Louis XVI Drawings

Color lithograph after the work by Henri Matisse, circa 1970. Signed in the stone. Edited by Edition des Nouvelles Images, France. Framed. In good original condition, with mi...

Original antique French etchings in their original gilt frames that would be awesome used in most any room of the home.

Color lithograph after the work by Henri Matisse, circa 1970. Signed in the stone. Edited by Edition des Nouvelles Images, France. Framed. In fair condition, with wear consistent o...

Color lithograph after the work by Henri Matisse, circa 1970. Signed in the stone. Edited by Edition des Nouvelles Images, France. Framed. Henri Matisse whether working as a ...

Interesting trio of English Sir William Hamilton Greco-Roman neoclassical hand-colored engravings set of images made in the Grand Tour style. Hamilton was a British ambassador to the...

Seventeen Lithographs for Frank O'Hara, New York, Limited Editions Club, 1988 the complete set of 17 signed and numbered lithographs in colors by Willem De Kooning, title page, and justification, on Chine appliqué, numbered 51 of 60 (there were also 12 with opposite facing text, and 550 bound copies with the lithographs appliquéd to the text pages), all with full margins and beautifully framed. Comes with original black cloth-covered portfolio with black leather label and gilt stamped title (very minor wear) and original purchase paperwork from Baby Jane...

Ancient Ruins with Strollers. Brown wash and graphite.

Nude male academy. Red chalk on paper. While the artist who drew this drawing is not known, the confidence in the trait along with the fascinating perspect...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

A luxurious 18th century Aubusson tapestry, depicting a rural landscape in which three shepherds watch helplessly as one of their lambs is carried off by an opportunistic wolf. Hand-...

This classic vintage print titled Habit de Mallettier Coffrettier (Outfit of a Trunk Maker) has been matted and framed in an antique gold frame....