Small Animal Prints

Original screenprint on Gloss Enamel Ink on Somerset Radiant White Tub sized 410gsm paper Signed and numbered by the artist in black archival ink From the Pop Heart Portfolio 60 x 60...

MAGENTA HORSE, THREE GEISHAS is an original lithograph printed using hand drawn lithography techniques on archival Somerset printmaking paper, 100% acid free, by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010). Ting's use of bold colors and expressive calligraphic brush drawn forms convey vivid life energy. He is well known for his colorful images of women, flowers, fish, parrots and horses and was associated with artists Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group called COBRA. Throughout his artistic life, Ting imbued his passion and spirit into his paintings, poetry and sculpture. MAGENTA HORSE, THREE GEISHAS is a freely expressed Chinese Ink Brush drawing depicting a colorful magenta horse with dark purple black mane and tail standing with three lovely Asian women...

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...

Ernesto Garcia Peña (Cuba, 1949) 'Our time" (from Porfolio Grabados Cubanos)', 1977 linocut print on paper Canson 320 g. 23.6 x 17.6 in. (59.8 x 44.6 cm.) Edition of 200 Ref: GAE-309...

Hummingbird 1963 is an original contemporary artwork realized by Marino Marini. Color etching and aquatint Edition of 100 copies. On the back oh the artwork there is an inscription...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

This is a hand-colored folio sized lithograph entitled "Iyngipicu Maculatus" (Sonnerat's Pygmy Woodpeckers) by John Gould from his monograph "The Birds of Asia", published in London ...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: CI; CII; CIII & CIV. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

Three plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: XLVIII; XLIX & L. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

This exquisite lithograph after Georges Braque (1882–1963), titled L’Oiseau et son nid (The Bird and Its Nest), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L...

Cecil Aldin (1870 - 1935) The Master Lithograph 48 x 40 cm A jolly lithograph of an MFH and his hounds. Cecil Charles Windsor Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rural buildings in chalk, pencil, and also wash sketching. He was an enthusiastic sportsman and a Master of Fox Hounds, and many of his pictures illustrated hunting. Aldin's early influences included Randolph Caldecott and John...

This is a hand-colored folio sized lithograph entitled "Hemicircus Cordatus" (Heart Spotted Woodpecker) by John Gould from his monograph "The Birds of Asia", published in London in 1...

This is an original 19th century hand-colored folio-sized lithograph entitled "Gallinula Chloropus" (Moorhen) by John Gould, published in his "Birds of Great Britain", published in London between 1862 and 1873. The print, which was drawn by Gould and Henry Richter and lithographed by Walter & Cohn, depicts a family of Moorhens, including two adults and six babies in a beautiful landscape. The adults are in the water and the babies are lying on the leaves a flowering lilly pad. This striking Gould hand-colored moorhen family lithograph is augmented with gum-arabic paint. The sheet measures 14.88" high and 21.75" wide. It is in excellent condition, other than a spot in the upper portion of the right margin and two small spots at the edge of the lower margin on the left. The original descriptive text pages from Gould's 19th century publication are included. There are several other unframed Gould hummingbird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio...

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...

Ben Frost - "Gotta Take 'Em All" - Giclee Print - Bauhaus 310gsm Photo Rag 100% Cotton Paper - 19.68 x 19.68 inches (50x50cm) - Edition of 100 signed, numbered with COA

Damien Hirst Work from the Limited Edition Book "The Souls", 2011 Three color foil block print Image: 23.5 x 14 cm Frame: 50 x 39.5 x 3.5 cm Ed. 31/100 Signed and numbered in white ...

A Yorkshire Dell or The Heron’s Pool. (after J.M.W. Turner, R.A., 1775-1851.) Soft-ground etching and mezzotint. Hardie 85. mezzotint over etching on India paper printed on chine-co...

Georges Braque, French (1882 - 1963) - San Lazarro et Ses Amis, Year: 1975, Medium: Lithograph, Edition: 575, Size: 14 in. x 10 in. (35.56 cm x 25.4 cm), Frame Size: 20 x 17 inc...

ABOUT THIS PIECE: I love walking through Central Park and to watch the seals play at the Zoo. I imagined a scene where one of the New York harbor seals is ...

Birds in a Nest - Woodblock Print on Paper #3/6 Black and white woodblock by Janet Wheeler (American, 1922-2001). Four birds are shown in a nest, along with a cracked eggshell. The birds and the nest are depicted in a bold, stylized manner, with clever use of negative space. Numbered "3/6" at bottom center. Signed "Janet P Wheeler...

Zebra I (2022), work on paper, hand painted multiple, animal and foliage, neo impressionist, botanical, pastels, aqua and lime green, black and white zebra "Zebra I," (2022) by arti...

This artwork titled "Soaking Up" c.1970 is an original lithograph on paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 68/100 in penc...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: The Trevi Fountain has so many romantic...

This spectacular chromolithograph by the English illustrator and painter Charles Green (1842-1909) shows the clown and his performing troupe of talented dogs in a circus tent with a...

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

Artist: Marc Chagall Title: The Accordionist (Derriere le Miroir 99-100) Portfolio: Derriere le Miroir Medium: Original Lithograph Date: 1957 Edition: 2500...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: I love sitting in cafes and everyone knows Paris is the most elegant ...

ARTIST: Salvador Dali TITLE: Hamadryades Mimetiques Arborescentes MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: 19.3" x 12.4" YEAR: 1971 FRAMED: No CO...

Artist: George Rodrigue Title: Angel Baby Year: 2000 Dimensions: 20in. by 16in. Edition: from the rare limited edition of 150 Medium: Original serigraph on paper Condition: Excellent...

Etching with aquatint on white wove paper with a deckle edge, 23 1/2 x 17 1/2 inches (598 x 317 mm); sheet 30 x 22 1/2 (762 x 571 mm), full margins. Signed and numbered 20/50 in penc...

Artist: Michael Knigin, American (1942 - 2011) Title: Majestic Manner Year: 1986 Medium: Screenprint, signed, numbered, dated, and titled in pencil Edition: 32/68 Image Size: 20.25 x...

Abstract French lithograph, circa 1980. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. Archival plasti...

Lumbermen. 1923. Etching. Appleby 91. 9 x 12 (sheet 12 3/8 x 18 1/8). Edition 100. A cleanly-wiped impression printed on off-white 'FG Head & Co' laid paper with full margins. Signed...

This is a hand-colored folio-sized lithograph entitled "Otidiphaps Nobilis" (Pheasant Pigeon) by John Gould from his monograph "The Birds of Asia", published in London in 1862-1879. The print, which was drawn by Gould and H. C. Richter and lithographed by Walter, depicts two Pheasant Pigeon birds...

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

This is a striking hand-colored folio sized lithograph entitled "Erythrosterna Parva" (Red-breasted Flycatcher) by John Gould from his monograph "The Birds of Great Britain", publish...

A humorous etching by the artist Kurt Meyer-Eberhardt (1895-1977) depicting the meeting of an unusual group of birds. Signed to the lower right. Presented in a gilt frame with a deli...

Raphael Sanzio da Urbino, Italian (1483 - 1520) - David Brings the Gold Shield to Jerusalem, Year: 1649, Medium: Engraving on laid paper, plate signed, Size: 9.5 x 11 in. (24.13 x...

Lovely etching of cattle and ranchers on mountain pass trail, 1991. Signed lower left. 20/50 Original artwork on paper displayed on a white mat with a gold border. Archival plasti...

'A Canine Aesculapius' From the Picture by JC Dollman, Exhibited in the Dudley Gallery. English 19th century fold-out wood-engraving, 1878, from 'The Graphic'. John Charles Dollma...

This is a hand-colored folio sized lithograph entitled "Yunx indica" (Indian Wryneck) by John Gould from his monograph "The Birds of Asia", published in London in 1850-1883. The pri...

Blocky black and white depiction of a lamb, by German artist Leonhardt Wüllfarth, c.1950. Displayed in a white mat with a gold border and fits a standard-size frame. Archival plastic...

Striking lithograph in green of fantasy creature by French artist Aristide Caillaud, 1963. Signed in pencil lower right. Original artwork on paper ...

Biagio Civale, Italian/American (1936 - ) - Birds (Retouche), Medium: Screenprint, Signed and Numbered in Pencil, Edition: 61/100, Size: 19 in. x 13 in. (48.26 cm x 33.02 cm)

Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 5/8 x 18 1/16). Edition 100, #86. A rich impression with drypoint burr. Printed with ...

paper: 22 x 15 in. printed image: 4 3/4 x 6 in. english translation: Long Hand Crab Latin

Fernando Aceves Humana (Mexico, 1969) 'Clase de dibujo primer día', 2007 woodcut on paper 17.8 x 22.5 in. (45 x 57 cm.) Edition of 20 ID: ACE-102 Unframed

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

Night Time, Dieppe. 1926-27. Drypoint. Appleby 123. 7 7/8 x 11/ Edition 100. A fine impression printed on cream laid paper with full margins. Signed in penc...

"Based on the Peace Dove, a motif I’ve used in several iterations over the years, because as an icon, the dove is internationally recognized as a symbol of peace, making it ideal as ...

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

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

Appleby 97. 4 x 6 15/16 (sheet 8 1/8 x 10 3/8). Edition 100. A rich impression with drypoint burr and carefully wiped plate tone, printed on 'FJ Head' paper, on the full sheet with ...

Water Mill (after the drawing by J.M.W. Turner, R.A., 1775-1851). 1885. Mezzotint. Hardie 3.ii. With the publication line. 7 x 10 1/8 (sheet 12 1/4 x 16 5/8...

Harry Bunce The Colonel Limited Edition Archival Print Edition of 468 Mount Size: H 49.5 cm x W 41.5 cm Image Size: H 31cm x W 25cm Sold Unframed Please note that in situ images are purely an indication of how a piece may look. The Colonel is a limited edition print by Harry Bunce. The print features a fox dressed as a colonel in smart red coat and white shirt. Harry Bunce was born and raised in a small Hampshire village, his family were builders. Following a short and volatile spell at art school he moved west to the city of Bristol. Working in the fashion industry by day he continued to draw and paint by night. Over the years Harry’s work slowly began inhabiting metropolitan walls, galleries and homes. A chance collaboration with screen printing gurus, Screen One, who also worked with Banksy...

The wildlife and scenery of the Pacific Northwest is the constant focus for McMillan, who spends a lot of his time backpacking and hiking to find the inspiration for his prints like ...

Lithograph on wove paper. Signed and date in the plate. Image dimension: 19.5x28 cm. A fine and atmospheric lithograph by Auguste Raffet, the celebrated French lithographer and pa...

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

This is a rare 18th Century hand-colored large folio-sized copperplate engraving entitled "Ardea Ciconia" (White Stork) by Cornelius Nozeman in volume II of his publication 'Nederlan...