a bunny would recall childhood storybooks. In this case, however, the image is more ambiguous and suggests the unfortunate economic circumstances many children suffered during the interwar years. Nonetheless, the group could also be interpreted as a nativity play, with the rabbit taking the place of the Christ child, shining light on the children like in a painting by the Italian Renaissance artist Correggio. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints - one for each week of the year. Clarice George Logan was born in Mayville, New York in 1909 but moved to Wisconsin in 1921. She attended the Milwaukee State Teachers College from 1927 to 1931 where she studied with Robert von...

"Eve Incurs God's Displeasure" is an original double sided lithograph by Marc Chagall. On recto the print features the biblical story of Eve being scolded by God for her sin in the G...

"Rooster" is an ink drawing that is double sided by Tracey Padron. This an academic figure drawing of this chicken. The right side holds a more detaile...

"White Calf" is an original lithograph print by Thomas Hart benton. It features the image of a man milking a cow while her calf lays down in front. Benton's breathtaking way of rende...

"Brahma vs. Leghorn" is an original wood engraving by Howard Thomas. In front of an understated farm house, Brahma and Leghorn face off, ready to battle. An unidentified plant sits on the center. Unsigned. Image: 6" x 7.44" Framed: 13.75" x 15.18 Thomas Howard (1899-1971) born a Quaker in Ohio, trained in the Midwest at Ohio State University and the Chicago Art Institute. He taught in the Art Department of the Milwaukee State Teachers College (now University of Wisconsin-Milwaukee) where he became good friends with Carl Holty, Edward Boerner, Robert von Neumann...

"White Horse" is an original wood engraving by Howard Thomas, signed in plate. A white horse trots past the foreground of the image, spirals in it's eyes and spots on its hide. A bla...

"Présure Guillien, Dijon Cow" is an original color lithograph poster. The artist's name is printed in the lower left, and the name of the printing company, Havas, is printed in the lower right. The poster advertises rennet, a product used to curdle milk and make cheese, featuring a milk maid with a red kerchief tied around her head in front of a white cow. She holds a golden bucket...

"Red Devil" is an original color collagraph from the "Los Animales" portfolio by Joseph Rozman. The artist signed, dated, titled, and editioned the artwork below the image. It is num...

"Animal Farm" is an original color collagraph by Joseph Rozman. This artwork, edition number 9/10, is from the artist's "Los Animales" portfolio. The artis...

"Mi Gato" is an original collagraph by Joseph Rozman. The artist signed, dated, and titled the artwork below the image. This artwork is the artist's proof. This artwork features an a...

"Townsend's Rocky Mountain Hare" is an original color lithograph by John James Audubon. This artwork features two gray hares in a muted, cool-colored landscape. 5 1/2" x 8 1/4" art...

"The Flight (Duck Flying) is an original color silkscreen by Schomer Lichtner. The artist initialed the piece lower right. This piece features a duck in flight through red hatched lines. 4 3/4" x 6 3/4" art 13" x 15" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows...

"Barbisio (Dog & Hat)" is an offset color lithograph poster by Giovanni Mingozzi, this example coming from the original printing of the poster. It features a white dog surrounded by ...

"Snoopy Come Home" is an original lithograph poster by Charles Schulz. It features the popular characters from Peanuts, Snoopy and Woodstock, on top of ...

"Pax Peter" is a lithograph by Peter Dahlke. The artist signed the piece lower right, wrote the edition (Artist's Proof) lower center, and titled it lower left in pencil. This piece depicts two abstract, amorphous forms in green, blue, yellow, and brown. 11" x 16 1/8" art 15 5/8" x 18 1/2" frame His work sometimes makes use of symbolism which is frequently rather obtuse in its allusions to art history. The boxes he manufactures are constructed from reclaimed antique pipe organ...

"Camanche Inscription on the Shoulder Blade of a Buffalo" is a lithograph after an original drawing by Seth Eastman. It depicts Native American inscriptions on an animal bone. It was...

"Two Rams Looking Down & To Their Left" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/2" frame Du Jardin was a master of various genres of painting, including refined and tranquil Italianising landscapes, monumental historical paintings and superb portraits of the aristocracy. Unlike the majority of his contemporaries, Karel du Jardin (b. Amsterdam 1626, d. Venice 1678) was a talented painter in not one, but many different genres. He is especially famous for his small-scale landscapes, such as the charming Italian landscape with a woman milking a goa" (1652) from the Rijksmuseum's collection. Du Jardin depicted both sun-filled Italianate scenes and Dutch farmyards with pigs and sheep. He also painted a range of elegant portraits of aristocrats and merchants. His self-portrait (1662) on copper is one of the most fascinating 17th-century portraits of a Dutch artist. Du Jardin's spectacular large-scale historical pieces, represented is the show by the impressive Conversion of Saint Pau" (1662) from the collection of the National Gallery of London, are among his most remarkable achievements; he often chose themes that were only rarely depicted by other Dutch painters of the period. During his own lifetime Du Jardin was praised by poets and writers, particularly for his attention to detail and elegant painting technique. As Cornelis de Bie, the artist’s biographer, wrote in 1661: "the surety of the brush at his finger and such sharpe clarity […] that the eye thereon doth linger." Du Jardin's valuable paintings were mainly purchased by rich individuals with an eye for elegance, but were also commissioned by prominent institutions such as the Amsterdam 'Spinhuis' (a women's prison), for whom he painted a vast group portrait of the prison-governors. Karel du Jardin was an artist who liked to travel. He lived for a time in Lyon and in Paris, and sailed with Joan Reynst, Heer van Drakestein, by ship via England, Portugal and Spain to Tangier and Algiers, where they met Michiel de Ruyter...

"Two Rams Facing Each Other" is an original etching by Karel DuJardin. The artist signed the plate. DuJardin completed many delicate etchings of rams. ...

"Ram Eating Bark" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/8" f...

"Two Rams Looking Down, One Quarter View, One Straight Ahead" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of ram...

"Sparrow Hawk" is an original color lithograph by an unknown American artist. It depicts a bird perching on the limb of a tree, its young poking out of th...

"Vachere au Bord de L'Eau" is an original etching and aquatint by Camille Pissarro, the 8th state. It can be found in the catalogue raisonne Delteil #93. It features a woman sitting ...

"Stag Beetle & Longicorn Beetle" is an original color lithograph by Louis Prang. It depicts two forest-dwelling beetles. The artist signed the piece in the stone lower left. It was published by Selmar Hess in New York. 8" x 5" art 19 3/8" x 16" framed Louis Prang (March 12, 1824 – September 14, 1909) was an American printer, lithographer, publisher, and Georgist. He is sometimes known as the "father of the American Christmas card". Prang's early activities in the US publishing architectural books and making leather goods were not very successful, and he began to make wood engravings for illustrations in books. In 1851 he worked for Frank Leslie, art director for Gleason's Pictorial Drawing-Room Companion, and later with John Andrew. In 1851, he married Rosa Gerber, a Swiss woman he had met in Paris in 1846. In 1856, Prang and a partner created a firm, Prang and Mayer, to produce lithographs. The company specialized in prints of buildings...

"A Round of Fish" is an original linocut by Mark Herrling. The artist signed, titled, and wrote the edition number (AP 1/1) below the image. This artwork is unframed. It depicts a nu...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

"Cheveaux Et Cavalier (Horse & Rider) VI (Black, Red, Blue, White)" is an original color lithograph signed in pencil by the artist Marino Marini in the lower right. Reference: Guasta...

"Procession (Fish)" is an original serigraph print by Ronald Osiecki. It is signed and part of a limited edition. This print depicts fish hea...

"Bovine Family" is an original etching by Leroy Neiman. The artist signed the piece lower left. It is edition 182/250 and dated 1980. It depicts a cow an...

"Northern Hare" is an original color lithograph by John James Audubon. This piece depicts a white rabbit in a cool green landscape. 5 3/4" x 7 3/4" art...

"Worm-Wood Hare" is an original color lithograph by John James Audubon. It depicts three brown rabbits in a landscape. No. 18, Plate LXXXVIII, On Stone by W.E. Hitchcock. 6" x 8" ar...

"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...

"Le Bouclier" is an original drypoint etching by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (25/100) in the lower left. This piece depicts ...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame 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...