Bev Doolittle Art

Black Ducks (Marsh Ducks) Etching, 1964 Signed in pencil lower right Titled in pencil lower left Edition: 250 Published by Associated American Artist, New York Illustrated: AAA catalogs 1964-08 and 1966-08 Condition: Excellent Image/Plate size: 11 3/4 x 9 5/8 inches Sheet size: 16 x 13 inches Hans...

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...

Early Speed Lithograph, 1953 Signed lower right Edition 250 Published by Associated American Artists Illustrated: AAA catalog 1953-03 Reference: AAA Index 1187 Condition: The sheet i...

BURRO EXPRESS by the American Western artist Conrad Schwiering, is a hand drawn limited edition lithograph printed using hand lithography techniques on archival Somerset paper 100% a...

Clark, Roland (American 1874-1957). JACK SNIPE. Etching, 1928. Edition of 70. Signed in pencil. 8 1/2 x 12 inches. In excellent condition.

This artwork "Wildcat" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 195/750 in...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

This artwork titled "Springtime in the North" c.1980, published 1996, is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. I...

This artwork "Birds in the Tree" 1976 is a color offset lithograph by American wildlife artist Thomas Quinn, born 1938. It is hand signed, inscribed Arti...

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

Action Plus Lithograph, 1950 Signed lower right (see photo) Titled lower left (see photo) Edition 250 Published by Associated American Artists, New York Illustrated: AAA catalogs 1950-01 and 1950-02 Reference: AAA Index No. 1072 Condition: Excellent Slight aging to paper Image size: 9 1/4 x 14 1/2 inches Sheet size: 12 x 15 7/8 inches Clarence William Anderson Clarence William Anderson (1891–1971), born in Wahoo, Nebraska, and known professionally as C.W. Anderson, was a writer and illustrator of children's books. Anderson had an interest in horses and drawing. When he wasn't out riding horses, he was drawing them, taking great interest in their bone structure and conformation. Anderson started his career by illustrating for other authors, but eventually began developing texts to accompany his realistic and lively black and white drawings. He is best known for his "Billy and Blaze" book series. The adventures of Billy and Blaze revolve around proper care of the horse, while teaching a lesson. Anderson would go to great lengths to give accurate information. He would even go on to write Heads Up, Heels Down as a training tool for young horse lovers. All of the stories Anderson wrote would be based on true stories or people that he knew-only the plots were fictitious. By the end of Anderson's life, he had written and illustrated over thirty-five horse books, and had also created covers for the Saturday Evening Post. Anderson is the namesake for Andy's Summer Playhouse, a youth theater in Wilton, New Hampshire.[1] Anderson also was a member of the Society of American Graphic Artists. Artwork portfolios • All Thoroughbreds, Harper and Brothers Publishers, 1948 – 20 illustrations • Post Parade, Harper and Brothers Publishers, 1949 – 15 illustrations • Turf and Bluegrass, Harper and Brothers Publishers, 1950 and 1952 – 15 illustrations • Grey, Bay, and Chestnut, Harper and Brothers Publishers 1952 and 1955 – 10 illustrations • Colts and Champions, Harper and Brothers Publishers, 1955 and 1956 – 10 illustrations • Accent on Youth, 1958 – 10 illustrations • Bred to Run, 1960 – 12 illustrations • The Look of a Thoroughbred, 1963 – 8 illustrations • Before the Bugle, 1965 - 9 illustrations • The World of Horses, 1965 – 8 illustrations • Fillies and Colts, year unknown – 5 illustrations • Man O'War, Horse of the Century, 1970 – 8 illustrations Works As author and illustrator • And So to Bed...

This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...