Louisiana - Animal Prints

Work is oil and dry pigment over ink. This print is number 9 of and edition of 40 and is hand-embellished with a deconstructed oil technique (oil and dry pigment that are combined on...

Pushin' Up Posies, (1996) by George Rodrigue An original hand pulled silkscreen by George Rodrigue, signed in paint pen "Rodrigue," and numbered in paint pen 55/90. This piece is ...

See How My Garden Grows, (1996) by George Rodrigue An original hand pulled silkscreen by George Rodrigue, signed in paint pen "Rodrigue," and numbered in paint pen 57/90. This pie...

A one of a kind Rodrigue original print, created by the artist as a one of a kind work on his computer. After printing the file was destroyed. One of...

“The Devil in Me” (1991) 22x28, 31x37 framed as is. Among the first ever Blue Dogs, this early important original silkscreen is among the artist’s most t...

“A Number One Tiger Fan” (2011), Estate stamped with Estate COA The only LSU Blue Dog, this incredibly rare piece, estate stamped by the official estate of the artist, was created i...

“A Number One Tiger Fan” (2011), 14x18 unframed The only LSU Blue Dog, this incredibly rare piece, signed by the hand of the artist, was created in 2011 just two years before the ar...

This is a fine aquatint etching by British artist Percival Gaskell. The title is: The Lonely Tower, Roman Campagna, it was created and printed in 1924 in an edition of 150. The ima...

This is a single color lithograph created by Matthew Roath as part of Tamarind Institute PTP. The Collaborating printer isAndreea Cristina Mateescu....

In "X-ing"", Anne Dykmans captures an image of solace with a swimming fish . This image is an artist's proof in an edition of 50 Anne Dykmans employs her superb command of engravin...

This is a framed silkscreen print entitled Bluebirds. The image is designed by Francis Pavy and is part of the Pavy Art and Design series. It is printed on 100% rag paper 250 GSM. Th...

This is a framed silkscreen print entitled BLUEBIRDS 24. The image is designed by Francis Pavy and is part of the Pavy Art and Design series. It is printed on 100% rag paper 250 GSM....

"Mizuhiki" is an exclusive publication by Stone + Press in an edition of 100. Katsunori Hamanishi was born in 1949 on Hokkaido island - Japan's second largest island. In 1973 he fi...

A snail and the head of a horse figure prominently in the artist's landscape of memory. This image was published at Tamarind Osmeivy Ortega Pacheco, b...

Born in Greenwich, Connecticut, Jack Coughlin studied at the Rhode Island School of Design in Providence and the Art Students League of New York. He is b...

Sharon Augusta Mitchell created "Cena Ultima" as if guinea vultures were the apostles in a "last supper" pose arrayed around a carcass in an edition of 100. This is impression #9 fr...

A small one-off print of an owl. Printed with purple water-soluble ink on Mulberry paper. This is a printer's proof, I use this print to determine if the relief block needed more wo...

Python is a hand-pulled mezzotint in an edition of 25. This is #7/25. Jacob Crook was born in St. Louis, MO in 1985. Crook works primarily in the intagli...

Sharon Augusta Mitchell created this vividly colored image of five toucans with bright yellow bills set against a background of green tropical ferns and bright orange flowers. The im...

"Roseate Spoonbills" is a print by Pippin Frisbie-Calder. It is number 22 in an edition of 100. The piece is 17 inches high and 22 inches wide. It is...

this impression is #46 from edition of 50 Mezzotint artist Mikio Watanabe was born in 1954 in Japan and currently lives in France. He is most known for his elegant, evocative black ...

"Warbler and Waxwing in Bottomland Forest" is a shadowbox by Pippin Frisbie-Calder. The piece is 19 inches high, 13 inches wide, and 6.30 inches in depth. The prints inside the shado...

"Roseate Spoonbills" is a print by Pippin Frisbie-Calder. It is number 5 in an edition of 100. The piece is 17 inches high and 22 inches wide. It is ...

"Nuthatch and Sweetgum" is a shadowbox by Pippin Frisbie-Calder. The piece is 7 inches high, 7 inches wide, and 6.30 inches in depth. The prints inside the shadowbox are silkscreen o...

This black and white mezzotint of a shell next to a violin is an artist proof that was inscribed Happy New Year 2000 and signed by the artist. The regular e...

The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings. Carol Wax originally trained to be a classical musician at the Manhattan School of Mu...

A series of prints was commissioned by the Met Museum in NY in a regular edition of 40 This impression is from an edition of 5 artist proofs. This impression is #4/5 Carol Wax origi...

Lois Ward created a Fragile Series of images including "Crushed Beetle" in 1990 in a very small edition of just 9. This impression is #1 of 9. Ward has always been concerned with t...

A series of prints was commissioned by the Met Museum in NY in a regular edition of 40 This impression is from an edition of 5 artist proofs. This impression is #4/5 Carol Wax origi...

"And the dove came in to him in the evening; and, lo, in her mouth was a plucked off olive leaf: so Noah knew that the waters were abated from off the earth." Mario Avati, a master ...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the deer. T...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the frog. T...

An exclusive publication for Stone and Press Gallery, "Snow Does" was created in an edition of 100. It is FIROS #66 in the catalogue raisonne. Carol Wax originally trained to be a c...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the zebra. ...

Sharon Augusta Mitchell created "Ram Skull" in an edition of 100. This is impression #10 from the edition. It is signed, titled and numbered in pencil by ...

This engraving is from an edition of 60. It is signed and dedicated. A farmyard scene with barn, chicken and ox. It is in excellent condition and is a fine impression. There is a stain in the lower bottom margin away from the image and well below the mat line Wilfred Fairclough...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the elephan...

Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg. While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting. Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked. Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium. Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print. There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers. But making mezzotints was not a paying job. Marchant and his South African wife...

Lois Ward's "Red Damsel" is a color mezzotint created in 1994 in a very small edition of just 10. This impression is #2 of 10. A young human figure in green gazes down on a Tinker B...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the elephan...

"Egret, Grassy Lake" is a print by Billy Hassell. It is number 7 in an edition of 30. The piece is 22 inches high and 22 inches wide. It is a lithograph and it was completed in 2011.