Art

After Andy Warhol. These lithographic prints feature an image of Mick Jagger - an iconic rock legend and the lead singer of the Rolling Stones. These unsigned postcard sized prints ...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray...

The Family is an original artwork realized by Georges Henri Tribout in about 1940. Ink, pencil drawing and watercolor; hand signed on the left ma...

'The Roman Bath', pencil on art paper (circa 1960s), School of Rome. Three broad-shouldered men make their way through the sultry corridors of the Hammam in...

Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed). John Koch was an American painter and teacher, and an impo...

This is an original 19th century hand-colored McKenney and Hall engraving of a Native American entitled "Not-Chi-Mi-Ne, An Ioway Chief, No. 91", published by Rice, Rutter & Co. in 1865. This original McKenney and Hall engraving is presented in a cream colored mat, suitable for framing with a protective clear sleeve. The mat measures 13.88" x 11.75" and the sheet measures 10.63" x 7.38. There is a spot in the lower left margin and tiny faint spots in the periphery, but the print is otherwise in very good condition. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Kish-Ke-Kosh, Fox Brave", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. Kish-Ke-Kosh, means 'The Man with One Leg' or 'He with a Cut Hoof'. He had a reputation for being a fierce warrior. He was a representative of the delegation of Sioux and Fox and Sauk chiefs who attended the gathering with the War Department in 1837. The Fox tribe lived in the Great Lakes region of the United States and merged with the Sauk tribe. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are tiny spots in the lower left margin, another in the right lower margin and mild smudging in the left margin, but the print is otherwise in very good condition. The original descriptive text pages, 119-120, from McKenney and Hall's 19th century publication are included. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

'Mon Colonel', pencil and crayon on paper, by noted French artist, Auguste Chabaud (circa 1914-1918). A delightfully simple drawing of a French Army colonel in profile along with clo...

Artist: Félix Bracquemond (French, 1833-1914) Title: "Canards Surpris (Surprised Ducks)" *Signed by Bracquemond in pencil lower right. It is also initial signed in ink lower left Year: 1882 Medium: Original Drypoint Etching on cream Japanese paper Limited edition: 100 Printer: Imprimerie Lemercier, Paris, France Publisher: likely the artist Bracquemond himself, Paris, France Reference: "Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes", Vol. XII, Paris, 1885–1892 - Henri Béraldi: cat. No. 778; "Inventaire du Fonds Francais Apres 1800" - Jean Adhémar, Jacques Lethève: cat. No. 394, page 383; Laran No. 394 Framing: Recently framed in a gold Baroque moulding and rag matting from Holland Framed size: 23.75" x 19.75" Sheet size: 15.25" x 11.5" Image size: 14" x 10.5" Condition: In excellent condition Notes: "B" inscribed by Bracquemond in ink lower left. There is an example of this work in the permanent collection of the Metropolitan Museum of Art, New York, NY. Biography: Félix Bracquemond was born in Paris. He was trained in early youth as a trade lithographer, until Guichard, a pupil of Ingres, took him to his studio. His portrait of his grandmother, painted by him at the age of nineteen, attracted Théophile Gautier's attention at the Salon. He applied himself to engraving and etching about 1853, and played a leading and brilliant part in the revival of the etcher's art in France. Altogether he produced over eight hundred plates, comprising portraits, landscapes, scenes of contemporary life, and bird-studies, besides numerous interpretations of other artist's paintings, especially those of Jean-Louis-Ernest Meissonier, Gustave Moreau and Jean-Baptiste-Camille Corot. After having been attached to the Sèvres porcelain factory in 1870, he accepted a post as art manager of the Paris atelier of the firm of Haviland of Limoges. He was connected by a link of firm friendship with Édouard Manet, James McNeill Whistler, and all the other fighters in the impressionist cause, and received all the honors that await the successful artist in France, including the grade of Officer of the Legion of Honor in 1889. Bracquemond was a prominent figure in artistic and literary circles in the second half of the 19th century. He was close to writers such as Edmond de Goncourt and critic Gustave Geffroy, and numbered among his friends Millet and Corot, Henri Fantin-Latour, Degas and the Impressionist circle, and Auguste Rodin. He was one of the more prolific printmakers of his time and he was awarded the grande medaille d'honneur at the Universal Exhibition of 1900. He was also a painter, ceramist, and an innovator in decorative arts. Gabriel Weisberg called him the "molder of artistic taste in his time". Indeed, it was he who recognised the beauty of the Hokusai woodcuts used as packing around a shipment of Japanese china, a discovery which helped change the look of late 19th-century art. He married French Impressionist artist Marie Bracquemond...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Not-Chi-Mi-Ne, An Ioway Chief ",...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Ap-Pa-Noo-Se, A Saukie Chief", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. For his portrait Ap-Pa-Noo-Se (A Chief When a Child) is wearing a feathered headdress, long ornamental earrings, multiple chain necklaces...

Arthur Paunzen, 'Der Trunkene im Frühling' (The Drunkard in Spring) from the suite 'Song of the Earth', etching, aquatint, and drypoint, 1920. Signed and titled in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream, wove Japan paper; the full sheet with margins (2 1/4 to 4 1/4 inches), in good condition. Image size 12 3/8 x 9 1/8 inches; sheet size 19 5/8 x 13 5/8 inches. Matted to museum standards, unframed. ABOUT THIS WORK Pauzen’s suite of six etchings 'Das Lied von der Erde' (The Song of the Earth), published in 1920, was inspired by Gustav Mahler...