USA - Animal Prints

Love Dove Earl Klein American (1915–1993) Screenprint, signed, titled and numbered in pencil Edition of 40/75 Image Size: 18 x 22.5 inches Size: 24.5 x 29...

This is a contemporary photograph of an American Bison. 36x24 Edition of 50. Signed by Shane. Printed on archival paper and using archival inks. Framing available. Inquire for rate...

Signed lower right, 'Lebadang' and with number and limitation, 163/215, lower left. Also known as Dang Lebadang (Vietnamese-French, 1922-2015) this not...

Friends for Life Bruce Weber’s photographs of the dogs always by his side The photographer and filmmaker Bruce Weber is associated with a wide array of imagery: humanist portraits of artists, actors, and athletes; fashion spreads charged with emotion, irreverence, and nostalgia; lyrical tributes to eroticism and an arcadian vision of the American landscape. All these things—and golden retrievers, too. Since the very beginning, Weber has been accompanied on his travels by a pack of these benevolent canines, who have populated his photographs for fashion campaigns, prominent magazines, and the pages of his personal scrapbooks in equal measure. The Golden Retriever...

HOPES FOR PEACE is a handmade color lithograph by the internationally recognized Spanish artist Cristóbal Gabarrón printed on archival Arches printmaking paper in 1986. HOPES FOR PEACE is an imaginative composition depicting an abstract bird expressed in airbrush colors as a dove symbolizing world peace. HOPES FOR PEACE is a visually appealing handmade lithograph printed in soft rainbow shades of purple, yellow, magenta pink, blue green, beige, light orange, gray and black. Print size - 11.0" x 8.5" unframed, vivid colors, excellent condition, pencil signed by Cristóbal Gabarrón Edition size - 500, Certificate of Authenticity included Cristóbal Gabarrón - HOPES FOR PEACE was specially commissioned by The World Federation of UN Associations (WFUNA) in 1986 - the International Year of Peace. Operating within the framework of the theme, "To Safeguard Peace and the Future of Humanity", the program for this special year was composed of the three primary components: Peace and Disarmament, Peace and Development and Preparation for Life in Peace. Cristóbal Gabarrón is a celebrated Spanish artist known for his work with the United Nations whose personal convictions are based on the individual human life, and the coexistence and the development of human values. Artist statement: “There is nothing as pure and innocent as a child’s creative imagination. Children are the future of our societies. We learn a lot from each other when interacting across generations and cultures on such issues that bind us together, such as human rights,” Artist bio - Cristóbal Gabarrón was born in the town of Mula (Murcia) in 1945, although at the age of six he moved with his family to live in Valladolid. He dedicated himself to painting from a very young age performing his first exhibitions, at the Galería Castilla de Valladolid and at the Galería Macarrón in Madrid. His work evolved from figuration to informalism, to the abstracción "symbolic and "postmodern," a "symbolic." In 1967, at the age of 22, Gabarrón exhibited at the Leob Gallery in New York and the Arts Perspective Gallery in Paris. His work has been marked by his life experience, humanism and his nomadic personality, which give him a unique, very personal style. A creation in continuous experimentation and evolution with strokes from its multiple rooms and exhibitions in different parts of the world. He currently resides between Bueu, on the Ria de Pontevedra and Valladolid, although he continues to be connected to his place of origin, the city of Mula. He received his first artistic training in Valladolid before continuing his career in France, Italy and the United States. Gabarrón's work is focused on his interest in humanism, for people's lives in harmony with their natural environment, for their peaceful coexistence and the development of human values. Their collaboration with international organizations, such as the International Olympic Committee or the United Nations, has led to a very fruitful period that lasts, following the exhibition of the Universe of Light (Enlightened Universe) inaugurated on 24 October 2015 at the famous Central Park in New York, by the UN Secretary General, Mr. Ban Ki-moon on the 70th Anniversary of the creation of the United Nations and which every year travels cities from all over the world, to commemorate UN and Human Rights Day: Geneva (2016), Amsterdam (2017), Brussels (2018), Valladolid (2020), La Valeta (2022). His work has been the same center of analysis within retrospectives such as those dedicated to the Chelsea Art Museum, the IVAM, the Museum of Modern Art of Gdansk, in Poland, the National Museum of Art of China in Shanghai, or the Herrerian Patio Museum of Contemporary Spanish Art...

(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...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

Zao Wou-Ki (Chinese, French, 1921-2013) Les Poissons, 1953 Lithograph Hand-signed in pencil Lower Right Hand-numbered 16/55 in pencil Lower Left 18 x 23 1/8 inches 29 x 33 inches wit...

Archival pigment print (Edition of 15) Signed in pencil, verso 9 x 9 inches, image From the series, "Allowed to Grow Old" This artwork is offered by ClampArt, located in New York C...

This is a beautiful hand-colored folio-sized lithograph entitled "Muscicapa Collarus" (White-collared Flycatcher birds) by John Gould from his monograph "The Birds of Great Britain",...

Signed, titled and numbered etching from the edition of 100. In individual prints, and his illustrated books, Washburn cleverly skewers human frailties with Renaissance-style engravi...

Greyhound 1773-1802 Engraving 14 x 10 inches Framed: 24 x 21 inches

This Blue Dog work consists of a white background with 1 blue dog surround by varying degrees of blue dog heads and a single dog in the center. "Rodrigue" is printed at the bottom. ...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

This is a hand-colored folio sized lithograph entitled "Gallinago Major" (Great Snipe) by John Gould from his monograph "The Birds of Great Britain", published in London in 1862-1879...

This is a contemporary photograph of a Tiger by Shane Russeck. Printed on archival paper using archival inks Shane Russeck is a modern day photographer, adventurer, and explorer. ...

Aquatint print of an owl perched on a branch with bright yellow eyes. The work is signed by the artist. It is framed in a wooden frame with a burlap matte. Artist Biography: Kaiko M...

This is a remarkable hand-colored folio sized lithograph entitled "Euplocomus Vielloti" (Viellot's Crested Fireback) by John Gould from his monograph "The Birds of Great Asia", publi...

Ken Price Hermit Crab Cup 1972 Silkscreen on paper Print: 28 x 22 inches; 71 x 56 cm Frame: 30 5/8 x 24 3/4 inches; 78 x 63 cm Edition of 60 Signed, title...

Wonderful Vintage Archibald Thorburn colored chromolithograph. The colors are amazing, giving the painting a really great appearance . Printed circa 1919, the picture is inscribed ...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

Returning to the Stable. 1920. Drypoint. Appleby 64. 8 3/4 x 12 1/4 (sheet 11 7/16 x 16 1/8). Edition 100. A rich impression printed on cream laid paper wi...

This Blue Dog work consists of a blue dog on a tropical background of mountains, sea, sand, and palm trees. There are various colors of butterflies and a single dragonfly. The dog i...

Deer John is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 35/275 (there were also 100 Roman and 20 AP). Framed in...

"Original Vintage Aquariums Mosans Poster – Art Deco Design by A. de Loof, 1930s European Travel Advertising" Discover the Captivating "Moselle Aquariums" - A Vintage Poster by A. d...

This Blue Dog work consists of a Blue Dog sitting full center on a white background. To the right of the dog is the name “Rodrigue” in red paint vertically printed. The dog has so...

Dr Seuss THEODOR GEISEL "KNOX IN BOX" Limited Edition - Fine Art Pigment Prints on Acid- Free Paper Authorized Estate Edition Edition Size: Limited Edition of 2500 Arabic Numbers, 15...

Image title: "Locals Only" This is a contemporary photograph of 2 North American Mountain Lions. 40x60 Printed on archival paper using archival ink Framing available. Inquire for...

This is a contemporary photograph of an African Lion shot by Shane Russeck Edition of 10 Signed and numbered Printed on archival luster paper. Shane Russeck has built a reputatio...

This is an original John James Audubon hand-colored royal octavo lithograph entitled "Washington Sea Eagle", No. 3, Plate 13, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1856-1871. It depicts an adult male sea eagle perched on a rock. This is an excerpt from Audubon's own description of this magnificent eagle, which includes how he came up with the name "Washington Sea Eagle": "The name which I have chosen for this new species of Eagle, “The Bird of Washington,” may, by some, be considered as preposterous and unfit; but as it is indisputably the noblest bird of its genus that has yet been discovered in the United States, I trust I shall be allowed to honour it with the name of one yet nobler, who was the saviour of his country, and whose name will ever be dear, to it. To those who may be curious to know my reasons, I can only say, that, as the new world gave me birth and liberty, the great man who ensured its independence is next to my heart. He had a nobility of mind, and a generosity of soul, such as are seldom possessed. He was brave, so is the Eagle; like it, too, he was the terror of his foes; and his fame, extending from pole to pole, resembles the majestic soarings of the mightiest of the feathered tribe...

This is a contemporary black and white photograph of Wild Mustangs 24x 36 Edition of 12. Signed by artist. Printed on archival paper using only archival ink. Framing available. Inq...

This is an original John James Audubon hand-colored lithograph entitled "Golden Eagle", No. 3, Plate 12 from Audubon's "Birds of America, lithographed, printed and colored by JT Bowe...

This is a contemporary photograph of a American Wild Mustangs. "They represent the ultimate expression of American freedom" Printed in Photo Rag using only archival ink. 40x26 Edi...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Virginian Rail, 1. Male, 2. Female, 3. Young", No. 63, Plate 311 from Audubon's "Birds of Americ...

The Deer is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

This is an original rare and extremely collectible 1st royal octavo edition John James Audubon hand-colored royal octavo lithograph entitled "American Swan", No. 77, Plate 384, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts an adult white American Swan swimming in a body of water. Plants with yellow flowers are in the foreground and hills are in the background. This original rare first edition hand-colored Audubon bird lithograph has a mildly wavy lower edge of the paper where it was previously bound. It is otherwise in excellent condition. The sheet measures 6.63" x 10.13". The original text pages 226-234 are included. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

Original Jeva de la tête aux pieds vintage French fashion poster. Jeva would dress you from your head to your feet, and this cat implies in this poster de...

This is a contemporary photograph of a Tiger by Shane Russeck. 60x40 Printed on archival paper using archival inks Unsigned print Shane Russeck is a modern day photographer, adve...

This is a contemporary black and white photograph of a American Wild Mustang. "They represent the ultimate expression of American freedom" 36 x 48 Printed using only archival paper...

Reigning Cats and Dogs is a lithograph on paper, 9 x 9" image size. From the edition of 395, numbered 156/275 (there were also 100 Roman and 20 AP). Robert Deyber’s lithographs were...

Gould, John and Richard Bowdler Sharpe. A Monograph of the Trochilidae, or Family of Hummingbirds. London, 1849-61. This plate: Orthorhynchus Ornatus. Original lithographs hand-co...

Keith Haring Tony Shafrazi 1982: set of 4 printed works: A set of four double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony...

La Pique (The Pike) Lithograph, 1950 Original lithograph drawn with chalk and "frottage textures" transferred to stone, 1950. Unsigned printer's proof Inscribed on the verso in Mourl...

This artwork titled "The Horsemen" 1935, is an original lithograph on paper by noted American artist William Gropper, 1897-1977. It is hand signed in pencil by the artist. The artwork (image) size is 9.5 x 12.75 inches, framed size is 17.5 x 20.40 inches. Published by Associated American Artists, New York, printed by George Miller. Referenced and pictured in the artist catalogue raisonne by Steinberg, page 246 and Windisch and Cole, plate #602. Custom framed in a black metal frame, with off white matting. It is in excellent condition, the frame have very minor scratches. An example of this particular artwork is held at the Metropolitan Museum of Art, New York. and at the Portland Museum, Portland. About the artist: William Gropper was born in New York City's Lower East Side in 1897. He was the first of six children to parents who earned small wages working in sweatshops. At the age of fourteen, Gropper left school to help support his family. While carrying bolts of cloth for his deliveries, Gropper began to draw on scraps of paper, sidewalks, and walls. A passerby saw some of these drawings and invited Gropper to attend a life-drawing class at the Ferrer School. He studied there for three years from 1912 to 1915, attending classes taught by Robert Henri and George Bellows. From 1915 to 1918 Gropper attended the New York School of Fine and Applied Art part-time on scholarship. Gropper also won a scholarship to the National Academy of Design, but remained as a student for only a short time; the rigid and systematic institution conflicted with Gropper's belief in the personal nature of art. At the New York School of Fine and Applied Art, Gropper earned several prizes. One of these prizes was for his cartoons, which led him to be hired by the New York Tribune in 1917 to sketch for their features. A few years later through freelance work, his cartoons and drawings appeared in other newspapers and magazines, such as The Liberator, The New Masses, The New York Post, The New Yorker and Vanity Fair. By the late 1920s Gropper was an established cartoonist and draughtsman. He sympathized with the labor movement and was a champion of peace and personal liberty. Gropper began to paint seriously, but privately, on these themes in 1921. Gropper's first exhibition of monotypes was held in 1921 at the Washington Square Book Shop in New York. At this time, he also began to do illustrations for books. Gropper took his first sketching trip in 1924 to the West with Morris Pass. By 1930 Gropper began to receive recognition as a fine artist. In 1934, he received two mural commissions from the Schenley Corporation in New York City. In 1935, he was commissioned to paint a mural for the Hotel Taft in New York City. In 1936, Gropper received several public mural commissions: one was for the Freeport, Long Island Post Office, which was completed in 1938 and followed by another mural for the Northwestern Postal Station, Detroit, Michigan. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior in Washington, DC. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

Damien Hirst’s ‘Taytu Betul’ is laminated giclée print on aluminum composite panel with glitter, and is one in a series of five mesmerizing prints in ‘The Empresses’ series. ‘Taytu B...

My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the United Kingdom as far as I can remember. I have heard them calling to...

This vintage original lithograph by renowned artist Mary Chenoweth features an abstract depiction of birds in flight, showcasing her unique technique of layering various textures of ...

This is a contemporary photograph of an African Lion. Printed on Archival Paper Using Archival ink 24x36 Edition of 50. Signed by Shane. Printed on archival paper and using archiv...

Keith Haring New York City Subway Drawings, 1983: Rare early exhibition catalog/pamphlet illustrated by Keith Haring on the occasion of: "Keith Haring / New-York City Subway Drawings...

This is a contemporary black and white photograph of an African Lion by Shane Russeck. 36x48 edition of 12 Signed and numbered Printed on archival paper and using archival inks Fra...

Wings, limited edition photograph, signed, Platinum/Palladium Print My fascination with birds of prey began eight years ago. There have been nesting owls on my family’s land in the ...

Raquel Forner (1902-1988) Argentine woman painter and printmaker born in Buenos Aires in 1902 and died in the same city in 1988, regarded as one of the best Argentine female painters...

Like Moths to a Flame is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 156/275 (there were also 100 Roman and 20...

A signed and numbered print of a bobcat from Texas artist Charles Beckendorf. Charles did the original in pencil for this series. The print is displayed in a chrome frame and white m...

"Combat Equestre" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (24/100) in the lower left. This piece depicts mu...

PABLO PICASSO (1881-1973) Picador (A. R. 160) Terre de faïence plate, 1952, from the edition of 500, incised 'Edition Picasso', partially glazed and painted, with the Edition Pica...

Produced on the occasion of Jonas Wood's 2022 exhibition, Plants and Animals, at David Kordansky Gallery, Los Angeles, CA. 24 x 28 inches. Jonas Wood (b. 1977, Boston) makes paintin...

This Blue Dog work consists of a blue dog on a background of mountains, trees, and a red and yellow sky. There is an alligator at the feet of the dog. There is also an Absolut Vodk...