19th Century More Art

Emile Yung Portrait, Felix Vallotton, Work on paper, 1890's, Impressionism Portrait d'Emile Yung, Circa 1893 Ink and charcoal on paper 26 x 18 cm / 56...

Original 19th Century Victorian King Charles Spaniel with garland adornment needlepoint slipper hand-coloured screen Wool Canvas Sz: 14 1/2"H" x 22 1/4"W Frame Sz: 19 1/2"H x 27"W...

American 1860's Hudson River School Gilt/Wood Frame. Old label verso. Rabbet Size: 8.75 x 7 in. Sight Size: 7.5 x 6.25 in. Overall Framed Size: 15.5 x 14 in. Provenance: The Historic Period Frame Collection from the Gallery of Eli Wilner...

Hand-needlepoint c1960s panel w/ three seashells & a coral branch Art Sz: 14 1/2"H x 14 1/2"W Frame Sz: 21 1/2"H x 21 1/4"W w/ bamboo frame

An exquisite figural bronze mantel clock with Putti leaning on clock face which sits on a fluted column draped in garlands and fabrics. Sitting on a r...

19th century sculpture depicting a roman carved-marble candelabrum shaft richly decorate with leaf motive. In excellent condition, this fine sculptures measures 26 cm in width and sh...

American 1860's Hudson River Frame. American 1860 applied ornament & gilded Rabbet Size: 13 x 9.75 in. Sight Size: 11.5 x 8.5 in. Overall Framed Size: 20 x 17 x 3.5 in. Provenance: The Historic Period Frame Collection from the Gallery of Eli Wilner...

American 1850's Hudson River School Gilt/Wood Frame. Rabbet Size: 13.5 x 10.5 in. Sight Size: 12 7/8 x 9.75 in. Overall Framed Size: 18 x 15 in. (12-032) Provenance: The Historic Period Frame Collection from the Gallery of Eli Wilner...

Japanese Fukusa Silk embroidery with gold thread

This mask, featuring a pink face, moustache, and slanted eyes, was created by an unknown Indonesian artist. It is approximately 8" high by 5" wide.

A silk embroidery by an unknown Japanese artist. “Fukusa, Pair of Lobsters” is from the Meiji Period and in golds and blues. The artwork is unsigned. Provenance: Private Collection, Palm Springs Heather James Fine Art, Palm Desert

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gold, as issued by Bartolomeo Paoletti (1757-1834) and his son Pietro Paoletti (1801-1847). These ‘Grand Tour’ souvenirs were brought home by wealthy European travellers. Rome was the ultimate destination and a tour of the treasures contained in its many museums complemented a young man’s education. Collecting boxes and faux bindings containing plaster casts of ancient gems...

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gold, as issued by Bartolomeo Paoletti (1757-1834) and his son Pietro Paoletti (1801-1847). These ‘Grand Tour’ souvenirs were brought home by wealthy European travellers. Rome was the ultimate destination and a tour of the treasures contained in its many museums complemented a young man’s education. Collecting boxes and faux bindings containing plaster casts of ancient gems...

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gold, as issued by Bartolomeo ...

Fine Italian tabletop created using the scagliola technique depicting mythological scenes and floral motives

Hand Woven Native American Zapotec rug. Original rug in beautiful condition.

Envelope Sz: 4 3/4"H x 4"W Frame Sz: 11 3/4"H x 14 3/4"W w/ leaf gilt frame

Elegant colour menswear advert c1843 image on board depicting three Parisien boulevardiers for a gentleman's clothier Board Sz: 30 1/4"H x 20 1/2"W

Panel Sz: 22"H x 14"W Frame Sz: 28 3/4"H x 20 3/4"W Mounted on burgundy felt

Original liqueur advert signage in bright pink & sky blue colours w/ silver bottles & a stamp (LR) dated 1898 Art Sz: 11 3/4"H x 17 1/2"W Frame Sz: 15 1/4"H x 21"W

16 panel/ 9 wood slat frame embellished with 9) letterhead emblems (front side) & 72 verso/ (rear side) Image Sz: 10 3/4"H x 19 3/4"W x 1 1/2" D Frame Sz: 12 3/4"H x 21 3/4"W w/ g...

American 1860's Hudson River Frame Rabbet Size: 14 x 11 in. Sight Size: 12.75 x 9.75 in. Overall Framed Size: 20 x 17 in. 27347-LU2595214538932

Fitz Henry Lane (1804–1865) Mary Ann, 1846 Oil on canvas, 19 x 27 ¼ in., actual; 27 1/4" H x 35 1/2" W, framed. Signed, dated lower left: F. H. Lane 1846 Fitz Henry Lane was born in Gloucester, Massachusetts, a descendent of a family of fishermen that had resided on Cape Ann since 1623. Even with a lifelong handicap, Lane taught himself how to draw and paint and spent countless hours honing his technique. By the age of twenty-eight, he was hired to apprentice at Pendelton’s Lithography, the most important printmaking firm in Boston. Here he was exposed to other American and European artists, including British marine specialist Robert Salmon. Lane soon enjoyed success as both a painter and printmaker. By the 1840s his sale of oil paintings increased, which in turn diminished the need to rely on income from his lithographs. In 1841, Lane first exhibited at the Boston Athenaeum an oil painting entitled Scene at Sea, and in March 1842 he exhibited Ships in a Gale at the Apollo Association in New York City. By 1847,Lane’s reputation was firmly established, and he moved back to Gloucester permanently, except for trips to New York, Maine, Maryland, and possibly Puerto Rico. His highly refined images of Gloucester Harbor and its environs were celebrated for their minute detail and crisp delineations of form. During the late 1850s Lane simplified his works, painting thinly and eliminating detail in order to focus on effects of light and create a tranquil mood. Lane was more radical in his coastal scenes, from which, during the 1850s, he successively purged genre and topographical elements, so much so that, together with Martin Johnson Heade, he may well be considered the true avant-garde of American mid-century landscape painting. Lane’s mature work greatly influenced the second generation of Hudson River School artists such as John F. Kensett, Frederic E. Church, and Heade, who were forming their own luminist styles around the same time. Lane exhibited his work at the National Academy of Design in 1859 and at galleries in Boston, Gloucester, and Albany. His work is found in esteemed private collections and major museum collections, including The Metropolitan Museum of Art and Brooklyn Museum, New York; National Gallery of Art and Corcoran Gallery of Art, Washington, D.C.; Carnegie Institute, Pittsburgh; Nelson-Atkins Museum of Art, Kansas City; Amon Carter Museum, Fort Worth; and the Thyssen-Bornemisza Museum of Art, Madrid. The Cape Ann Historical Association and the Museum of Fine Arts, Boston, have large collections of Lane’s work. The packet ship Mary Ann was built by Waterman and Ewell at Medford, Massachusetts, for Andrews T. Hall and Albert H. Brown of Boston. She was re-registered in 1856, her new owners being William Perkins and Israel Whitney. She was wrecked in 1861 at the mouth of the Bassein River, Burma, while bound there from Colombo, Ceylon. Provenance: Baron Hottinguer, Zurich, Switzerland; Christie's, New York, 18 May 2004, lot 20, Daniel Pollack...

Villeroy & Boch Mettlach Crusaders Drinking Stein, Late 19th Century Heinrich Schlitt (German, 1849-1923) Model #2122 Stamped and Marked on Bottom Signed along Base Painted Ceramic w...

Acoma Pueblo Pottery c. Late 19th C. Earthenware Clay 9.5 x 11 inches Acoma Pueblo is the oldest continually inhabited community in the United St...

San Ildefonso large pottery bowls are among the scarcest items made at the pueblo. One rarely sees them. Water jars or ollas are much more available.

This is a traditional American sampler created in 1871 by Elizabeth Uncle, Aged 11 while attending the National Girls School.