Animal Prints and Multiples

Two Mid 18th century hand coloured copper plate engravings of equestrian subjects by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in fine gilt wood fr...

Horse Head by Leon Danchin... 1887-1938... is a handsome portrait of a thoroughbred turning his head to look behind him. Born in Lille, France Danchin began his career as an artist a...

Chevaux de Poste is a black and white etching realized by Charles Amédée de Boret (1837–1916) in 1870s. Titled in the lower. Image size: 20cmx26.5cm. Very Good condition. Signed ...

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

MARGUERITE KIRMSE (American, 1885-1954) " GAEU AWA c. 1940 Etching, signed and titled depicting a Scottie dog on a dock, plate 6-5/8" x 9-5/8" plate. Sheet 11 ½ x 13 ½”.Generally ...

In this dynamic and visually compelling poster from 1936, renowned French poster artist Paul Colin celebrates the excitement of horse racing and its association with the French Natio...

Etching with relief printing Edition of 45/50 Signed on the front, numbered on the back Mint Published by Manifold Editions, 2021 Our mission is to connect art collectors to opportu...

This is an original 1st edition John James Audubon hand-colored lithograph entitled "White-headed Sea Eagle or Bald Eagle", No. 3, Plate 14 from Audubon's "Birds of America, lithogra...

Artist: John James Audubon (American, 1785-1851) Title: "American Flamingo" (Plate 375, No. 75) Portfolio: The Birds of America, First Royal Octavo E...

Brodie Standing by Helen Fay [08] Limited Edition Etching , hand printed on Hanemulle etching paper Edition number edition size 75 Image size: H:30.5 cm x W:51 cm Complete Size of Unframed Work: H:45 cm x W:64 cm x D:.15cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look This is a handmade and hand printed etching. An old friend of mine, Brodie the Scottish Terrier. He was a regular at the shows and a wonderful character. Animals have always been at the heart of my work. I find the form, movement and behaviour of the creatures I draw a source of limitless fascination. I love the idea of them watching me, watching them as I draw. I hope my appreciation of the sentience and character of the animals I draw comes across in my work. Over my career I have drawn everything from primates to penguins, dogs, ostriches and even an echidna. These days dogs are my main focus, mostly because I adore dogs but also because they are such an integral part of life. I am delighted by the theory that humans and dogs co evolved, we wouldn’t be what we are without them and vice versa. I try to pare my images down to a balanced simplicity that directs attention to the subject of the picture. I try to balance the subject and the space it occupies, giving each equal importance. Light is hugely important to my work, I imagine my subject in three dimensions as I draw and the light describes the musculature and texture that gives the drawing it’s presence and grounds it in the picture. I aim to capture a pause, a moment where whatever I draw looks like it could wander off or leap up any minute. My influences include Japanese prints, Chinese and Japanese brush drawing and the European artists who were influenced by Japan. I am really excited by composition, by artists like Bonnard and Leon...

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

Crab by Lucy Routh Limited edition print and hand signed by the artist Edition size for this print is 100. Image size: H:50cm x W:60cm Completed size of unframed work: H:50cm x W:6...

David Shrigley I'm So Excited, 2022 17 colour screen print with a two varnish overlay on Somerset Satin Tub sized 410 gsm 29 1/2 × 22 in 75 × 56 cm Edition of 125 Numbered and signe...

Jean Solombre, French (1948 - ) - Tous Les Oiseaux Du Monde, Year: 1983, Medium: Etching with Aquatint on Arches, signed, titled and numbered in pencil, Edition: 24/110, Image Siz...

Artist: John James Audubon (American, 1785-1851) Title: "Roseate Spoonbill" (Plate 362, No. 73) 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: 6.75" x 10.44" Image size: 5" x 7.63" Condition: In excellent condition Very rare The "Roseate Spoonbill" is one of the very top, absolute most desirable birds from Audubon's famous "Birds of America" series Notes: Provenance: private collection - Fleming Island, FL. 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 Florida in 1831 or 1832. "This beautiful and singular bird" was prized for its wings and tail feathers which were made into fans in St. Augustine. The roseate spoonbill is a gregarious wading bird of the ibis and spoonbill family, Threskiornithidae. It is a resident breeder in both South and North America. The roseate spoonbill's pink color is diet-derived, consisting of the carotenoid pigment canthaxanthin, like the American flamingo. 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...

Male nude linocut, from the series "The Sensual Line" comprised of 4 male and 4 female images. Reyes attended The School of the Art Institute of Chicago, where he received a Bachel...

Paper Size: 59 x 35 inches ( 149.86 x 88.9 cm ) Image Size: 59 x 32 inches ( 149.86 x 81.28 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details:...

JUN'ICHIRO SEKINO (1914-1988) TWO SIAMESE CATS Japanese Woodblock Print, c. 1960, 1st edition, pencil signed, titled and numbered 90/200 with red Sekino pub...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With ...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

Alfie Bowen has masterfully used contrast to highlight the tiger's regal features, from the symmetrical stripes adorning its face to the texture of its whiskers. The monochrome palet...

Alfie Bowen has beautifully captured this wonderful creature, its eyes exude a profound sense of wisdom and mystery, drawing the viewer into its enigmatic world. The soft focus of th...

MARGUERITE KIRMSE (English/American 1885-1954) THREE’S A CROWD, c 1930 Etching, signed and titled in pencil. Plate 6 3/8 x 9 ¾ inches. Full sheet with edges on all sides. Sheet 10 5/8 x 13 5/8 inches. In good condition, save for old tape on sheet edges verso, showing through to recto. A hint of a mat line below the signature Kirmse is considered to be one of the most important etchers of Dogs. Sheet with even white tone - photos show oblique shadows From Wikipedia: Marguerite first trained as a harpist at the Royal Academy of Music but spent much of her spare time drawing animals. She went to the United States in 1910 on holiday with friends but stayed there.[4] She was not successful in advancing her musical career and focused her attention increasingly on her animal drawing, which she developed by frequent sketching trips to the Bronx Zoo.[5] In 1921 she started producing etchings of dogs...

New York: Sidney Lucas & The Paris Etching Society, c1970. Lithograph with colors on smooth cream wove paper, 20 x 25 3/4 inches (508 x 654 mm), full margins. Signed and inscribed i...

This features Endangered Species: Grevy's Zebra, an iconic image from Andy Warhol’s acclaimed Endangered Species series. Originally conceived to bring attention to endangered wildlife, this striking artwork exemplifies Warhol’s signature pop art style—vibrant color palettes, graphic precision, and a bold visual voice. The image comes from a 1992 collectible box set published by teNeues Publishing Company and printed in Germany to exceptional standards. The piece is presented in a white wood frame with a 1-inch front profile and a 3/4-inch side profile, mounted behind a 4-inch mat. This elegant presentation transforms Warhol’s zebra...

This is a hand-colored engraving of a black guillemot bird entitled "Le Guillemot" by Francois Nicolas Martinet, plate 903 from 'Histoire Naturelle des Oiseaux' in association with G...

Kissing Ass is a lithograph on paper, 6.75 x 9 inches image size. From the edition of 395, numbered 243/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silver-to...

Toucans is a lithograph on paper, initialed lower right 'BD', 9 x 9" image size. From the edition of 395, numbered LI/C (there were also 275 Arabic and 20 AP), framed in a contempora...

The original 1927 poster entitled "Panthère noire" by Paul Jouve is a captivating work that embodies the artist's talent for capturing the majesty and powe...

Etching on laid paper, depicting a finely observed study of a goat’s head shown in three-quarter profile. The animal’s curved horns, alert eye, and textured beard are rendered with e...

Bizarre Horses is an original contemporary artwork realized by Aldo Pagliacci in 1973. Mixed colored oil on canvas. Hand signed and dated on the lower right margin. Titled and sig...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With ...

Birdie is a silk skreened poster realized in 1970s. Signed on plate on the  right margin "printed in Israel by Shohar". Good conditions.

Salvador Dalí­ Pisces from Signs of the Zodiac, 1967 Lithograph Hand signed lower right Numbered 144/250 lower left Image size: 64 x 48 cm Sheet size: 73 x 52 cm Printed by Mourlot...

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

This exquisite hand-colored 18th century folio-sized engraving of a papaya plant and moth metamorphosis is plate 64 from Maria Sibylla Merian's publication '...

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...

Screenprint Edition 75 of 100 61 × 53.6 cm, 24 x 21.1 in Signed, numbered, dated and titled on the front Printer Ishida Ryoichi Artwork in excellent condition considering its age. Mi...

Artist: Popo and Ruby Lee Title: Horses Year: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: AP Size: 24 x 32 in. (60.96 x 81.28 cm)

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

Great Auk by Kate boxer consists of white and black tones outlining the hand coloured Great Auk. Additional information: Sold unframed Limited Edition of 30 Made with Drypoint, c...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Common or Virginian Deer", No. 26, Plate CXXXVI, from Audubon's "Viviparous Quadrupeds of North ...

This is an original rare and extremely collectible first edition John James Audubon hand-colored royal octavo lithograph entitled "Great North Diver or Loon", No. 96, Plate 476, from...

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

Although this work is titled Horses. It nice to think it could be (Horses in a Field in Woodstock, NY), but it was printed by Will Barnet at the Art Students League, about 1938, and Wilson, who visited Woodstock with Arnold Blanche...

Artist: John James Audubon (American, 1785-1851) Title: "Great White Heron" (Plate 368, No. 74) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Or...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on pap...

12 colour screenprint on Somerset Tub Sized White 410 gsm paper Edition of 125 (Frame: 81 x 61 x 4 cm / 31.9 x 24 x 1.6 in) Signed, numbered and dated on the back Artwork in excellen...

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: This series was captured on a local Texas ranch, where the land stretches wide and the longhorns...

Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate LXXXVI. P...

French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. 195mm by 265mm (sheet)

Etching realized by Jean Charles Baquoy in 1771. It belongs to the first edition of the suite "Histoire Naturelle de Buffon". Good conditions with slight foxing.

Wild Texas Longhorns Colored Photography Longhorn Fine Art Prints ABOUT THIS PIECE: This series was captured on a local Texas ranch, where the land stretches wide and the longhorns...

"Walking Tiger" Antoine Louis-Barye Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Tig...

This is a framed hand-colored folio sized lithograph entitled "Campylopterus Hyperythrus" (Rufous-breasted Sabrewing Hummingbird), Plate 51 from John Gould's "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three hummingbirds displaying multiple colors, including, green, blue and shades of brown highlights among burgundy and cream colored flowers. The hummingbirds are highlighted by bright iridescent metallic paint. This beautiful Gould hummingbird...

David Shrigley Sorry I Snapped At You, 2025 Woodcut 53 x 40 cm Edition of 30 hand-signed and numbered by the artist published by Shäfer Editions and comes with COA from the publisher...

Engraving on laid paper, within a ruled border. An engraved zoological plate from Buffon’s monumental Histoire naturelle, depicting two rhinoceroses shown in profile, accompanied by...

This is an original 19th century John James Audubon hand-colored lithograph entitled "Canada Lynx, Male", No. 4, Plate XVI, from Audubon's "Viviparous Quadrupeds of North America", p...

Artist: John James Audubon (American, 1785-1851) Title: "Ocelot, or Leopard-Cat" (Plate 86, No. 18) Portfolio: The Viviparous Quadrupeds of North America, Imperial Bowen Edition Year...