Florida - Animal Prints

Lithograph on arches paper. Hand signed, dated titled and numbered in pencil by the artist. From the deluxe edition of 125. Image size 32 x 25 inches. Sheet size 36 x 26.5 inches. ...

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over thi...

Artist: John James Audubon (American, 1785-1851) Title: "Bonaparte’s Flycatching-Warbler (Great Magnolia)" (Plate 73, No. 15) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 1,200 Printer: John T. Bowen, Philadelphia, PA Publisher: John James Audubon and J.B. Chevalier, New York, NY and Philadelphia, PA Sheet size: 10.5" x 6.5" Image size: 7.5" x 5.63" Condition: Minor area of discoloration upper right corner. In excellent condition with strong colors Notes: Lithography and hand-coloring by American artist John T. Bowen (1801-c.1856). Comes from Audubon's famous seven volume portfolio "The Birds of America", First Royal Octavo Edition (1840-1844), which consists of 500 hand-colored lithographs. Based on a composition painted on August 13, 1821. The Canada warbler is a small boreal songbird of the New World warbler family. It summers in Canada and northeastern United States and winters in northern South America. To make 'The Birds of America' more affordable and widely available, in 1839 John James Audubon began the first octavo edition, a smaller version of the folio which was printed and hand-colored by J. T. Bowen in Philadelphia. Employing a new invention, the camera lucida, the images were reduced in size, rendered in intermediate drawings by John James Audubon and his son John Woodhouse, and then drawn onto lithographic stones. These miniatures exhibit a remarkable amount of attention to quality and detail, as well as a meticulous fidelity to the larger works. Some compositional changes were made in order to accommodate the smaller format. Like the Havell edition, John James Audubon’s first...

Bald Eagle, from Endangered Species. Screen print in colors on Lennox Museum Board. Hand signed and numbered by Andy Warhol. Edition 75/150 (there were also 30 AP's, 5 PP's, 5 EP'...

Artist: Salvador Dali Title: Divine Comedy Hell Canto 12 Decomposition (2 pieces) Medium: Woodcut Measurements: 10.5" x 13" each piece Condition: Excellent. This piece has been s...

Artist: John James Audubon (American, 1785-1851) Title: "Long-billed Curlew (City of Charleston)" (Plate 355, No. 71) Portfolio: The Birds of America, First Royal Octavo Edition...

Artist: William Augustus Osbaldiston (English, Active: Late 18th Century) Title: "Lincolnshire Sheep" (Plate 9) Portfolio: The British Sportsman, or, Nobleman, Gentleman, and Farmer'...

This listing is for just the one print in the photo here. there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, SI, NY, “The Figure: Another Side of Modernism” Contemporary Arts Center, Cincinnati, OH, travels to 10 other institutions; “It’s Only Rock and Roll”, Catalog essay by David S. Rubin, Curator of 20th Century Art, Phoenix Art Museum Beatrice Conde Gallery, New York, NY, “Paintings, Drawings, Photographs” The Painted Bride Art Center, Philadelphia, PA, 2 person exhibition with Patricia McCabe Centro Cultural La General, Granada, Spain, “Honenaje a Federico García Lorca White Columns, New York, NY, “Overtalk: Bob Stanley, Öyvind Fahlström, Peter Nagy Lyman Allyn Museum, New London, CT, “The Pop Decade: The Bianchini Gallery in the Sixties”; Exhibition monograph by Barbara Zabel Fuji Television Gallery, Tokyo, Japan, “Contemporary Graphics: NYC” The Art Museum, Princeton University, Princeton, NJ, “A Decade of Visual Arts at Princeton: Faculty 1975-1985”’ Catalog text by Allen Rosenbaum and James Seawright Centro Studi Pietro Mancini, Cosenza, Italy, “Progetto su Pace, Guerra e Altro” The Fort Worth Art Museum, Fort Worth, TX, “The Pop Art Print” The Madison Art Center, Madison, Wisconsin, “Recent Acquisitions” Harcus Gallery, Boston, MA, “Artist/Poet’s Books” The American Academy and Institute of Arts and Letters New York, NY, “Paintings and Sculpture: 1982 Art...

Artist: John Latham (English, 1740-1837) Title: "Parrot-billed Grosbeaks", "White backed Coly", "Banksian Cockatoo", and "Variegated Tanager" Portfolio: A General History of Birds Year: 1821-1828 (second edition) Medium: Set of Four Original Hand-Colored Engravings on watermarked wove paper Limited edition: Unknown Printer: Jacob & Johnson, Winchester, UK Publisher: John Latham, Winchester, UK Reference: Brunet III, 872; Lowndes II, page 1314; Fine Bird Books page 87; Nissen IVB 532; Zimmer page 376 Sheet size (each): approx. 11.25" x 8.88" Image size (each): approx. 5.75" x 4.75" Condition: "Parrot-billed Grosbeaks" and "White backed Coly" have light offsetting to their sheets. "Banksian Cockatoo" and "Variegated Tanager" have moderate offsetting to their sheets. The "Variegated Tanager" also has a few light spots of discoloration at top in margins. They are all otherwise in good condition with strong colors Rare Notes: Provenance: acquired from Christie's, New York, NY, December 19, 1990. Comes from Latham's famous eleven volume portfolio "A General History of Birds" (1821-1828) (second edition), which consists of 193 hand-colored prints, made from engraved plates. "Parrot-billed Grosbeaks" and "Variegated Tanager" have an unidentified "1821" watermark lower right and upper right respectively. "Banksian Cockatoo" as a partially visible "1820?" watermark lower right. Biography: John Latham (27 June 1740 – 4 February 1837) was an English physician, naturalist and author. His main works were A General Synopsis of Birds (1781–1801) and General History of Birds (1821–1828). He was able to examine specimens of Australian birds...

Artist: William MacGillivray (Scottish, 1796-1852) Title: "Lepidoptera (Butterflies)" (Plate XII) Portfolio: The Edinburgh Journal of Natural History, and of The Physical Sciences Ye...

Marie Laurencin (French, 1883-1956) Lithograph of a colored pencil drawing depicting a woman wearing a hat and riding horseback side saddle, Edition "37/115" to lower left and hand signed "Laurencin" in pencil to lower right, with a cloth mat and housed in a silvered wood frame. Dimensions: Image, 12" H x 16" W; frame, 19.75" H x 23.5" W x 1.5" D. Marie Laurencin (1883 – 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso, and Cubists associated with the Section d'Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire, and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and lesbian writer Natalie Clifford Barney. She had relationships with men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist." Laurencin's oeuvre include painting, watercolor paintings, drawing, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

This is an original hand signed (I believe it is also hand colored but i am not positive) Artists Proof Lithograph of a Circus scene. This depicts a circus girl with horses. This came from a portfolio inscribed by Vertes and also signed by the Surrealist Jean Cocteau. MARCEL VERTES FRENCH HUNGARIAN 1895(Ujpest, Hungary)-1961(Paris, France) art deco artist.Vertes was born in Hungary and died in Paris, but spent a lot of time in New York as well. He was noted as a painter, illustrator, designer and scenic mural painter. His whimsical images graced the pages of Vogue and Harper's Bazaar. Continuing in the footsteps of Boutet, Forain, Erte, Toulouse-Lautrec and others. Concentrating upon scenes of Paris street...

Artist: Cornelius Nozeman (Dutch, 1720-1786) Title: "Ardea, Stellaris (Eurasian Bittern)" (Plate 41) Portfolio: Nederlandsche Vogelen (Dutch Birds) Year: 1770-1829 Medium: Original H...

Lithograph printed by Chez Daniel Jacomet, Paris, France 1960 offset lithograph in colors on Arches, signed in crayon on the justification sheet (this auction is just for the one lithograph pictured as the 1st photo, the justification sheet with the original drawing is just included for provenance and is not part of this sale), on Arches deckle edged paper. limited edition of 250. plate signed and hand signed in pencil. Israeli views Lithograph by Israeli Master. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovici (later Reuven Rubin) was born in Gala?i to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik, with whom he had shared a studio in Cernovitzu. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery.Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judea competition. He died in 1974 Artistic career Joseph Zaritsky...

Artist: Dan May (American, 1955-) Title: "Chickens" *Signed and numbered by May in pencil lower left Year: 2003 Medium: Original Screenprint on unbranded soft-cream wove paper Limite...

Artist: Daniel Giraud Elliot (American, 1835-1915) Title: "Felis Rubiginosa (Rusty-Spotted Cat)" (Plate: XXIX - 29) Portfolio: A Monograph of the Felidae or...

Artist: John Gould (English, 1804-1881) Title: "Pericrocotus Flammeus (Orange Minivet)" (Vol. 2, Plate 8) Portfolio: The Birds of Asia Year: 1850-1883 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 235 Printer: Hullmandel & Walton, T. Walter or Walter & Cohn, London, UK Publisher: Taylor and Francis, John Gould, London, UK Reference: Anker No. 178; Nissen No. IVB 368; Sauer No. 17, Zimmer page 258; Wood page 365; Sitwell page 102 Sheet size: 21.38" x 14.57" Image size: 16.25" x 10" Condition: Faint UV stain to sheet and light toning at edges. Remnants of mounting tape from previous framing at top edge on verso. Has been professionally stored away for decades. In excellent condition with strong colors Very rare Notes: Provenance: private collection - Aspen, CO. Lithography and hand-coloring by John Gould and English artist Henry Constantine Richter (1821-1902). Comes from Gould's seven volume "The Birds of Asia", (1850-1883) (First edition), which consists of 530 hand-colored lithographs. Other contributing lithographers were German artist Joseph Wolf (1820-1899) and Irish artist William Hart (1830-1908). "The Birds of Asia" was Gould's last work before his death. Gold gilded edges as issued. The orange minivet is a brightly colored bird in the cuckooshrike family, Campephagidae. It is found all along the Western Ghats and west coast of India and Sri Lanka. Biography: John Gould FRS (14 September 1804 – 3 February 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould, and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, "On the Origin of Species".

Artist: Dan May (American, 1955-) Title: "Dog Portrait II" *Signed by May in pencil lower left Year: 1997 Medium: Original Monoprint on unbranded white co...

Artist: Dan May (American, 1955-) Title: "Dog Dreams" *Signed and numbered by May in pencil lower left Year: 1985 Medium: Original Screenprint on unbranded turquoise wove paper Limited edition: 7/75 Printer: the artist May himself, Oakland, CA Publisher: the artist May himself, Oakland, CA Sheet size: 24" x 21.38" Image size: 18" x 18" Condition: Minor edge wear at upper left corner and some minor scuffing to image. In excellent condition Notes: Titled and dated by May in pencil lower right. Biography: Dan May is an American painter and printmaker born on March 11, 1955 in San Francisco, CA. Raised in aesthetic surroundings heavily influenced by his architect father, May grew up learning to view all things with an eye for design, color, and shape. At age 5, he remembers his father cutting up a book of drawings by Henri Matisse and hanging them on the walls of their home. The French master Matisse as well as Richard Diebenkorn and David Hockney are his favorite art influences. He began his first attempts at painting at age 15, and later began to experiment with printmaking, teaching himself various techniques such as woodblock printing, etching, silkscreen printing, and monoprinting. Monoprinting soon became May's medium of choice due to its wide range of expression and spontaneity that he felt other techniques lacked. May - "With monoprinting, you can only work a piece for as a long as the paint stays wet, so the resulting print has a feeling of movement and immediacy. I also like how monoprinting allows the brush strokes to transfer a transparent light quality to the print. For me, this is a technique that bridges drawing...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered. it is a rare artists or printers proof print. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

This listing is for just the one print in the photo here. there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, SI, NY, “The Figure: Another Side of Modernism” Contemporary Arts Center, Cincinnati, OH, travels to 10 other institutions; “It’s Only Rock and Roll”, Catalog essay by David S. Rubin, Curator of 20th Century Art, Phoenix Art Museum Beatrice Conde Gallery, New York, NY, “Paintings, Drawings, Photographs” The Painted Bride Art Center, Philadelphia, PA, 2 person exhibition with Patricia McCabe Centro Cultural La General, Granada, Spain, “Honenaje a Federico García Lorca White Columns, New York, NY, “Overtalk: Bob Stanley, Öyvind Fahlström, Peter Nagy Lyman Allyn Museum, New London, CT, “The Pop Decade: The Bianchini Gallery in the Sixties”; Exhibition monograph by Barbara Zabel Fuji Television Gallery, Tokyo, Japan, “Contemporary Graphics: NYC” The Art Museum, Princeton University, Princeton, NJ, “A Decade of Visual Arts at Princeton: Faculty 1975-1985”’ Catalog text by Allen Rosenbaum and James Seawright Centro Studi Pietro Mancini, Cosenza, Italy, “Progetto su Pace, Guerra e Altro” The Fort Worth Art Museum, Fort Worth, TX, “The Pop Art Print” The Madison Art Center, Madison, Wisconsin, “Recent Acquisitions” Harcus Gallery, Boston, MA, “Artist/Poet’s Books” The American Academy and Institute of Arts and Letters New York, NY, “Paintings and Sculpture: 1982 Art...

Lithograph in colors on paper. Hand signed, dated titled and numbered lower margin by Will Barnet. From edition of 300. Image size 40.25 x 30 inches. Sheet size 46.25 x 36 inches....

Three Eyes from the Icons series. Screen print in colors with embossing on Arches cover paper. Hand signed, dated and numbered by the executor of the Haring estate, Julia Gruen, in p...

Artist: Abraham Hondius (Dutch, c.1625-1691) Title: "Honden Jagen Op Een Beer (Hounds Hunting a Bear)" *Signed and dated by Hondius in the plate (print...

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Crossoptilon Harmani (Tibetan eared Pheasant)", "Hypotaenidia Sulcirostris (Barred Rail)", "Craspedophora Duivenbodei (Dui...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered. it is a rare artists or printers proof print. It depicts Moses and Aaron at the top and I believe it relates to Passover and the exodus from Egypt. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

Bright, vibrant purple, red and black bull or ox. 1959 Lithograph "Bull". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler, Moshe Tamir and Michael Gross. Avraham Ofek (August 14, 1935 – January 13, 1990 was an Israeli sculptor, muralist, painter and printmaker. Avraham Ofek was born in Burgas, Bulgaria. He immigrated to Israel in 1949, and he lived in Ein Hamifratz, a kibbutz near Haifa. He studied at the Academy of Fine Arts in Florence, as well as in Spain and in London, and later taught art in Jerusalem before being appointed head of the Art Department at the University of Haifa. In 1975, he established the Leviathan Group school together with Michail Grobman and Shmuel Ackerman (prominent Post Soviet avant garde Russian artists), seeking to combine symbolism, metaphysics and Judaism in an all-inclusive “national style.” He represented Israel at the Venice Biennale in 1972. Avraham Ofek's early paintings of landscape were at both lyrical and rugged; later in his career the landscape was undefined and receded into the background. Near the end of his life, the landscape of Jerusalem became an important motif, reflecting loss and despair. Many of Ofek's landscapes convey a sense of alienation and solitude, as well as nostalgia for the city of his birth, Sofia. His mural paintings and sculpture can be seen across Israel, notably at Kfar Uria and the Central Post Office Building (Jerusalem). His sculpture "The Binding of Isaac...

Lithograph in colors on paper. Hand signed, dated, titled and numbered lower margin by Will Barnet. From edition of 300. Image size 29.5 x 38 inches. Sheet size 33 x 41 inches. F...

Artist: Cornelius Nozeman (Dutch, 1720-1786) Title: "Corvus, Cornix (Hooded Crow)" (Plate 106) Portfolio: Nederlandsche Vogelen (Dutch Birds) Year: 1770-1829 Medium: Original Hand-Co...

Artist: Dan May (American, 1955-) Title: "Dog Dreams (Black)" *Signed and numbered by May in pencil lower left Year: 1985 Medium: Original Screenprint on unbranded white wove paper L...

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Artist: Fran Bull Title: Horses of the Camargue Medium: Silkscreen Signed: Hand Signed Edition: From the edition of 250 Measurements: 22" x 29 1/4" Frame: This piece is sold UNF...

Hand signed numbered by the artist. Artwork is in excellent condition. Certificate of Authenticity included. Edition of 300. All reasonable offers will be considered.

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Loria Mariae (MacGregor's Bowerbird)", "Cnemophilus Macgregorii (Crested Satinbird)", "Aegotheles Savesi (New Caledonian O...

Paulo Behar Available sizes: 27 x 41 inches - Edition of 9 40 x 60 inches - Edition of 7 47 x 71 inches - Edition of 5 Archival Pigment Print - Unframed

Raphael Macek Maternum, 2020 Afresco series Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring on...

Artist: Dan May (American, 1955-) Title: "Cat with a Habit" *Signed and numbered by May in pencil lower left Year: 1995 Medium: Original Screenprint on unbranded white wove paper Lim...

Artist: George Edwards (English, 1694-1773) Title: "Set of Two Hand-Colored Ornithological Engravings by George Edwards" Portfolio: A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals / Gleanings Of Natural History Year: 1743-1764 Medium: Set of Two Original Hand-Colored Engravings on watermarked laid and wove papers Limited edition: Unknown Printer: C. Rickaby, London, UK Publisher: William Gardiner and Messrs. Robinson, London, UK Reference: Mullens and Swann page 194-195; Anker No. 124-126; Fine Bird Books page 93; Lisney page 128-144; Nissen IVB No. 286-288; Zimmer page 192-198 Sheet size (each): approx. 11.25" x 9" Image size (each): approx. 8.63" x 7.38" Condition: "90" has faint offsetting to sheet. "308" has one foxmark center right. They are both otherwise in excellent condition with strong colors Notes: Comes from Edwards seven volume portfolio "A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals" / "Gleanings Of Natural History" (1743-1764), which consists of 362 hand-colored engravings. "90" is on laid paper with a "fleur-de-lis" watermark at center left edge. "308" is on wove paper with no watermark. The last image of the cover title sheets is for reference/provenance; it is not included. Biography: George Edwards FRS (3 April 1694 – 23 July 1773) was an English naturalist and ornithologist, known as the "father of British ornithology". Edwards was born at West Ham...

Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, and is known for paintings that magnify through texture the realism of natu...

Artist: John Latham (English, 1740-1837) Title: "Kamtschatkan Thrush", "Spotted-sided Grosbeak", "Crimson-bellied Flycatcher", and "Black-headed Grosbeak" Portfolio: A General History of Birds Year: 1821-1828 (second edition) Medium: Set of Four Original Hand-Colored Engravings on watermarked wove paper Limited edition: Unknown Printer: Jacob & Johnson, Winchester, UK Publisher: John Latham, Winchester, UK Reference: Brunet III, 872; Lowndes II, page 1314; Fine Bird Books page 87; Nissen IVB 532; Zimmer page 376 Sheet size (each): approx. 11.25" x 8.88" Image size (each): approx. 4.5" x 4.5" Condition: "Kamtschatkan Thrush", "Crimson-bellied Flycatcher", and "Black-headed Grosbeak" have some light offsetting to their sheets. "Spotted-sided Grosbeak" has some minor foxmarks and some light discoloration upper left in margin. They are all otherwise in very good condition with strong colors Rare Notes: Provenance: acquired from Christie's, New York, NY, December 19, 1990. Comes from Latham's famous eleven volume portfolio "A General History of Birds" (1821-1828) (second edition), which consists of 193 hand-colored prints, made from engraved plates. "Kamtschatkan Thrush" and "Crimson-bellied Flycatcher" have an unidentified "1821" watermark lower right and upper right respectively. "Spotted-sided Grosbeak" has a "1820" watermark lower right. Biography: John Latham (27 June 1740 – 4 February 1837) was an English physician, naturalist and author. His main works were A General Synopsis of Birds (1781–1801) and General History of Birds (1821–1828). He was able to examine specimens of Australian birds...

Jose Bedia (Cuban, 1959) 'Animal and mother' (Diptych), 2019 Woodcut and serigraph on Feltmark cotton paper 300 g. over streched canvas and framed Overall size: 199 x 199 cm. (78.3 ...

Artist: Dan May (American, 1955-) Title: "Party Pig" *Signed by May in pencil lower left Year: 1989 Medium: Original Monoprint on unbranded white cotton rag laid paper Limited editio...

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...

Hand signed with initials, dated ‘72’ and numbered. Screen printed vacuum-formed relief. Published by Pace Editions, New York. Webel 1092. Edition 55/75 (there were also ten art...

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...

Raphael Macek Calceus, 2020 - Afresco series 71 x 48 inches 180 x 120 cm Archival Pigment Print Edition of 7 Framed Large-scale photograph from the Equine Beauty series. The legen...

Raphael Macek Domino, 2020 Afresco series 60 x 40 inches Archival Pigment Print Edition of 10 Framed Large-scale photograph from the Equine Beauty series. The legendary and comple...

Rainer Fetting, (Germany, 1949-) Wolf, 1984 Screenprint serigraph in colours, on wove paper, the full sheet. Hand signed and numbered 34.5 X 49 inches Rainer Fetting (Born 1949 in W...

Flamingo VII Digital Photography, Artist signed, edition 3/250 on archival cotton paper. Martin Fine, South African born photographer and digital artist h...

Paulo Behar Feline Look, 2017 32x32 inches - Edition of 9 Also available in: 44 x 44 inches - Edition of 7 60 x 60 inches - Edition of 5 Archival Pigment Print - Framed in matt ...

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...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered and is marked sample. it is a rare artists or printers proof print. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

Screen print on silk scarf. Edition size unknown, as they were intended as holiday gifts. Scarf size 35.5 x 36 inches. Frame size: approx 40 x 40.5 inches. Printed by Rupert Jasen...

Embossing on arches cover paper. Published by Tony Shafrazi Editions. Printed by Studio Heinrici, LTD. NYC. Littmann pp. 172-173. Each hand signed, dated and numbered on verso by ...

"Nūr Jahān from the series 'The Empresses'" laminated giclée print on aluminum composite panel screenprinted with glitter by artist Damien Hirst. Signed certificate on verso. Heni Ed...

"Bronx Zoo" lithograph and silk screen by Larry Rivers from "New York, New York" portfolio published by New York Graphic Society. Numbered 5/250, signed Larry Rivers and dated '83 lo...