Continental Europe - Animal Prints

Miguel CONDÉ (1939-) Veterinarian, Animal Lover, 1981 Original etching Signed in pencil Numbered / 80 copies On vellum, 24 x 16.5 cm (c 10 x 6.5 in) Excellent condition

Buffalo is a wonderful brown burnt sienna ink linoleum original print on paper, realized in 1971 by the Italian master Aldo Pagliacci (1913-1991). Hand-signed, dated and numbered in...

Hibou noir perché 07.05.1957 Ed. 52/100 pcs Red earthenware clay, engobe decoration, knife engraved D. 44.2 cm I D. 50 cm (with frame) Stamped, marked and numbered : Edition Picasso,...

Hand signed, dated and numbered by the artist with pencil on the bottom. Etching, burin and black ink. Edition of 30 prints. Very good condition.

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985 Hand-Signed Conditions: excellent Edition: 71/100 Support: Arches paper. Dimensions: Pape...

Francois-Xavier Lalanne (1927-2008) Les Spitz, 2004 Original print (etching) hand signed in pencil by François Xavier Lalanne and untitled "Les Spitz" ("The Spitz"), in perfect cond...

The Competition is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but ...

This plate is unique both for the unmistakable beauty of the bird species and for the great scientific and artistic skill of Elisabeth and Jhon Gould to have rendered it. The price ...

SALVADOR DALI Le Cerf se voyant dans l'eau from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 in...

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

Shadow of Camels is an etching realized by Tullio Diamanti in 1980.  Hand signed. In very good condition.

"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...

Bewick's Swan is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870....

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

Georges Braque - Birds - Original Lithograph Published in the deluxe art review, XXe Siecle 1958 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Raoul DUFY Colorful Birds on Blue Background, 1965 Lithograph (Mourlot workshop) Unsigned On vellum 30 x 24 cm (c. 11.8 x 9.4 in) INFORMATION : Posthumous published lithograph pub...

Francois-Xavier Lalanne (1927-2008) The Geese (in french : les oies), 2004 This extremely rare print by François Xavier Lalanne depicts three geese. It is an edition of only 10 copi...

The Structure of the paw bones of animals is an artwork realized by Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The...

Cornamentas is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard....

Cornamentas is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard....

Cornamentas is an artwork realized by Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. T...

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...

Joana Vasconcelos Crocheted Creatures Impetuoso 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the ...

Etching and aquatint realized by Henry Alken in 1846. Plate from "The Analysis of the Hunting Field". Very good condition. Henry Alken (1765-1851) was en english painter and engrav...

Yellow Wagtail is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published by ...

Wood Pigeon is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published by Stu...

Tourtorelle With Necklace is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, pu...

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

Le Belier is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

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...

Le Pyrame is an etching realized by Louis-Simon Lempereur in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Art...

The Skeleton is an etching realized by Juste Madeline Rousselet in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Go...

La Tourterelle is an etching realized by Catherine Haussard in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". A...

L' Ecureuil is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Ar...

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

Ostrich is a lithograph realized by Alberto Mastroianni in the 1970s. Hand Signed on the lower right margin. Numbered on the lower margin in pencil. From the edition of 150.

Blackbird is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history ...

Gull is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published by Stuttgart ...

Two Mid 18th century hand coloured copper plate engravings of equestrian subjects by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in fine gilt wood fr...

Cows is an original etching on paper realized by an Anonymous artist of the XX century. The State of preservation is very good. Sheet dimension: 28 x 36 cm. The artwork represent...

Lesser Black-Backed Gull is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & S...

Original Lithograph by Jean Cocteau Title: Artaban 1961 signed in the stone/printed signature Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" ...

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

Mr. Cat and Miss. Fox Playing Rope Game With Little Cricket and Beetles is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et p...

Ducks is an original woodcut print realized by Giselle Halff. Good condition, no signature. Included a white cardboard passpartout (39x29 cm).

Odysseus ship and goddess on the shore from the series "Antiquities of Herculaneum", is an original etching on paper realized by P. Campana in the 18th century. Signed on the plate...

Flight of the Rat (Volo del ratto) is an original Contemporary artwork realized in 1973 by the italian Contemporary artist Leo Guida (1992 - 2017). Original colored etching on i...

Francois-Xavier Lalanne (1927-2008) The pig (in french : le cochon), 2004 This extremely rare print by François Xavier Lalanne depicts a pig, more precisely a sow and her babies. It...

Il Filo Si Spezza is an original black and white etching realized by Leo Guida. Not signed. Title on the bottom center. The state of preservation is good. "INV.C. 149B", on the l...

The Bird is an original Contemporary artwork realized in the 1972 by the italian artist Leo Guida. Original Etching and Burin on paper. Hand-signed and dated on the lower right co...

Salvador Dali (1904-1989) Rhinoceros, Tribute to Albrecht DURER, 1971 Original lithograph Printed signature in the plate On paper 76 x 56.5 cm (c. 30 x 22 in) REFERENCE : Catalog r...

Engraving after Paul Jouve From the work of Terrasse in 1948 490 copies Size etching: 23 x 18 cm Frame: 45 x 49 cm

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

Lithograph after Salvador Dali Title: S.N.C.F Blind stamped signature Dimensions: 46.5 x 34 cm Edition: 1700 Numbered in pencil 1969 References : Catalogue raisonne Michler & Lopsi...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Edition : 199 Dimensions: 40 x 30 cm Refe...

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...

Robert BONFILS At the Circus, 1927 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de la Gr...

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...

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...

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