Lithograph Animal Prints

This is an original John James Audubon hand-colored lithograph entitled "Bridled Weasel, No. 12, Plate LX" from John James Audubon's Quadrupeds of North America, published in Philade...

Robert Beauchamp, American (1923 - 1995) - Apple Dream, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 25, Size: 25.5 in. x 33 in. (64.77 cm x 83.82 cm)

This artwork "titled "Horses #III" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand si...

This artwork "titled "Horses #II" 1974 is an original color lithograph, with embossing by French/Vietnamese artist Hoi Lebadang, 1922-2015. It is hand signed and numbered 32/275 in p...

This artwork titled "Owl (Rose Ground)" from the suite "Bestiary and some Correspondences" 1968 is an original color lithograph on Arches paper by renown British surrealist artist Gr...

In the Beginning, 2019 6-colour lithograph printed with Marinoni lithographic press, hand cut on BFK Rives 300 g paper 93 cm x 75 cm Edition of 99 Signed by the artist, numbered and ...

'Chow and Pekinese' (Pekingnese) Cecil Aldin dog lithograph, 1935. Cecil Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, an...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Bright orange leaps up like flames, or swaying grass, over which hovers a large-eyed bee sketched in black and orange. Over the fire-red in neat handwriting Ron Padgett...

This is an original John James Audubon hand-colored lithograph entitled "Long Haired Squirrel, No. 6, Plate XXVII", from John James Audubon's Quadrupeds of North America, published i...

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

Two adult Purple Martins are feeding their two fledglings at the nest. This chromolithograph is from The Birds of America by John James Audubon and is ...

"Lion Tamer" lithograph by Alexander Calder. Hand-lettered EA in lower left front corner. Hand-signed Calder in lower right front corner. From an ed...

'Dendrolaugus Inustus Keiensis (Tring Museum Specimen)' Tree kangaroo native of New Guinea. From 'On the Genus Dendrolagus' by Lionel Walter Rothschild and Guy Dollman, published ...

Mel Hunter, American (1927 - 2004) - Thoroughbred, Year: 1977, Medium: Lithograph, signed and numbered in pencil, Edition: 18/500, Size: 22 x 29.5 in. (55.88 x 74.93 cm), Descrip...

The Bird Dog is a lithograph on paper, 9.5 x 9 inches image size, initialed 'BD' lower right and numbered lower left. From the edition of 395, numbered 32/275 (there were also 100 R...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

This is an original John James Audubon hand-colored lithograph entitled "Downy Squirrel, No. 5, Plate XXV", from John James Audubon's Quadrupeds of North America, published in Philad...

ROY DE FOREST Untitled, 1981 Lithograph on Arches paper with four deckled edges. 22 1/2 × 30 inches Hand signed and annotated Trial Proof, aside from the regular edition of 60 Unfra...

Antique Dog Portrait Lithograph in the Taste of Alfred De Dreux Bulldog and Frog France, circa 1870 Lithography 25 5/8 x 19 5/8 (28 x 20 frame) inches Six lithographs of dog portr...

Mel Hunter, American (1927 - 2004) - North Over Hudson Bay, Year: 1976, Medium: Lithograph, Signed in Pencil, Size: 22 in. x 26 in. (55.88 cm x 66.04 cm)

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...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Original Chemin de fer du Nord "Beauvais" Vintage French Poster — Artist: Manceaux (c. 1920s). Size: 24.5" x 39.25" Linen Backed, Excellent Condition, Ready to Frame Bring a touch of early 20th-century French elegance to your home or collection with this stunning, original Chemin de fer du Nord travel poster for the scenic city of Beauvais. Designed by the renowned artist Manceaux, this striking piece of railway history is a true treasure for collectors. Central to the image is a commanding view reminiscent of the Cathédrale Saint-Pierre de Beauvais—famous for its soaring Gothic choir. Tall, lancet windows and flying buttresses emphasize height. Delicately suggested tracery, pinnacles, and a luminous stone façade that captures warm light. Classic French railway poster...

WOLF, Joseph (artist). Two Guinea Fowl London For the author, Red Lion Court, Fleet Street 1871 Two original hand-coloured lithographic plates by Joseph Smit after Joseph Wolf. ...

Woman With Horse is an artwork realized by Enzo Assenza. Print in lithograph technique. Hand-signed by the artist in pencil on the lower right corner. ...

Composition is an original lithography, realized by Pietro Carabellese in the 1970s. Hand-signed on the bottom right. Numbered on the bottom left. Edition of 100.

This is an original 19th century John James Audubon hand-colored lithograph entitled "Missouri Meadow Lark, Male", No. 98, Plate 489 from Audubon's "Birds of America, lithographed, p...

Jules CAVAILLES Rupestral Painting Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 36 x 20 cm (c. 14 x 8 in) Excellent condition

This piece titled "#MONKEYPOP" is an original print by Jun Lee and is made from stone lithography. This piece measures 30"h x 20"w framed, and is shipped in the pictured black frame....

'Eudyptes Schlegeli (Royal or Macaroni Penguin)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of Norfolk and Lord Howe...

Harry Schaare, American (1922 - 2008) - Trapped, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 22 in. x 30 in. (55.88 cm x 76.2 cm), De...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

The Monkey is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publishe...

The Monkey is a lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854....

WOLF, Joseph (artist) Four Pheasants London, For the author, Red Lion Court, Fleet Street, 1871 Four original hand-coloured lithographic plates by Joseph Smit after Joseph Wo...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

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...

This is an original 19th century 1st octavo edition John James Audubon hand-colored lithograph entitled "American Bittern, 1. Male 2. Female", No. 73, Plate 365 from Audubon's "Birds of America, lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts male and female American Bittern birds standing on the ground, each looking in opposite directions. There is high grass in the background. This original 1st octavo edition hand-colored Audubon American Bittern lithograph is in excellent condition, other than a few tiny spots, which appear most likely inclusions related to the paper manufacture. The sheet measures 6.5" high by 10.25" wide. The original text pages, 94-98, from Audubon's 19th century publication are included with the lithograph. 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...

This is an original John James Audubon hand-colored lithograph entitled "White Weasel Slout, No. 12, Plate LIX" from John James Audubon's Quadrupeds of North America, published in Ph...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Ciconia Alba” (A family of storks) by John Gould, from the supplement to his "Birds of Great Brit...

Artist Name: Warrington Colescott Year: 1970 Medium Type: Lithograph Size-Width Size-Height: 31'' x 22.5'' Signed Edition Size: signed in pencil, titled and numbered 41/50 Warrin...

'Bassets Griffons de Bretagne et de Vendee'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. F...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

Lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in 1854. Good condition...

(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 t...

Bird is a lithograph by Aldo Turchiaro, realized in 1980. Hand-signed on the lower right. Numbered, edition V/XXV. Good conditions except for aged margins. The artwork represents...

This artwork titled "Le Cirque (The Circus)" is an original colors lithograph by noted French artist Camille Hilaire, 1916-2004. It is hand signed and inscribed J/2 in pencil by the ...

This artwork titled "Nature Morte aux Lapins" (Still Life with Rabbits) c. 1950 is an original color lithograph on Arches paper by noted French ...

Lithograph measures 38 x 26 inches. Good/Fair, slight creasing at bottom of lithograph.

This artwork titled "Dancers" c.1990is a color offset lithograph by noted equine American artist Fred Stone, 1930-2018. It is hand signed in pencil by the a...

Théodore Géricault (after), 'Tigre dévorant un cheval' (Tiger Devouring a Horse), lithograph, 3rd state of 3, Clement 97, c. 1820. Lettered 'Volmar ...

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...

Chris Forrest, American (1946 - ) - Sentinel, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 23 x 18...

Lithograph on Paper Page Size: 12.5 x 18 in. Frame Size: 19 x 24.75 Signed, bottom right, in pencil "Ancel Nunn" Numbered, bottom center, in pencil "77/90" Titled, bottom left, in pe...