Drawing Animal Prints

Cornamentas is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard....

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Veal anatomy is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. T...

Anatomie is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. Total...

Deer horns is an artwork realized by Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard. To...

Hornskeleton is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboard...

Sander's interiors are always intriguing. This work also reads as a stage with a dance; it recalls the Porch of the Maidens at the Erectheum at the Acropolis in Athens. There of cour...

Fetus - Wild boar - Pig is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on c...

Fetus - Squirrel is an artwork realized  by Jacques de Seve in 1771.   Etching B./W. print  on ivory paper. Signed on  plate on the lower left margin. The work is glued on cardboar...

This artwork titled "Sheet of Studies, Heads" from the suite "Bestiary and some Correspondences" 1968 is an original color lithograph on Arches paper by renown British artist Graham ...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

Harvey, Florence D. MALLARDS. Etching 6 3/4 x 5 in. Titled and signed in pencil.

This is an artist proof aquatint of a woman stepping forward in a tiled Mexican living room with her dog and a mysterious giant cactus coming out of the floor. Image is 9.75 x 9.75 ...

The Spider 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 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 artist proof (one of a kind) aquatint of a parrot made up of fingers, and beautiful insects cascading to her right. She has a human ear on one side. The images is 6 x 6 ...

Image Size: 9" x 6" Unframed Limited Edition Etching of 20 Hand Signed by Mariko Ando

Original Lithograph by Jean Cocteau Title: Artaban 1961 signed in the stone/printed signature Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" ...

John Gould (British, 1804-1881) Nasiterna Bruijni c. 1849-1861 Hand Colored Lithograph Image Size: approx 19.5 x 13.5 inches Framed Size: 27 3/8 x 21 1/2 inches John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species. Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent. This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841. When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...

Animal's Anatomy is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du...

Anatomy of Animals is an etching realized in 1771 by François Basan. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". A...

Animal's Anatomy is an etching realized by Juste Chevillet in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du...

Anatomy of Animals is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi...

Anatomy of Animals is an etching realized in 1771 by René Gaillard. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Ar...

Anatomy of Animals is an etching realized in 1771 by François Basan. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Anatomy of Animals is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Anatomy of Animals is an etching realized by Jean Gullaume Moitte in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

Skeleton is an etching realized by Louis-Simon Lempereur in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Arti...

Anatomy of Animals is an etching realized by François Basan in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du...

Anatomy of Animals is an etching realized in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Paris: Impr...

Anatomy of Animals is an etching realized by Jacques Baron in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du ...

Anatomy of Animals is an etching realized by Jacques Baron in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du ...

Interior of Animals is an etching realized by Marcel Gaillard in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet ...

Anatomy of Animals is an etching realized in 1771 by René Gaillard. It belongs to the suite "Histoire naturelle, générale et particulière avec la descri...

Anatomy of Animals is an etching realized in 1771 by François Basan. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". A...

Insects is an etching realized by Sergio Barletta in 1974. Hand-signed in pencil on the lower right. Numbered on the lower left in Roman numerals, from the edition of XXX prints. ...

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

Insects is an etching realized by Sergio Barletta in 1974. Hand-signed in pencil on the lower right. Numbered on the lower left in Roman numerals, from the edition of XXX prints. ...

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

Nude is aetching realized by Sergio Barletta in 1974. Sheet dimensions, 25 x 17 cm. Handsigned in pencil in the lower right margin. Edition XXXVII/XL. Good condtions.

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

Composition with Angels is an etching realized in 1771 by Louis Legrand (1723-1807). The Artwork is depicted through confident strokes in aa well balanced composition. Good conditi...

The Skeleton is an etching realized by Jacques Baron in 1771. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Le Nagor is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière...

Interior of an Animal is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la descr...

Interior of Animals is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". ...

Interior of an Animal is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et...

Insects is an etching realized by Sergio Barletta in 1974. Hand-signed in pencil on the lower right. Numbered on the lower left in Roman numerals, from the edition of XXX prints. ...

Le Pinche is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good condi...

l'encoubert is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature...

Le Kabassou is an etching realized by Jean Charles Baquoy in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good con...

The Organs is an etching realized by P.F. Tardieu in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist's si...

The Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". A...

The Skeleton is an etching realized by Antoine Defehrt in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artist...

Le Brebis is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulièr...

"Northern Hare" is an original color lithograph by John James Audubon. This piece depicts a white rabbit in a cool green landscape. 5 3/4" x 7 3/4" art...

George Biddle (1885-1973), Banana Grove, lithograph, 1928. Signed, titled and numbered in pencil [also annotated in the plate “Biddle/1928, lower right “47). References: Pennigar 81, Trotter 47. In excellent condition, the full sheet, on cream wove BFK RIVES paper, with their (partial) watermark. 12 1/2 x 9, the sheet 20 x 16, archival mounting (non attached mylar hinging between acid free board, glassine cover). A fine fresh rich impression in pristine condition. After Groton, Harvard College...