Continental Europe - Animal Prints

Museum is an enchanting lithograph realized by Fabrizio Clerici. Hand-signed and numbered. Edition of XVI/XXXV prints, in roman numerals. In excellent conditions. The artwork rep...

Image dimensions: 27 x 32.7 cm. Le Trote ("The Trouts") is original artwork realized by the Italian artist, poet and engraver Luigi Bartolini in 1934.  Very rare etching on rigid ...

Hand signed. Artist's proof. Very good conditions.

Armadillo is an original lithograph realized by an anonymous artist in the late 19th century. Original Title: Autre Kabassou. On the top of the print: Tom. III, Pl. 54 pag. 343. Im...

Image dimensions: 18.5 x 15 cm. Couple of Sloths is an original black and white lithograph realized by an anonymous artist in 1828. Dated 1828 and titled Gemeines Faulthier. On t...

Image dimensions: 39 x 39 cm. Shadow of Camels is original etching realized by Tullio Diamanti in 1980, Hand signed and numbered, edition of VI/ XXV prints. Image dimension: 39 x 3...

Stoats on a Rock is an original print realized in the late 19th century by an anonymous illustrator. Color lithograph representing a group of stoats: one has just captured a lttle b...

Night Return (Original Italian title "Sera- Ritorno") is an original xylograph on paper, a modern artwork realized by the Italian artist Carlo D'Aloisio da Vasto in the Mid XX Centur...

Etching, aquatint, black ink realized by Leo Guida in 1970. Not signed. Very good condition. Leo Guida: Artist sensitive to current issues, artistic movements and historical techniq...

Image dimensions: 25 x 33 cm. Storia del Martin Pescatore is an original artwork realized by the Italian artist and engraver Luigi Bartolini in 1935. Original etching applied on C...

Les Canards is a beautiful original xylograph on wove paper, realized by the French artist Giselle Halff in the mid 20th Century. Monogrammed "G.H" on lowe...

Hand signed. Edition of 40 prints. Plate III from the series: Imagines. Image Dimension : 41 x 37 cm.

Romantic Woman is a colored lithograph on paper, realized in 1988 by the Yugoslav artist, Jovan Vulic (1951). This contemporary artwork is hand-sig...

Hand signed and numbered. Edition of 99 prints in Arabic numbers plus 25 prints in Roman numbers. In Excellent condition. After the last edition, the matrices have been destroyed ...

Hand signed. This work is from the portfolio The Unique Collection for the Olympic Fine Arts 2008 presented during the Olympic Games and produced in 260 copies as the only official a...

Colored lithograph, signed, inspired by illustrations for children

JOAN MIRÓ, Montroig 1893- Palma de Mallorca 1983 Le chien aboyant à la lune, 1952 Original color lithograph, signed on plate. (mm.353x531) Bibliography, catalog raisonné: Mourlot I....

Graphisms & 6. 1980, paper, silk screen, 15,5x28 cm Maris Argalis (1954-2008) Born in Riga. 1971. - graduated the Janis Rosenthal Riga Art School. Ongoi...

Max Ernst - Birds - Original Lithograph Birds, 1962 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Lithograph after Georges Braque. Signed in the plate Edition of 150 Dimensions: 76 x 117 cm Bibliography: « Les Métamorphoses de Braque» of Heger de Loewenfeld and Raphaël de Cuttoli , Editions FAC, Paris, 1989. In 1961 Georges Braque decided with his laidary friend Heger de Loewenfeld to pick up certain of his works to in order to create artworks, this beautiful litograph is one of them. Héméra in the Mythology: In Greek mythology Hemera was the personification of day and one of the Greek primordial deities. She is the goddess of the daytime and, according to Hesiod, the daughter of Erebus and Nyx (the goddess of night). Hemera is remarked upon in Cicero's De Natura Deorum, where it is logically determined that Dies (Hemera) must be a god, if Uranus is a god. The poet Bacchylides states that Nyx and Chronos are the parents, but Hyginus in his preface to the Fabulae mentions Chaos as the mother/father and Nyx as her sister. She was the female counterpart of her brother and consort, Aether (Light), but neither of them figured actively in myth or cult. Hyginus lists their children as Uranus, Gaia, and Thalassa (the primordial sea goddess), while Hesiod only lists Thalassa as their child. The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote...

Swans. 1976., Paper, linocut, print size 52x51 cm; page size 80x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The ma...

Max Ernst - Composition - Original Lithograph 1958 Dimensions: 32 x 24 cm XXe siècle Unsigned and unnumbered, as issued Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...

“The Festive Ties” is a limited edition print (24/25) from Natasha Lelenco’s Fetiches series. In this surreal portrait, a human face is composed entirely of botanical elements—leaves...

Gustave Singier - Abstract Fish - Original Lithograph Conditions: excellent 32 x 24 cm 1955 From XXe siècle, San Lazzaro Unsigned and unumbered as issued

after Georges Braque Oiseaux Color Pochoir on Paper Published in the deluxe art review, XXe Siecle (issue number 11 "Les nouveaux rapports de l'art et de la nature") 1958 Dimensions:...

Rye spring. 1980, Paper, linocut, print size 50x65 cm; total 70x80 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The ma...

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

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

Max Ernst - Elektra Lithograph 1939 Dimensions: 32 x 24 cm Signed in the plate From XXe siècle Unsigned and unumbered as issued

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

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

Vincent HADDELSEY (1934-2010) Horse : The French Republican Guard, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellen...

Winter solstice. 1984. Paper, linocut, 25x34 cm imprint size 13x26 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fict...

The snow was blowing. 1973, Paper, linocut, print size 45x50 cm; total 60x58 cm artworks from the cycle "Story about Latvian rifleman" Dainis Rozkalns (1928 - 2018) Artist, graphic...

François Xavier Lalanne Cerberus - 2005 Signed Pigment printing Dimensions: 28 x 38 Engraving dimensions: 18.5 x 23

Martins day. 1984. Paper, linocut, 25x34 cm imprint size 13x25 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction ...

"A seagull named Jonathan" is a linocut print artwork created in 1973. The artwork is made on paper and measures 32x30 cm. Linocut is a printmaking technique in which the image is ca...

Chickadee sings. 1982. Paper, linocut, 25x34 cm imprint size 13x26 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fict...

Herdsman's misdeeds, vices. 1979. Paper, linocut, 19x33 cm imprint size 7x25 cm total page size 19x33cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklor...

Contemporary figurative monochromatic mezzotint print by Polish artist Ewa Kutylak. Print depicts a wanderer with a lantern going down the road. On the left there is a mysthical crea...

Contemporary figurative monochromatic mezzotint print by Polish artist Ewa Kutylak. Print depicts a man sitting near a tree with a bird standing on his hand. There is a dog on the ot...

Olympic Stars Between Rabbits Olympic Games Beijing 2008 is a photo-lithograph realized by William Sweetlove.  Limited edition of 260. Hand signed and numbered. This artwork is fr...

Ai Weiwei (Chinese, b. 1957) Cats (Silver), 2024 Medium: Silver foil block on wove paper Dimensions: 27.2 x 32.8 cm (10 7/10 × 12 9/10 in) Edition of 200: Hand-signed, numbered and d...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Maurice Estève - Composition - Original Lithograph Colorful Abstraction 1969 From the art review XXe Siecle Dimensions: 32 x 24 inches Edition: G. di Sa...

Contemporary figurative etching print by Polish artist Marian Bocianowski. The print depicts a dog laying on the ground with wings. There are flowers on the ground and a button in th...

(after) Marcel Gromaire Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signatur...

The New Year graphisms & 13. 1979, paper, silk screen, 15,5x21,5 cm Maris Argalis (1954-2008) Born in Riga. 1971. - graduated the Janis Rosenthal Riga A...

Pigeons is a contemporary artwork realized by Marcello Pirro in 1970s. Mixed colored lithograph. Hand signed and numbered on the lower margin. Edition of 5/75. Good conditions.

Pigeons is a contemporary artwork realized by Marcello Pirro in 1970s. Mixed colored lithograph. Hand signed and numbered on the lower margin. Edition of 24/75. Good conditions.

François Xavier lalanne l'araignée the spider lithograph circa 2003 signed in pencil lower right limited edition of 75 copies from the "ordinar...

Bird green sandpiper. 1976., Paper, linocut, print size 46x50 cm; page size 80x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publi...

Paul Jouve (after) - Antelope - Engraving 19 x 14 cm Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Copper engraving heightened with pochoir.

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts dogs Tofcia and Turbo, one is laying down and looking in viewer's direction whil...

This plate is unique both because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quo...

Barrel. 1982. Paper, linocut, 20x34 cm imprint size 10x26 cm total page size 20x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publi...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst - Birds - Original Lithograph Birds, 1964 (BNF, 63) Dimensions: 32 x 24 cm Revue Art de France ax Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...

Pair of antique color lithographs, birds, ornithology, zoology, nature. Dimensions WITH frame in cm EACH Work: 36 x 45

Wassily Kandinsky - Composition - Original Woodcut Condition: excellent 32 x 24 cm 1959 Published by XXe siècle, San Lazzaro Printed signature (monogram) in the plate Unnumbered as i...