Barbara Kwasniewska Furniture

English etching artist proof. The bottom reads as follows: Printed by Henry Fradelle and engraved by Thomas Lupton. Rebecca and Ivanhoe AS THE WOUNDED KNIGHT WAS ABOUT TO ADDRESS THIS FAIR APPARITION SHE IMPOSED SILENCE BY PLACING HER SLENDER FINGER UPON HER RUBY LIPS...

The etching titled "Nevel" (Dutch for "Mist" or "Fog") by Abe Gerlsma depicts a winter landscape in the region of Franeker, which is in the province of Friesland in the Netherlands. ...

Lot of three framed decorative Hand colored topographical etchings Platemark, 34.8 x 46 cm, (13 5/8 x 18 1/8 in.) Frame, 55.6 x 67.8 cm., (21 7/8 x 26 3/4 in.) Ansicht des Ch...

A lovely incomplete folio featuring 6 of 10 plates from Enrico Baj's mixed-media "Baz Chez Baj" printed edition on wove paper; each print from this limited edition has been signed "B...

Large framed etching of a massive urn by Francesco Piranesi in the style of his father, Giovanni Battista Piranesi, plate 549 #43, signed lower left on plate Cavalier Piranesi Delin,...

Salvator Rosa, the Italian Baroque painter was also a significant etcher and printmaker. Rosa’s is series of small prints of soldiers was very popular and influential. This etching i...

A real etching after Rembrandt's masterpiece By Amand Durand Published circa 1900 On good quality wove type paper Unframed.

A real etching after Rembrandt's masterpiece By Amand Durand Published circa 1900 On good quality wove type paper Unframed.

This signed etching of Bowling Green Park was done by Anton Schutz. It is dated 1927. It depicts a bustling scene in the Financial District of Lower Manh...

"Vintage 1972 serigraph print “casino,” pencil signed and numbered 95/300 by LeRoy Neiman, showing a roulette table in a crowded casino. “LeRoy Neiman (1921-2012) Known for his br...

"Antique cityscape print “From an Etching by Frank Brangwyn, R.A. A.D. 1922 by The architectural Press. “Frank Brangwyn was born in 1867 in Bruges, Belgium. His family moved back to London in 1875 where he attended school until 1879, when he left as much out of boredom as necessity. His father worked as an architect, muralist, and in other arts-related crafts. Frank helped around the studio and continued his own artistic education by copying drawings at what was to become the Victoria and Albert Museum. His abilities attracted the notice of more established artists and at the age of 15 he was working for William Morris getting rudimentary training and preparing designs for many aspects of Morris' Arts and Crafts output. In 1885, with nothing much more than youthful enthusiasm, he submitted a painting to the Royal Academy Summer Exhibition and was accepted - at the age of 17. Spurred by this success he rented a studio and began a period of productive poverty. With little money, his early work revolved around the sea where traditional subjects for British art were moored and made docile models. This is considered his """"""""grey"""""""" period and the limited palette may be due as much to limited funds as to artistic intent. His 1890 canvas, """"""""Funeral At Sea"""""""" is typical of this period and won a Gold Medal at the 1891 Paris Salon. The young artist was making waves. In 1888, he worked on a freighter for passage to the Near East of Istanbul and the Black Sea. Orientalism was a major force in European art at the time and Brangwyn was as seduced as many artists were with the colors and light of the Mediterranean and African coasts. These trips brought a new palette to his work and something new to British art. The Buccaneers, at right, is from 1892 and the difference between it and his """"""""grey"""""""" period is dramatic. Just as we have movie critics today, art critics proliferated during the 19th century. Walter Shaw Sparrow, in his excellent """"""""Frank Brangwyn and His Work"""""""", devotes several chapters to the reaction of these critics to Brangwyn's art. Opinions were as varied as the two styles shown here, but what is most interesting is the degree of attention being paid to the work of a self-taught 25-year old. Whatever their views of his work, he was not being taken lightly. Not surprisingly, the bright hues and intense light of his new style were not appreciated by the establishment. To put his work in historic perspective, this was a period of Impressionism, Art Nouveau, and the Munich and Vienna Secessions. In British art, Sargent, Whistler, Waterhouse and Draper were popular. Lord Leighton, Burne-Jones and Alma-Tadema were still active. Brangwyn was following none of these men and the critics were at a loss as to how to pigeonhole him. The continental critics in France, Munich and Vienna had no such trouble. He was seen as a most modern and successful artist from the beginning. For his part, Brangwyn followed his own muse and in doing so found himself at the vanguard of the art world. In 1892 he began working as the designer for the new art magazine, """"""""The Graphic"""""""". In 1895 he was asked to paint murals for the notorious gallery, L'Art Nouveau, in Paris. He won medals for his work in Munich and Paris. At the age of 30, while Britain puzzled over how to evaluate his work, the rest of the world viewed him as the definition of modern British art. He illustrated books: """"""""Don Quixote...

Silkscreen print on paper and plexiglass by Italian artist Alberto Biasi. The work belongs to the artist's characteristic kinetic artistic production, which through his art implement...