Michael Canney Rhinoceros Etching Signed Dated 1947 Aft Durer s 1515 Woodcut

Henri Cartier-Bresson (FRENCH 1908-2004) : Woodland scene, pencil, initialled & dated 1978 A lovely example of Cartier-Bresson’s fine detailing, demonstrating his delicate palette and artistic skill responding to the colour, light, air and texture in the rural landscape Henri Cartier-Bresson (French: August 22, 1908 – August 3, 2004) was a French humanist photographer considered a master of candid...

Ponte Corvo, Mid-Century Modern, Monotone, Surrealist print, limited edition 2/50, in the original gilded frame Playful, erotic, surrealist composition In Italian Ponte Corvo mea...

MICHAEL CANNEY (1923-1999) RHINOCEROS Etching with aquatint and plate tone 1947, signed and dated Sheet Height 14.5 cm Length 21cm. In a cream mount ...

Rare Antique Rhinoceros Engraving, Buffon Hand-Coloured Print Amsterdam 1769 Description: This striking 18th-century engraving of the Indian rhinoceros, titled Le Rhinoceros, comes from the Dutch edition of Buffon’s monumental natural history, published in Amsterdam by J.H. Schneider in 1769. Appearing as Plate VII in Tome XI, this is one of the most dramatic and desirable mammal plates in the entire series. The image was drawn by Jacques de Sève, the principal artist for Buffon’s Histoire Naturelle, and engraved by C.J. Fritsch, whose finely controlled linework captures the heavy folds, armour-like hide, and distinctive single horn of Rhinoceros unicornis with remarkable accuracy. Buffon’s description of the rhinoceros reflected the 18th century’s growing scientific curiosity about exotic species, and this plate reflects that fascination. The animal is shown standing solidly on a grassy bank against a pale sky and rocky cliff, a composition that emphasises both its mass and its rarity. De Sève’s rendering combines scientific observation with something of the romance and wonder that natural history imagery held for Enlightenment audiences. The armour-plated skin is depicted in sculptural relief through subtle cross-hatching, while carefully applied hand colouring enhances the deep greys, browns, and dusty pinks of the hide and landscape. As with all Schneider-edition plates, the colouring is richer, more transparent, and more refined than in many other continental versions of Buffon. This engraving is an excellent example of 18th-century copperplate technique. The plate mark is clearly visible, the impression strong, and the proportions generous, with wide margins characteristic of the Amsterdam edition. The sheet forms a beautiful standalone artwork but also pairs exceptionally well with other large-format Buffon subjects such as the elephant, camel, or buffalo plates...