Etching Animal Prints

Artist: John James Audubon (American, 1785-1851) Title: "Eared Grebe" (Plate CCCCIV - 404; part No. 81) Portfolio: The Birds of America, Havell Edition Year: 1838 Medium: Original Ha...

Not Signed. Not Numbered. Edition of 225 pieces. Etching - aquatint. Belongs to the Suite "Histoire Naturelle de Buffon". Catalogue Bloch n.339. Passepartout included.

Oiseau Multicolore by Georges Braque, French (1882–1963) Date: 1950 Aquatint Etching, signed and numbered in pencil Edition of 69/200 Image Size: 10 x 19.5 inches Size: 17.75 x 25.25...

Salvador Dali (Spain, 1904-1989) 'Le Cheval et le Loup', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 22.9 x 30.8 in. (58 x 78 cm.) Edition of 250 Unframed ID: DAL2001-013 Hand-signed by author It appears reviewed in the catalog raisonné: The official catalog of the graphic works of Salvador Dalí. Albert Field. Page: 2/93. Nr. 74-1 L. ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

Salvador Dali (Spain, 1904-1989) 'Jinete apocalíptico', 1974 dry point, etching on paper 22.3 x 30.4 in. (56.5 x 77 cm.) Edition of 175 Unframed ID: DAL2001-016 Hand-signed by author ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

Artist: Pablo Picasso Title: Clavando un par de Banderillas (Pinning a Pair of Flags) Portfolio: La Tauromaquia Medium: Aquatint Year: 1959 Edition: Deluxe portfolio edition of 10 Fr...

Salvador Dali (Spain, 1904-1989) 'La Cerf se voyant dans l’eau', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.6 x 22.7 in. (77.5 x 57.5 cm.) Editi...

Jose Bedia (Cuban, 1959) 'Tumba y Raja', 2019 Engraving, etching, drypoint and sugarlift on iron plate Limited edition of 30 Image size: 89.5 x 151.5 cm. (35.2 x 59.6 in.) Overall si...

Salvador Dali (Spain, 1904-1989) 'Le Coche et le Mouche', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 22.9 x 30.4 in. (58 x 77 cm.) Edition of 250 U...

" Migration " is an etching realized by  Georges Braque  in 1962. The print is hand signed and numbered. This is an edition of 90 prints. Bibliography: D. Vallier,  Braque : l'oeuvre gravé: catalogue raisonné , Flammarion, Paris 1982, p.241, n.72. Georges Braque  (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s  Les Demoiselles...

Salvador Dali (Spain, 1904-1989) 'La Cerf Malade', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.6 x 22.9 in. (77.5 x 58 cm.) Edition of 250 Unfram...

The Horse and the Wolf is an artwork realized in 1974. Etching and drypoint with stencil. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. It belongs to the suite Le ...

Salvador Dali (Spain, 1904-1989) 'Le Singe et le Léopard', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.8 x 22.7 in. (78 x 57.5 cm.) Edition of 25...

Salvador Dali (Spain, 1904-1989) 'Les Animaux Malades de la Peste', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 22.9 x 30.4 in. (58 x 77 cm.) Editio...

The Lion's Court is an srtwork realized in 1974. Etching and drypoint with stencil. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. It belongs to the suite "Le Bestia...

Salvador Dali (Spain, 1904-1989) 'La Cour du Lion', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.6 x 22.7 in. (77.5 x 57.5 cm.) Edition of 250 Unframed ID: DAL2001-007 Hand-signed by author It appears reviewed in the catalog raisonné: The official catalog of the graphic works of Salvador Dalí. Albert Field. Page: 2/93. Nr. 74-1 J. ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

Salvador Dali (Spain, 1904-1989) 'La Cour du Lion', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.8 x 22.9 in. (78 x 58 cm.) Edition of 250 Unframed ID: DAL2001-008 Hand-signed by author It appears reviewed in the catalog raisonné: The official catalog of the graphic works of Salvador Dalí. Albert Field. Page: 2/93. Nr. 74-1 C. ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

Artist's proof, hand signed by the Artist. Excellent conditions.

Alice In Wonderland:Hookah Smoking Caterpillar is an original hand made etching by the American abstract painter Knox Martin. Printed in black ink on archival printmaking paper, 100% acid free. Erotic fantastical interpretation of “Alice’s Adventures in Wonderland”, where Alice first meets the Catepillar while he is sitting on a mushroom smoking a hookah. He helps her by advising her to eat from the mushroom if she wants to change her size. Print size- 18" x 15", Image size - 8.25" x 6.75" Edition size - 50 About the artist- Knox Martin (1923-2022) was an esteemed New York School painter. Knox Martin was born in 1923 in Barranquilla, Colombia. He was the son of the aviator, painter, and poet William Knox Martin, the first man to fly over the Andes mountains. After serving in World War II, Knox Martin attended the Art Students League of New York on the G.I. Bill from 1946-1950, where he studied with Harry Sternberg, Vaclav Vytlacil, Will Barnet, and Morris Kantor. In 1954, Knox Martin's friend Franz Kline placed a painting of his in the Stable Gallery Annual. Charles Egan of the renowned Charles Egan Gallery saw Knox Martin's painting at the Stable Gallery and asked Martin to show his work in a one-man show for the tenth anniversary of the Egan Gallery. Since then, Knox Martin was a celebrated painter, sculptor and muralist. Knox Martin had an extensive exhibition record and his work is in museum, corporate and private collections worldwide. His two best-known murals in NYC are Venus and Woman with Bicycle...

Salvador Dali (Spain, 1904-1989) 'L’Elephant et le singe de Jupiter', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 22.9 x 30.8 in. (58 x 78 cm.) Edition of 250 Unframed ID: DAL2001-006 Hand-signed by author It appears reviewed in the catalog raisonné: The official catalog of the graphic works of Salvador Dalí. Albert Field. Page: 2/93. Nr. 74-1 B. ______________________________________________________ Salvador Felipe Jacinto Dalí i Domènech was a Spanish painter, sculptor, engraver, set designer and writer of the 20th century. An artist associated with surrealism, he is one of the most important figures in 20th century art, representing the archetype of the spectacular contemporary multifaceted artist. He develops his creative activity in various fields through the most diverse cultural formulas: painting, written media, performing arts, cinema, or public appearances in the press, radio, cinema, advertising, television, etc. Master of the most refined pictorial technique, especially drawing, along with various aesthetic languages - from impressionism, cubism, purism or late ultraism with Dadaist edges to the most radical surrealism, hyperrealism, pop-art or art optical—, will absorb every influence that is useful to build its own and personal language, halfway between technical tradition and thematic avant-garde. His paranoid-critical method is his main contribution to the surrealist movement and to the history of art as a new creative model with which Dalí's theories acquire theoretical entity - thanks to the successive interpretations that the Empordà artist made of his readings of Dalí's work. Sigmund Freud—and practice, applying it as a revealing liquid of images that can be represented plastically through multiple images, anamorphisms, relational mirages, irrational and heterogeneous symbolic images, pseudohallucinations, childhood memories, atavisms, obsessive ideas, etc., and recreating a polyphonic method capable of critically relating any visual or sensitive experience. With his method, Dalí makes paranoid delirium a whole mode of expression of an art that introduces us to the concrete irrationality that inhabits every creative process, constructing not only his works, but also his own character. as an artist. In Dalí, the relationship between his work and his personal history becomes evident. Much of the most significant biographical facts for the artist are implicitly or explicitly present in the content of his work and are the explanation of his complex and contradictory personality. In 1910, at the age of 6, he was enrolled by his father in the Hispano-French school of the Immaculate Conception of Figueres, where he learned French, his future language of culture. Dalí's first contact with Impressionism occurred in 1916, when he spent some time on the outskirts of Figueres, specifically at the Molí de la Torre estate, property of the Pichot family (intellectuals and artists), where he was the collection of the painter Ramón Pichot. In 1919 he participated for the first time in a group exhibition in the halls of the Societat de Concerts, and with a group of friends from the institute founded the magazine Studium, in which he published his first writings. A year later he moved to Madrid to study at the School of Fine Arts. In 1922 he won his first prize at the Concurs-exposició d'obres d'art originals d'students, held at the Galeries Dalmau (Barcelona). This same year he attended the School of Painting, Sculpture and Engraving in Madrid (Royal Academy of Fine Arts of San Fernando), and lived in the Student Residence, where he became friends with prominent personalities such as Luis Buñuel, Federico García Lorca, Pedro Garfias , Eugenio Montes, or Pepín Bello. However, a year later he was expelled from the Academy for his rebellious and revolutionary character, accused of leading a protest. It would be in 1927 when his surrealist period began, after having traveled to the Netherlands and France, meeting Flemish painters and Picasso. In Paris itself, in 1929, through Joan Miró, he came into contact with a group of surrealists headed...

The Coach and the Flies is an artwork realized in 1974. Etching and drypoint with stencil. 59 x 79 cm. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. It belongs to...

Etching realized by Mimmo Paladino in 2008, in occasion of the Olympic Games in Beijing, China. Hand signed and numbered. Edition of 260. This work by is from the portfolio The Un...

Rare Original Etching by Salvador Dali Title: Don Quixote and Sancho Signed Dimensions: 76 x 56 cm Edition of 200 on Auvergne 1980 References : Field 68-1 / Michler & Lopsinger 266

Salvador Dali - Corrida - Vintage Poster with Etching Etching made behind a menu in Restautant Duran as a tribute dinner to Salvador Dali and his wife Ga...

Artist: Pablo Picasso Title: Los Cabestros Retiran al Toro Manso (Halters Withdraw the Tamed Bull) Portfolio: La Tauromaquia Medium: Aquatint Year: 1959 Edition: Deluxe portfolio edi...

Image dimensions: 38.2 x 45.7 cm. Girl and Pigs is an original etching, hand-colored, d'après George Morland. Interesting artist's proof by William Ward ...

Hand Signed. Edition of 100 prints (plus 100 not signed). From the series “Les Fables de La Fontaine”, realized by Chagall between 1952 Image Dimensions : 30 x 24 cm Ref. Cramer 2...

Artist: Thomas Cornell (American 1937-2012) Title: Monkey (Edition 33/100 Dated 1959) Medium: Etching on paper Condition: This work is in good condition, in its original frame. Provenance: Private Collection New York About: Cornell was known for empirical drawings and paintings. His work involved moral content concerning global, social, and environmental justice. He was the Richard E. Steele Artist-in-Residence at Bowdoin College...

Artist: John James Audubon (American, 1785-1851) Title: "Sandwich Tern (with Florida Cray Fish) (Florida Keys)" (Plate CCLXXIX - 279; part No. 56) Portfo...

Artist: Salvador Dali (Spanish, 1904-1989) Title: "Le Téléphone (Lobster Telephone)" Portfolio: Hommage à Leonardo da Vinci (Great Inventions) *Signe...

Salvador Dali (Spain, 1904-1989) 'La Chêne et le Roseau', 1974 Serie: Le Bestiaire de La Fontaine dry point, aquatint on japanese paper 30.9 x 22.7 in. (78.4 x 57.5 cm.) Edition of 2...

Plague-Stricken Animals is an artwork realized in 1974. Etching and drypoint with stencil. Dimensions: 59 x 79 cm. Printed by Atelier Rigal. Edition XIV/CXX on Auvergne paper. I...

Image dimensions: 20.2 x 15.3 cm. The Old Horse is a superb original etching (on copper matrix) on paper, signed on plate by the Italian Macchiaioli master...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

Image dimensions: 16.5x10 cm Signed on plate by the artist. Bibliography: A.Baboni, L’Ottocento: le incisioni di Giovanni Fattori, Museo Civico “Giovanni Fattori”, Livorno 2001, p. 7...

Marples was a painter, etcher, writer on ornithology, and principal of Huddersfield, Hull and Liverpool School of Art. He specialized in etchings of fish...

Graham Fransella Figure on Sand Limited Edition Etching Triptych Edition of 25 Individual Sheet Size: H 90cm x W 46.7cm x D 0.2cm Total Size: H 90cm x W 140cm x D 0.2cm Sold Unframed...

Image dimensions: 11.3 x 15.2 cm. Lo Scarabeo d'oro ("The Golden Beetle") is a beautiful etching realized by Luigi Bartolini in 1936. Titled in pencil on the lower left: Lo scara...

Hand Signed (artist's signature "M.Ch." lower right). Edition of 100 copies (62/100). From the series of “The Bible“, printed by Raymond Haasen and published by Tériade.. Ref. Cra...

Hand signed. Edition of 60 prints. Image dimensions : 47 X 35 cm

Image dimensions: 23 x 28.3 cm. Scarabeo Ercole is an original artwork realized by the Italian artist and engraver Luigi Bartolini in 1934.  Very rare etching on ivory paper.  Titled in blue pen by the artist on the lower left corner (Scarabeo Ercole); numbered in pencil on the lower central margin (7/50); hand-signed by the artist in blue pen on the lower right corner (Luigi Bartolini).  Edition of 50 prints.  Excellent conditions.  Other titles: Scarabei, Scarabei tropicali, Lo scarabeo Ercole, Scarabeo rinoceronte. The work is present in the National Graphic Institure (Gabinetto delle Stampe), Rome  Selected Bibliography: 1936 Marchiori, Luigi Bartolini - Hoepli 1940 dicembre, Luigi Bartolini. Presentazione delle mie acqueforti - Emporium Bergamo, N. 552 1951 Petrucci, Mostra Calcografia, n. 457 1952 L. Bartolini, Esemplari unici o rari, p. 112 1962 Ronci, Mostra Calcografia, n. 457, es. 30 1975 Roma, Mostra Gall. Don Chisciotte, n. 37 1992 Corrado Maltese, Storia dell’Arte in Italia - Einaudi 1997 Ficacci, Mostra Calcografia, n. 37 1998 Micieli, Mino Rosi e Luigi Bartolini n. 52 Selected Exhibitions: 1935 Roma, II Quadriennale d’Arte Nazionale 1949 Zurigo Kunstsalon Wolfsberg Romische Maler 1950 Parigi, Mostra Gall. Silvagni 1950 Lugano, Mostra Internazionale del Bianco e Nero (Premiato) 1951 Roma, Mostra Calcografia, n. 457 1956 Lucca, Mostra Gall. La Pantera...

Das Grosse Tier II is an original etching and drypoint, realized by Richard Müller in 1919, signed on the plate, numbered 60/74 and signed in pencil l...

Hand signed. Edition of 40 prints. Plate III from the series: Imagines. Image Dimension : 41 x 37 cm.

Hand Signed. Plate 57 from the series "Les Fables de La Fontaine". Good conditions.

Hand signed. Edition of 75 prints. Published by Crommelynck, Paris, in 1970. Bibliography: G. Guastalla, G. Guastalla, Marino Marini. Catalogo ragionato dell'Opera grafica (Incisi...

Hand signed. Edition of 75 prints. Published by Crommelynck, Paris, in 1970. Bibliography: G. Guastalla, G. Guastalla, Marino Marini. Catalogo ragionato dell'Opera grafica (Incision...

Hand signed. Edition of 75 prints. Published by Crommelynck, Paris, in 1970. Bibliography: Toninelli n. 101. Image dimensions : 44 x 39 cm.

Image dimensions : 39 x 25 cm. Hand signed. Edition of 40 prints. Plate X from the series "Imagines".

Image dimensions: 22.5 x 34.7 cm. Uccellini imbalsamati is an original artwork realized by the Italian artist and poet Luigi Bartolini in 1943. Original etching on paper.  Signed ...

Image dimensions: 6.5 x 11 - 8.5 x 10 cm. Scarabei Tropicali (Tropical Beetles) is an original artwork realized by the great Italian engraver and poet Luigi Bartolini in 1930. V...

Image dimensions: 27 x 32.7 cm. Le Trote ("The Trouts") is original artwork realized by the Italian artist, poet and engraver Luigi Bartolini in 1934.  Very rare etching on rigid ...

Image dimensions: 25 x 33 cm. Storia del Martin Pescatore is an original artwork realized by the Italian artist and engraver Luigi Bartolini in 1935. Original etching applied on C...

Original B/W etching realized by Enrique Marín in 1972. Hand signed, dated and titled in pencil. Edition of 75 prints. The etching represents a ram in attack position in a square sp...

Artist: Abraham Hondius (Dutch, c.1625-1691) Title: "Honden Jagen Op Een Beer (Hounds Hunting a Bear)" *Signed and dated by Hondius in the plate (print...

Lioness is a modern artwork realized by Evert Louis van Muyden (Albano, Lazio 1853 - 1922 Orsay) in 1900 . Black and white etching. Signature and date on plate. Includes passe-pa...

This is one of the illustrations of "Dizionario di scienze naturali" (Natural sciences dictionary) edited by Battelli nel 1831.  The work was made of 29 volumes, containing hundreds ...

La Daine is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. The artwork belongs to the suite "Histoire naturelle, générale et particulièr...

La Chevre is an artwork realized  by  Buvée l'Américain in 1771.   Etching B./W. print  on ivory paper. The artwork belongs to the suite "Histoire naturelle, générale et particuliè...