Drypoint Animal Prints

The Matador. 1911. Drypoint. Hardie 109. 6 7/8 x 10 7/8 (sheet 7 7/8 x 12). Edition 15. A few scattered foxing marks and slight mat line; otherwise fine o...

Night Time, Dieppe. 1926-27. Drypoint. Appleby 123. 7 7/8 x 11/ Edition 100. A fine impression printed on cream laid paper with full margins. Signed in penc...

"The Winner" - Etching on Paper Clean and modern drypoint etching of a horse skeleton by Maria Bennett (American, 20th Century). This etching has layer...

Sharon Augusta Mitchell created "Cena Ultima" as if guinea vultures were the apostles in a "last supper" pose arrayed around a carcass in an edition of 100. This is impression #9 fr...

Yellow Sky is a limited edition drypoint print by artist Kate Boxer, featuring two cowboys riding through a dessert scene.  This work is sold unmounted and unframed. ADDITIONAL INF...

Cowboy is a limited edition drypoint etching made with carborundum on paper by printmaker and artist, Kate Boxer. The classic black and white artwork is somewhat reminiscent of the o...

"Dialogue to the Wind" by Tomoya Uchida (American, 20th Century). Plant matter swirls in the air above a minimalist landscape. In the foreground, two bees have landed on a housekey. The sky is subtly textured, creating the impression of passing gusts of wind. Titled "Dialogue to the Wind" along the bottom edge. Signed and dated "T. Uchida - 89" in the lower right corner. Presented in a new light grey mat with foamcore backing. Mat size: 22"H x 17"W Paper size: 19.75"H x 13"W Tomoya Uchida (Japanese, b. 1947) was born in Tsuyama City in the Okayama prefecture in Japan. He graduated from Doshisha University, Kyoto, in 1970, and went on to become the artist-in-residence at the KALA Institute of Prints in Berkeley, CA, in 1989. He then moved to Australia, where he studied under Prof. Jorg Schmeisser...

Agatha Christie is a hand coloured limited edition drypoint etching by Kate Boxer. It shows the icnonic writer in a black hat and brown fur coat against a red backdrop. Dame Agatha ...

Oscar Wilde by Kate Boxer prtint made with drypoint, gouache and carborundum, shows a portrait of Oscar sitting on a red chair wearing a black suit with stripped detailed trousers an...

Austen is a limited edition drypoint print by artist Kate Boxer, featuring a white horse looking behind in a minimalist composition. ADDITIONAL INFORMATION: Drypoint print, Handmade...

Tennessee Williams and Mr Moon is a handmade dry point print by artist Kate Boxer, featuring a boxer dog sitting obediently with his owner. ADDITIONAL INFORMATION: Drypoint print, H...

"Birth" by Tomoya Uchida (American, 20th Century). This piece is mostly abstract, high-contrast organic shapes, with the exception of one straight line that sits above the organic shapes. In the lower left corner of the piece, there is a wasp. Titled "Birth" along the bottom edge. Signed "T. Uchida" in the lower right corner. Presented in a new white and black double mat with foamcore backing. Mat size: 14"H x 10"W Paper size: 12"H x 8.5"W Tomoya Uchida (Japanese, b. 1947) was born in Tsuyama City in the Okayama prefecture in Japan. He graduated from Doshisha University, Kyoto, in 1970, and went on to become the artist-in-residence at the KALA Institute of Prints in Berkeley, CA, in 1989. He then moved to Australia, where he studied under Prof. Jorg Schmeisser...

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, carb...

Stevie Sitting is a handmade dry point print by artist Kate Boxer, featuring a wire haired dog sitting obediently. Kate Boxer is an artist and printmaker.   The unique style of Kate...

Il barrocciaio is a superb etching, drypoint and burin on an ivory-colored laid paper, realized in 1939 by the Italian artist Arturo Checchi (1886-1971)...

Dropping In Drypoint, c. 1940 Signed lower right (see photo) Titled lower left Condition: Excellent Brown paper tape around the sheet edges from the printing and air dryi...

Broadbills Drypoint, 1922 Signed in pencil, lower left (see photo) Initialed and dated in the plate (see photo) Edition: 150 (unnumbered) Condition: Excellent, professionally cleaned...

Lice (Mallards grooming themselves) Drypoint, 1927 Signed and dated lower right (see photo) Titled lower left corner Condition: Excellent Image/Plate size: 6 7/8 x 10 3/4 inches Shee...

Untitled (Three Ducks Taking to Flight) Drypoint, c. 1940 Signed lower right Provenance: Estate of the Artist Winchell Heirs by descent Condition: Excellent Ima...

I Won’t Eat You [2021] I Won't Eat You by Kate Boxer is a limited edition drypoint etching. This contemporary art print with gouache depicts a lion and is a humorous work of art by ...

A very good impression of this aquatint, grattoir and drypoint. Edition of 225. Printed by Lacourière, Paris. Published by Martin Fabiani, Paris. From "Histoire Naturelle." Catalogu...

Izzy, a charming characterful terrier stands alert, holding her ball in her mouth. Colour etching hand made and printed by the artist. Helen Fay's art for sale online and in our gallery at Wychwood Art. 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 Spilliaert. I have long been a fan of Munch for his direct mark-making, colour and intensity and at the other end of the spectrum, Hammershoi for his limited palette, sense of space and calm. I am interested in black and white photography and film and have recently discovered and been amazed by the films of Yasujiro Ozu...

The Monkey 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 7.9 inche...

Stanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...

The Deer 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 8.15 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...

The White Eagle 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 8.15 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...

The Ox 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 10.7 x 8.2 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...

The Bull 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 10.15 x 8.5 inches...

The Lizard 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 8.15 inch...

The Sparrow Hawk 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...

The Frog 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 10.6 x 7.9 inches,...

The Turkey 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 10.8 x 7.9 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...

The Lobster 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 10.6 x 7.9 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...

The Rooster 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 10.6 x 8.15 inc...

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...

The Wasp 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 10.6 x 8 inches, u...

The Goldfinch 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 11.2 x 8.25 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...

The Pigeon 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 10.75x 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...

The Donkey 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,...

The Mother Hen 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 10.6 x 8 inc...

The Vulture 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 10.6 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...

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...

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...

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...

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) '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...

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...

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) '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) 'Homage to the horse (The white stallion – Huldigrung an das Pferd)', ca.1970-1989 dry point on japanese paper 22.3 x 30.4 in. (56.5 x 77 cm.) Editio...

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...

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...

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...

Salvador Dali (Spain, 1904-1989) 'La conquête du cosmos. Dali martien muni d’un double microscope holo-électronique', ca.1970-1989 cromolithograph, dry point on paper Rives BFK 300 g...

Salvador Dali (Spain, 1904-1989) 'La conquête du cosmos. Philosophe écrasé par le Cosmos', ca.1970-1989 cromolithograph, dry point on paper Rives BFK 300 g. 39.2 x 27.6 in. (99.5 x 7...

Salvador Dali (Spain, 1904-1989) 'La conquête du cosmos. Le Caducée de Mars alimenté par la boule de feu de Jupiter', ca. 1970-1989 cromolithograph, dry point on paper Rives BFK 300 ...

Salvador Dali (Spain, 1904-1989) 'La conquête du cosmos. Vision planétaire et scatologique', ca.1970-1989 cromolithograph, dry point on paper Rives BFK 300 g. 39.2 x 27.4 in. (99.5 x...

Salvador Dalí (1904-1989) – Spanish painter, graphic artist and sculptor. Drypoint with etching and pochoir on Japon paper "Elijah and the Chariot," 1975, (Horse and rider) from the "Our Historical Heritage" suite. Pencil signed along the lower right and numbered 53/250 along the lower left. Literature: Field 75-4 J Framed; Height: 29 in x width: 35 in. Mat opening 19.5 X 25.5. The Spanish artist’s extensive oeuvre not only includes watercolors, drawings and sculptures but also tapestries; here a fine example from the limited edition ‘The Twelve Tribes of Israel’ The tapestry was created after an etching by Salvador Dalí from 1973 with the title ‘The Tribe of Judah’, which the artist created as part of a suite to mark the 25th anniversary of the State of Israel, and in which he represented the twelve tribes of Israel. This vintage French tapestry is an impeccable textile re-creation of a rare Dali etching. This is a flat weave Aubusson style tapisserie. The edition size was 500. The tapestry is inscribed with woven ‘Salvador Dalí’ lower right Genre: Surrealism Subject: people, architecture rendering Medium: textile Salvador Dali (Spanish, 1904-1989) Salvador Dali is considered as the greatest original artist of the surrealist art movement and one of the greatest masters of art of the twentieth century. Dali began to study art at the Royal Academy of Art in Madrid. He was expelled twice and never took the final examinations. His opinion was that he was more qualified than those who should have examined him. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous - the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches became the artist's surrealist trademarks. Along with Rene Magritte his is considered the greatest of the Surrealists. His great craftsmanship allowed him to execute his paintings in a nearly photo realistic style. No wonder that the artist was a great admirer of the vintage Italian Renaissance painter Raphael. Meeting Gala was the most important event in the artist's life and decisive for his future career. She was a Russian immigrant and ten years older than Dali. When he met her, she was married to Paul Eluard. In 1933 Salvador Dali had his first one-man show in New York. One year later he visited the U.S. for the first time supported by a loan of US$500 from Pablo Picasso. To evade World War II, Dali chose the U.S.A. as his permanent residence in 1940. He had a series of spectacular exhibitions, among others a great retrospective at the Museum of Modern Art in New York. He has worked in paining, sculpture, tapestry, Daum glass and prints. Dali became the darling of the American High Society. Celebrities like Jack Warner or Helena Rubinstein gave him commissions for portraits. His artworks became a popular trademark and besides painting he pursued other activities - jewelry and dated clothing designs for Coco Chanel or film making with Alfred Hitchcock. In 1948 Dali and Gala returned to Europe, spending most of their time either in their residence in Ligate/Spain or in Paris/France or in New York. Dali developed a lively interest in science, religion and history. He integrated things into his art that he had picked up from popular science...