Lithograph Animal Prints

Original large-format Biere Champigneulles antique poster, circa 1925. The artist is Paul Mohr (1890 – 1959). Printed by Affiches Edia, Paris. Archival linen-backed stone lithograph....

The Golden Winged Woodpecker, Plate 273 Picus auratus, Linn. The current name, Northern Flicker, Colaptes auratus. is in good condition. The edges are ragged from age with small areas of paper missing in two places but only on the very edge. The ” Birds of America” by John James...

A close portrait of a horse wearing a laurel crown with the rays of the sun emanating from behind its head. The horse theme was frequently used by Dali throughout his career. The hor...

Jean Marais (1913 - 1998) Horses Original lithograph Signed with the stamp of the artist (Also bears printed signature in the plate) Numbered / 100 copies On vellum 50 x 65 cm (c. ...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

An original rare and extremely collectible first octavo edition John James Audubon hand-colored royal octavo lithograph entitled "White-headed Sea Eagle or Bald Eagle", No. 3, Plate ...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Pernis Apivorus (The Honey Buzzard) by John Gould, plate 6 in volume 1 of his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Honey Buzzard perched on a branch of a leafy tree in the foreground and three others in the background. The bird in the foreground has an insect in its beak and others are in flight on the right This striking framed Gould...

Blue Grosbeak is an original chromolithograph from the rare Bien edition 1860 by J.J. Audubon and shows a male and female adult Grosbeak with a young Grosbeak perched on the edge of the nest. This group of colorful birds are seen on a Dogwood cornus florida tree. This print is in good condition. The paper is evenly age toned throughout. The ” Birds of America” by John James...

Original " Are You 100% American? Prove it! Buy US government bonds. Third Liberty Loan" vintage poster. This poster from World War I questions whether the viewer is genuinely A...

Leopard Seal - chromolithograph from an English natural history series. 135mm by 200mm (image) 165mm by 255mm (sheet)

Artist: Salvador Dali Title: American Trotting Horses No. 2 Date: 1971 Portfolio: Currier & Ives as Interpreted by Salvador Dali Medium: Litho...

LEONOR FINI Cat in Heels 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Original Philips Infra-Rouge vintage poster. Size: 23" x 31". Archival linen-backed French antique poster. It is archival linen backed and ready to frame. This fun kitchen poster...

Artist: Marc Chagall Title: Paradise Portfolio: 1960 Drawings for the Bible Medium: Lithograph Date: 1960 Edition: Unnumbered Frame Size: 22 1/4" x 18 3/4" Sheet Size: 14 3/8" x 10 1...

'Strepera Crissalis (Lord howe Island Crow-Shrike)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of N...

American Trotting Horses No. 2 by Salvador Dali has dynamic movement in the two trotting horses with an added giant Dalian insect head in coll...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 4, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 200, Size: 30 in. x 21.5 in. (76.2 cm x 54.61...

Artist: Alexander Calder (1898-1976) Title: Sky Bird, Braniff International Airways Flying Colors Collection Year: 1975 Medium: Lithograph on vélin d’Arches paper Size: 20 x 26 inche...

This is an original John James Audubon hand-colored royal octavo lithograph entitled "Prairie Wolf", No. 15, Plate LXXI, 71 from Audubon's "Quadrupeds of North America". It was drawn...

Luis Jimenez Study of a Classical Horse and a Modern Horse Year: 1994 4 Color Lithograph Edition: 40 Paper: Rives BFK, White Paper Size: 41.75 x 29.5 inches Image Size: 37 x 22.75 inches Signed and numbered by hand COA provided --------------- Luis Alfonso Jiménez...

Artist: Erte, Romain de Tirtoff (1892-1990) Title: Ebony in White Year: 1982 Medium: Lithograph on wove paper Size: 33 x 24 inches Condition: Good Inscription: Signed by the artist N...

This artwork titled "Fish" is an original color lithograph on Laid paper by California artist Robert Holdeman, 1912-1994. It is hand signed, dated and ...

Hand Signed. Edition of 150 prints.

Artist: Benny Andrews, American (1930 - 2006) Title: Glider Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 275 Size: 30 in. x 22 in. (76.2 cm ...

Zebra 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 published in ...

LEONOR FINI Hatted Cats 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

"Homage a Leonardo d'Vinci (Leonardo drawing, 3 Figures, Horse from De La Bataille Vol. I)" is an original color lithograph signed by Claude Weisbuch. A group of figures stand to the...

LEONOR FINI Cat Friends 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

This is an original rare first octavo edition John James Audubon hand-colored lithograph entitled "Canada Grouse, 1. 2 Males, 3. Females, 4. Trillium pic...

The Excavation 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 Conditions. Th...

HOMAGE TO SIGMUND FREUD, is an original hand drawn, stone lithograph by the American artist/sculptor Chaim Gross. HOMAGE TO SIGMUND FREUD was hand proofed and printed from hand drawn lithographic stones on archival Arches paper in shades of warm yellow for the background texture and red brown for the master drawing. HOMAGE TO SIGMUND FREUD is a surrealistic portrait composition depicting Sigmund Freud's face(one portraying him with spectacles) surrounded by symbolic imagery including swirling birds, a child opening a heart-shaped lock, an embracing couple, fingers and bare leg. HOMAGE TO SIGMUND FREUD expresses an intriguing variety of visualized psychological references. This original, hand printed lithograph measures 18.5" x 22", registration marks are visible in print margins as evidence of the master printer's use of age-old printing methods first utilized in fine art lithography printmaking. HOMAGE TO SIGMUND FREUD is unframed, in excellent condition, pencil signed, dated and inscribed B.A.T., Trial Proof aside from the edition by Chaim Gross. Edition was published in 1976 as a fundraiser for the Hebrew University in Israel. Print size - 18.5 x 22 in., unframed, very fine condition, from the master printer's private collection Printer - Joseph Kleineman, J K Fine Art Editions Co. NYC Chaim Gross,(1904 - 1991) was a sculptor, artist, and teacher, known for his wood carvings, sculptures of moving human figures, religious imagery, acrobats, mothers and children. Chaim was born on March 17, 1904 to a Jewish family in Austrian Galicia, in the village of Wolowa in the Carpathian Mountains. In 1911, his family moved to Kolomyia. During World War I, Russian forces invaded Austria-Hungary; amidst the turmoil, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915, refugees of the war. When World War I ended, Gross and brother Avrom-Leib went to Budapest, where Gross attended the city's art academy and studied with painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna shortly before emigrating to New York City in 1921. In the U.S., Gross's studies continued at the Beaux-Arts Institute of Design, where he studied sculpture with Elie Nadelman and others, and at the Art Students League, with sculptor Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky. In the late 1920s and early 1930s Gross exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club (the precursor to the Whitney Museum of American Art). In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. Also in 1932, Gross married Renee Nechin (1909-2005), and they had two children, Yehuda and Mimi (Mimi Gross is a New York-based artist, and was married to the artist Red Grooms from 1963-1976). In 1933, Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration). Under these programs Gross taught and demonstrated art, made sculptures for schools and public colleges, and created works for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the 1937 Exposition universelle in Paris. Chaim Gross, Sculptor by Josef Vincent Lombardo, the first major book on Gross, came out in 1949 and included a catalogue raisonne of his sculpture. In the 1950s Gross began to make more bronze...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

This artwork titled "Feeding the Ravens" 1997 is a color offset lithograph on paper by noted American artist Rie Mounier Munoz, 1921-2015. It is hand signed and numbered 29/950 in pencil by the artist. The image size is 9.65 x 8.35 inches, sheet size is 13.85 x 12.25 inches. It is in excellent condition, has never been framed. About the artist: Alaska painter Rie Mounier Munoz was the child of Dutch parents who immigrated to California, where she was born and raised. She is known for her colorful scenes of everyday life in Alaska. Rie (from Marie) Munoz (moo nyos), studied art at Washington and Lee University in Virginia. In 1950, she traveled up the Inside Passage by steamship, fell in love with Juneau, and gave herself until the boat left the next day to find a job and a place to live. Since then Juneau has been home to Munoz. She began painting small vignettes of Alaska soon after arriving in Juneau, and also studied art at the University of Alaska-Juneau. Munoz painted in oils in what she describes as a "painstakingly realistic" style, which she found stiff and "somewhat boring." Her breakthrough came a few years later when an artist friend introduced her to a versatile, water-soluble paint called casein. The immediacy of this inexpensive medium prompted an entirely new style. Rie's paintings became colorful and carefree, mirroring her own optimistic attitude toward life. With her newfound technique she set about recording everyday scenes of Alaskans at work and at play. Of the many jobs she has held journalist, teacher, museum curator, artist, mother, Munoz recalls one of her most memorable was as a teacher on King Island in 1951, where she taught 25 Eskimo children. The island was a 13-hour umiak (a walrus skin boat) voyage from Nome, an experience she remembers vividly. After teaching in the Inupiat Eskimo village on the island with her husband during one school year, she felt a special affinity for Alaska's Native peoples and deliberately set about recording their traditional lifestyles that she knew to be changing very fast. For the next twenty years, Rie practiced her art as a "Sunday painter," in and around prospecting with her husband, raising a son, and working as a freelance commercial artist, illustrator, cartoonist, and curator of exhibits for the Alaska State Museum. During her years in Alaska, Munoz has lived in a variety of small Alaskan communities, including prospecting and mining camps. Her paintings reflect an interest in the day-to-day activities of village life such as fishing, berry picking, children at play, as well as her love of folklore and legends. Munoz says that what has appealed to her most were "images you might not think an artist would want to paint," such as people butchering crab, skinning a seal, or doing their laundry in a hand-cranked washing machine. In 1972, with her hand-cut stencil and serigraph prints selling well in four locations in Alaska, she felt confident enough to leave her job at the Alaska State Museum and devote herself full time to her art. Freed from the constraints of an office job, she began to produce close to a hundred paintings a year, in addition to stone lithograph and serigraph prints. From her earliest days as an artist, Rie had firm beliefs about selling her work. First, she insisted the edition size should be kept modest. When she decided in 1973 to reproduce Eskimo Story Teller as an offset lithography print and found the minimum print run to be 500, she destroyed 200 of the prints. She did the same with King Island, her second reproduction. Reluctantly, to meet market demand, she increased the edition size of the reproductions to 500 and then 750. The editions stayed at that level for almost ten years before climbing to 950 and 1250. Her work has been exhibited many solo watercolor exhibits in Alaska, Oregon and Washington State, including the Charles and Emma Frye Art Museum, Alaska State Museum in Juneau, Anchorage Historical and Fine Arts Museum, Tongass Historical Museum in Ketchikan, and Yukon Regional Library in Whitehorse; Yukon Territory, and included in exhibits at the Smithsonian Institute and Russell Senate Office Building in Washington, D.C. Munozs paintings have graced the covers of countless publications, from cookbooks to mail order catalogs, and been published in magazines, newspapers, posters, calendars, and two previous collections of her work: Rie Munoz...

Cat is an Original Lithograph realized by Giselle Halff (1899-1971). Edition of 4/13. Good conditions. Hand-Signed. Giselle Halff (1899-1971) born in Hanoi, student of R.X. Prine...

It is framed with black moulding all around. Era: Late 19th to early 20th century, often categorized under the Art Nouveau movement. The poster litho size is 36"x24", print informat...

Mel Hunter, American (1927 - 2004) - Arabian, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), Descript...

lIthograph poster after Steinlen .He was a cat lover, and the animals appeared in his drawings, posters and paintings throughout his career. Two of his posters, Lait pur Sterilise ...

The Bat 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 published i...

Leopard Silhouette Caroline Schultz, American (1936–2004) Date: 1979 Lithograph, signed and numbered in pencil Edition of AP 50 Image Size: 18 x 24 inches Size: 23 in. x 28 in. (58.4...

LEONOR FINI Cat with Staff 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Turtles is an original print realized by George Edwards in the 18th century. Color lithograph. Original Title: Die kleine Moraft Tchildgröte, Tab. LXXVII. Good conditions, except...

Rebecca Warren 1990 2007 Lithographic print on MDF, with pom-pom, cotton thread, wood shaving, twig, and wood chip 16 x 9 x 3 inches; 41 x 23 x 8 cm Edi...

Hilltopper is an original, hand drawn, limited edition lithograph(not a photo reproductioon or digital print) by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100% acid free. Hilltopper is a finely detailed winter landscape drawing depicting a snow covered hilltop with a lone, English style horseback rider and nature details including dried grasses, branches, and large bare tree firmly anchored to the frozen earth. Print size - 32 x 27 inches, unframed, excellent condition, hand signed in pencil by Peter Sculthorpe, numbered PP (Printers Proof) aside from the edition of 275 Edition size - 275, plus proofs Year published - 1989 Printer - J K Fine Art Editions Co. NY Peter Sculthorpe's paintings are well known for their true to life depictions of rural stone barns, color changing shadowy skies, snow covered landscapes, cows, horses, lone figures that capture the countryside and stone architecture of the Brandywine Valley...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen...

"White Calf" is an original lithograph print by Thomas Hart benton. It features the image of a man milking a cow while her calf lays down in front. Benton's breathtaking way of rende...

This is an original 19th century John James Audubon hand-colored quadruped lithograph entitled "White American Wolf", No. 15, Plate LXXII, from Audubon's "Quadrupeds of North America...

Lynn Chadwick Winged Creature, 1958 Original lithograph in colour on wove paper Signed by the artist, lower right on recto and numbered lower left on recto Condition: several handlin...

Jean Marais (1913 - 1998) Wheel of Life : To the Future Original lithograph Signed with the stamp of the artist (Also bears printed signature in the pla...

This original lithograph in colours is hand signed in pencil by the artist "G. Braque" at the lower right margin. It is also hand numbered in pencil from the edition of 75, at the lo...

Allan Mardon, Canadian (1931 - ) - Pheasant Hunt, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 17 x 23 in. (43.18 x 58.42 cm), Descr...

Horn Dog is a lithograph on paper, 9.5 x 9" image size, initialed 'BD' lower right and numbered lower left. From the edition of 395, numbered 84/275 (there were also 100 Roman and 20...

This is a hand-colored folio sized lithograph entitled "Iyngipicus Gymnophthalamus" (Ceylonese Pygmy Woodpecker) by John Gould from his monograph "The Birds of Asia", published in London in 1850-1883. The print, which was drawn by Gould and W. Hart and lithographed by Hullmandel and Walton, depicts two striped brown and ivory-colored woodpeckers with white and black on their heads. One is perched on a tree limb with pea green-colored leaves and the other on a round rose, brown-colored fruit. Both are pecking at fruit. This beautiful Gould hand-colored woodpecker lithograph measures 21" x 14.13". There is minimal faint focal discoloration in the lower margin. It is otherwise in excellent condition. The original text page is included with a round blindstamp in the right lower corner. There are several other unframed Gould woodpecker and other bird lithographs available via our 1stdibs storefront. Two or more of these would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds...

The Frogs is an enchanting lithograph realized in 1940 ca. by Fabrizio Clerici (1913-1993). Hand-signed in pencil, on the lower right. Artist's proof "P.A", on the lower left. The ...

LEONOR FINI Jester Cat 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Vampire Spectre 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 pub...

LEONOR FINI Cat Arabesque 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

The Bat 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 published i...

Fish is an original artwork realized by the french artist Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) Lithograph print, mid-20th century. Very good conditions. Not sign...

Artist: John James Audubon (American, 1785-1851) Title: "Florida Cormorant" (Plate 417, No. 84) 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: 6.5" x 10.44" Image size: 3.75" x 6.25" Condition: Some minor discoloration upper center in margin. In excellent condition with strong colors Notes: Provenance: private collection - Cleveland, OH. 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 in the Florida Keys on April 26, 1832, Audubon's forty-seventh birthday. The double-crested cormorant (Nannopterum auritum) is a member of the cormorant family of water birds. It is found near rivers and lakes and in coastal areas and is widely distributed across North America, from the Aleutian Islands in Alaska down to Florida and Mexico. Measuring 70–90 cm (28–35 in) in length, it is entirely black except for a bare patch of orange-yellow facial skin and some extra plumage that it exhibits in the breeding season when it grows a double crest in which black feathers are mingled with white. Five subspecies are recognized. It mainly eats fish and hunts by swimming and diving. Its feathers, like all cormorants, are not waterproof, and it must dry them out after spending time in the water. Once threatened by the use of DDT, the numbers of this bird have increased markedly in recent years. 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...

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...