Elizabethan Wall Decorations

This Beautiful Large Tapestry Style Velvet Picture, depiciting an Elizabethan Courlty Scene. Possibly originating from Belgium this wonderful Piece sits in Large Wooden Dark Oak Fram...

Signed M. Ogier (Fecit:by), this set of four hand colored engravings is part of a larger edition of plates. These plates are numbered PL 16, 347, 365 and 386. The subject is probably...

Two vintage Elizabethan court scene prints. One features Queen Elizabeth banishing a pheasant, while the other features praying clergy and weeping women. The elaborate attire and d...

#39707 Very large and impressive hand painted reproduction oil portrait painting on canvas after “Patricienne de Venise” (Patrician of Venic...

Wonderful print of a Yeoman of The Guard Copper-plate engraving after N.C Goodnight Published circa 1800 Unframed.

Prince of Wales feathers Royal Wall Plaque. A great piece, a Royal Commemorative plaque, with the cast metal Prince of Wales Feathers with cro...

Pair of circa 1653 hand colored woodcut botanical plates of ferns from 'The Herbal or General Historie of Plants' by John Gerard (1545-1612). Text on both sides, mounted on sage gre...

This painting very much of the period of George Jamesone, although with a continental flavour, it is worth considering this artist. He was born in Aberdeen, where his father, Andrew Jamesone, was a stonemason. Jamesone attended the grammar school near his home on Schoolhill and is thought to have gone on to further education at Marischal College.[2] Legend has it that Jamesone once studied under Rubens in Antwerp with Anthony van Dyck.[3] This is, however, yet to be proven as his name does not appear to be noted on the Guild registers of the town.[4] Since Rubens was exempt from registering pupils, the absence of Jamesone's name does not mean that the painter definitely did not study there. Mary Erskine worked alongside or at the same period as Jamesone. Jamesone certainly did complete an apprenticeship under the supervision of his uncle, John Anderson, who was a popular decorative painter in Edinburgh at the beginning of the seventeenth century.[5] Jamesone finished this training in 1618. He is not recorded as being in Aberdeen again until 1620. If the Scotsman had gone to Antwerp, it would have had to have been between the years of 1618 to 1620. Career Whilst in Aberdeen, Jamesone made a name for himself painting portraits of local academics and scholars from the city's two feuding colleges: King's and Marischal. In 1633, when Charles I made his grand royal visit to Edinburgh, Jamesone rose from local to national fame. For this occasion the painter was asked to decorate a highly elaborate triumphal arch with the portraits of all the past kings of Scotland.[6] He was also given the honour of painting the portrait of Charles himself. It has been said that the king was so pleased with the result that he gave Jamesone a ring off his own finger as a reward.[7] After hearing of the King's approval, many of the Scottish gentry desired to be painted by the now highly reputable George Jamesone.[3] One of his finest examples is that of Mary Erskine which is on display at the National Gallery of Scotland. Jamesone had homes and studios in Aberdeen (on Schoolhill opposite St. Nicholas Kirk) and in Edinburgh (on the Royal Mile right next door to John Knox House). Having two bases allowed him to meet the demands of hundreds of patrons from the north to the south of the country. Jamesone died in Edinburgh in 1644 and was buried in Greyfriars Kirkyard in the centre of the city. The grave is largely illegible but lies on the east wall of the original churchyard.[8] Legacy Lady Janet Stewart Jamesone's pupil, John Michael Wright...

17th century style Interior Still Life, English School A well executed 20th century work on canvas. A colorful interior still life depicting a seated white dog with raised paw resti...

A set of four small hand-painted dog portrait paintings. Each dog Is dressed in period attire and wears a military or royal style uniform. This surrealist collection will be fabulous framed in small giltwood frames...

Gouache on paper costume design for Annabella, for the John Ford play: "Tis a Pity She's a Whore" by Eugene Berman signed with the cypher (E.B.), dated 1942 and annotated. Pencil ske...