Academic Art

JOHN JAMES AUDUBON Birds of America Octavo Edition Philadelphia, 1839 New York 1856-71 Lithographs. Original Hand-Color. 6.5” x 10.25” Unframed Born in Haiti, John James LaForest A...

"Chicago in Early Days" is an original color lithograph by Kurz & Allison. This piece features multiple views of the city of Chicago. 16 3/4" x 23 1/4" art 28 1/8" x 33 7/8" frame ...

GEORGE DIONSYSIUS EHRET (1708-1770). Plantae Selectae.... Text by Dr. Christoph Trew. Drawn by Georg Dionsysius Ehret. Engraved by Johannes Jacobus and Johannes Elias Haid. Nuremberg...

"Fruit & Flowers" is an original hand-colored lithograph by Nathaniel Currier. It features a still life with grapes, roses, and other botanical objects. The colors are muted blues and yellows. The artist signed the piece in plate lower left. 11 3/4" x 8 1/2" art 22 1/8" x 18" frame Nathaniel Currier was born March 27, 1813 to Nathaniel and Hannah Currier in Roxbury, Massachusetts. At the age of fifteen he was apprenticed to William S. and John Pendleton of Boston who had set up the first lithographic establishment in America. His apprenticeship served him well as he went on to be the largest publisher of lithographs. Mr. Maurer described Nat Currier as being very gentlemanly and liberal. As is evident to the success of the firm of Currier & Ives he was very devoted to his business. Nat Currier had many friends including Horace Greely and P.T. Barnum. He was well known for his sense of humor and Harry T. Peters tells one story about P. T. Barnum. "Currier had heard that one day his friend, the great showman, had rushed into the barber shop of the old Park Hotel, at Beekman and Nassau Streets, to get a shave. Barnum had hurried up to Tom Higginson, the barber, and said, 'Tom, I'm in a hurry.' 'Sorry for it,' said Tom, 'but it's that gentleman's turn next.' 'That gentleman' was an unshaven irshman waiting for a ten-cent shave. Barnum turned to him and said, 'My friend, if you will let me have your turn, I'll pay for what you have done.' The gentleman consented, and, as Barnum found out later, had a full job done - absolutely everything the house had. The check was for a dollar and sixty cents. When Currier heard this story he found the very Irishman and had him pose. The result was the famous cartoon, "The Man that Gave Barnum 'His Turn.'" Nathaniel was married twice; his first wife was Miss Eliza West of Boston. He had one son with Eliza, Edward West Currier. In 1847 he married Miss Laura Ormsbee of Vermont. Laura and Nathaniel are memorialized in the famous N. Currier lithograph The Road Winter...

Unknown/Unidentified Artist, "Untitled: Solo Seated Nude", Signed Figurative/ Nude Watercolor, Charcoal (Mixed Media) Painting on Paper, 17 x 14, Late 20th Century Colors: Black, Brown, Orange, Yellow, Turquoise, Green, Purple *Unidentified/ Unknown Artist signature...

GEORGE DIONSYSIUS EHRET (1708-1770). Plantae Selectae.... Text by Dr. Christoph Trew. Drawn by Georg Dionsysius Ehret. Engraved by Johannes Jacobus and Johannes Elias Haid. Nuremberg, 1750-73. Hand-colored engravings. Titles highlighted with goldleaf. 100 plates. 19.5” x 13.5” Unframed. A supplement of 20 plates issued by B.C. Vogel in 1790. "The dominant influence in botanical art during the middle years of the 18th century." "One of the finest records of cultivated flowers..." "His accuracy and general excellence as a true botanical artist have never been equaled." Ehret’s praises have been sung throughout the centuries. While his training was in gardening, Ehret's true talents were in his art. Drawing the specimens from life in the garden's in which he labored won Ehret his employer's praise and his co-workers jealousy. Not only were his botanical portraits highly accurate in every technical detail, they reflected an awe-inspiring love of subject. A restless man, Ehret wandered from Heidelberg through Germany to Vienna and Basle, working his way to Paris and finally settling in London. He was honored by peers and patrons wherever he traveled. Ehret's list of benefactors include the most brilliant and generous members of society in his day. However, it was Christoph Trew, a wealthy physician, lifelong supporter and friend, who published the work for which Ehret is best known, Plantae Selectae. Ehret went to Leiden to meet Carolus Linnaeus and they became the best of friends. It is the Linnaen classification of plants to which Ehret subscribed. In distinguishing of the sexual systems of plants and the cross-sectioning of specimens, based on the teachings of Linnaeus, Ehret's illustrations have become the standard followed by horticulturists throughout the centuries. Ehret is the only foreigner to be elected a Fellow of the Royal Society in England. The illustrations for Plantae Selectae were printed in black and white and painstaking colored by hand at the time of publication. The color is superb! All of the initial words of the titles were gilded; a glorious tribute to an achievement of excellence. Various scholars at the time of publication praised the book highly, singling out the excellent quality of Ehret's watercolor studies, as well as Haid's fidelity to them. In a letter to Linnaeus in the 1750's, Dr. Trew called the book "one of the miracles of our century in the natural sciences." In the 1960's, Claus Nissen wrote "the Plantae Selectae became the most beautiful German plant...

An Alphabet of Capital Letters: Selected from the Illuminations of Italian Chorale Books of the Fifteenth and Sixteenth Centuries. Arundel Society. London, 1862. Engraving. Printed...

GEORGE DIONSYSIUS EHRET (1708-1770). Plantae Selectae.... Text by Dr. Christoph Trew. Drawn by Georg Dionsysius Ehret. Engraved by Johannes Jacobus and Johannes Elias Haid. Nuremberg, 1750-73. Hand-colored engravings. Titles highlighted with goldleaf. 100 plates. 19.5” x 13.5” Unframed. A supplement of 20 plates issued by B.C. Vogel in 1790. "The dominant influence in botanical art during the middle years of the 18th century." "One of the finest records of cultivated flowers..." "His accuracy and general excellence as a true botanical artist have never been equaled." Ehret’s praises have been sung throughout the centuries. While his training was in gardening, Ehret's true talents were in his art. Drawing the specimens from life in the garden's in which he labored won Ehret his employer's praise and his co-workers jealousy. Not only were his botanical portraits highly accurate in every technical detail, they reflected an awe-inspiring love of subject. A restless man, Ehret wandered from Heidelberg through Germany to Vienna and Basle, working his way to Paris and finally settling in London. He was honored by peers and patrons wherever he traveled. Ehret's list of benefactors include the most brilliant and generous members of society in his day. However, it was Christoph Trew, a wealthy physician, lifelong supporter and friend, who published the work for which Ehret is best known, Plantae Selectae. Ehret went to Leiden to meet Carolus Linnaeus and they became the best of friends. It is the Linnaen classification of plants to which Ehret subscribed. In distinguishing of the sexual systems of plants and the cross-sectioning of specimens, based on the teachings of Linnaeus, Ehret's illustrations have become the standard followed by horticulturists throughout the centuries. Ehret is the only foreigner to be elected a Fellow of the Royal Society in England. The illustrations for Plantae Selectae were printed in black and white and painstaking colored by hand at the time of publication. The color is superb! All of the initial words of the titles were gilded; a glorious tribute to an achievement of excellence. Various scholars at the time of publication praised the book highly, singling out the excellent quality of Ehret's watercolor studies, as well as Haid's fidelity to them. In a letter to Linnaeus in the 1750's, Dr. Trew called the book "one of the miracles of our century in the natural sciences." In the 1960's, Claus Nissen wrote "the Plantae Selectae became the most beautiful German plant...

Well done still life by Martha A. Brockway. Signed and dated lower right 1892. Oil on canvas with no restorations American. Very little is known about the artist. The canvas is fr...

An Alphabet of Capital Letters: Selected from the Illuminations of Italian Chorale Books of the Fifteenth and Sixteenth Centuries. Arundel Society. London, 1862. Engraving. Printed...

ONE THOUSAND AND ONE INITIAL LETTERS Owen Jones (1806-1889) Day & Sons London, 1864 Chromolithographs One Thousand and One Initial Letters playfully describes an artistic e...

Iconographie des Orchidees Jean Linden (1817-1898) Brussels, 1885-1894 Chromolithographs “Orchid Fever” was not just a 19th century phenomenon. To this day the orchid has remained...

Beautiful floral watercolor and gouache on paper with musical instruments by the German artist, Friedrich (Frederick) Jungling. Signed lower right and dated 1908. Excellent condition...

Paul Jones. (1921-1997) Flora Superba. London, 1971. Edition of 406. Flora Magnifica. London, 1976. Edition of 506. Lithographs. The portraits of flowers by Paul Jones are quit...

A fine Pair papiers peints 'En Grisaille' from the psyche´ series manufactured by Dufour, Paris, after designs by Merry-Joseph Blondel and Louis Lafitte. -'Psyche´ about to stab the ...

The Book of Poultry J. W. Ludlow, artist Lewis Wright (1838-1905), editor Cassell Petter & Galpin London, Paris, New York, 1880 Vincent Brooks Day & Son Chromolithography 10.7...

JOHANN THEODOR DE BRY (1561-1623) Florilegium Novum. Oppenhiem, 1611. Hand-coloured engravings. Inspired by Vallet, Besler and Van de Pass, DeBry's Florilegium Novum remains o...

Stormy landscape scene in which a Cupid-like figure seen in the clouds appearing to have shot a number of wounded and dying men in the foreground. The men have a number of women and ...

"Le Petit Cirque Prinder" is an original etching by Auguste Brouet. This piece depicts a variety of circus performers surrounded by small children. The artist signed the piece in the...

"Kish-Ke-Kosh, A Fox Brave (Sauk-Fox)" is an original hand-colored lithograph by McKenney & Hall. This piece features a Native American man. Reference: Page 200 of The North American Indian Portfolios in the Library of Congress. 13 1/4" x 9 3/4" art 27 1/4" x 22 3/8" frame American lithograph publishers. Most well-known for "History of the Indian Tribes of North America," a collection of 125 images that included biographical sketches and anecdotes of principal chiefs. Thomas Loraine McKenney (1785-1859) served as Commissioner of Indian Affairs from 1824 to 1830. In that capacity he commissioned and collected portraits of Native Americans...

This piece would pair well with Maria Sibylla Merian's "Purple Grapes" which is also listed. MARIA SIBYLLA MERIAN (1647-1717) Metamorphosis Insectorum Surinamensium… (Insects of S...

Louis I of France as a Roman Emperor, in profile to the right Chiaroscuro woodcut, 1631-1633 Unsigned (as usual) After a drawing by Hubert Goltzius (1526-1583)...

An Alphabet of Capital Letters: Selected from the Illuminations of Italian Chorale Books of the Fifteenth and Sixteenth Centuries. Arundel Society. London, 1862. Engraving. Printed...

An Alphabet of Capital Letters: Selected from the Illuminations of Italian Chorale Books of the Fifteenth and Sixteenth Centuries. Arundel Society. London, 1862. Engraving. Printed...

An Alphabet of Capital Letters: Selected from the Illuminations of Italian Chorale Books of the Fifteenth and Sixteenth Centuries. Arundel Society. London, 1862. Engraving. Printed...

ONE THOUSAND AND ONE INITIAL LETTERS Owen Jones (1806-1889) Day & Sons London, 1864 Chromolithographs One Thousand and One Initial Letters playfully describes an artistic endeavor by Owen Jones. Teaching Applied Arts at the South Kensington School of Design, Jones honed his skills at transforming historical design into contemporary brilliance. Never imitating or duplicating, he remained true to the times and the materials available. Like his fellow artists, architects, painters and poets, he was on the cusp of change. In Jones’ lifetime a new aesthetic would develop. By the centuries’ end it would become an era with a heighten sense of nature coupled with design. The phrase ‘Art...

ONE THOUSAND AND ONE INITIAL LETTERS Owen Jones (1806-1889) Day & Sons London, 1864 Chromolithographs One Thousand and One Initial Letters playfully describes an artistic endeavor by Owen Jones. Teaching Applied Arts at the South Kensington School of Design, Jones honed his skills at transforming historical design into contemporary brilliance. Never imitating or duplicating, he remained true to the times and the materials available. Like his fellow artists, architects, painters and poets, he was on the cusp of change. In Jones’ lifetime a new aesthetic would develop. By the centuries’ end it would become an era with a heighten sense of nature coupled with design. The phrase ‘Art...

BIVA Paul (1851 - 1900) Basket of Pansies Oil on canvas signed low left Framed by Gault (Paris) Dim canvas : 60 X 80 cm Dim frame : 80 X 100 cm BIVA Paul (1851 - 1900) French Pain...

Oil on canvas painting by the American artist, Edmund Darch Lewis. Signed lower right and dated, 1891. Several small punctures which will be professionaly restored. Old reline of ca...

JOHANN THEODOR DE BRY (1561-1623) Florilegium Novum. Oppenhiem, 1611. Hand-coloured engravings. Inspired by Vallet, Besler and Van de Pass, DeBry's Florilegium Novum remains o...

Unidentified/ Unknown Artist," Untitled: Front Nude Watercolor", Figurative Nude Academic Watercolor Painting on Paper, 18 x 13, Late 20th Century Colors: Black and White A 18 x 13...

gouache with pen and ink signed "Seymour Thomas" at lower right

Kono Bairei (1844 – 1895) Kacho-ga. (Birds and Flowers) Japan, c1880 Woodblock Print. 15 x 11. Okura Magobei, Publisher. The enthusiasm for nature prints transcends the centuries. “One Hundred Flowers” is a mid-nineteenth century work illustrating varieties of flowers in naturalistic styles. Traditional woodblock printing enhances the beauty of each work. The artist must carve different woodblocks for every color he wishes to transfer to paper. In this style of printing it is imperative that the register of each woodblock be exact as they must match perfectly to create an image without blurring. In addition to his illustrated flower books...

ARCHIV FUR ORNAMENTALE KUNST. M. Gropius, L. Lohde, P. Lehfeldt. Chromolithograph. Berlin, 1870. 13” x 19” Unframed. A fine German work by, the illustrations are of classical and neo-classical decorative designs. The acanthus leaf, Greco-Roman busts, mythical animals and ornamental relief show the preferred style of architectural ornament over the centuries and from country to country. A trick of the lithographer was to use the occasional solid ground to give better dimension to the plate. Measuring 19” x 13”, many designs include a scale to show actual size. Only two of the 72 illustrations were printed in full color, another pair in sepia tones, and six in burnt orange and black to show typical Etruscan designs. Several have toned backgrounds. It has been the fashion to apply hand coloring to black and white engravings and lithographs for centuries. The superb condition can be attributed to the individual paper guards placed between each plate. Many of the pieces illustrated are in museums; i.e. a Greek painted portrait medallion is preserved in the Classical Museum...

Georges CONRAD (1874-1936) French Woman with a Officer Original India ink and pencil drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Very good co...

This piece would pair well with Maria Sibylla Merian's "Green Grapes; which is also listed. MARIA SIBYLLA MERIAN (1647-1717) Metamorphosis Insectorum Surinamensium… (Insects of Su...

Signed lower right, 'P. G. Pallmann' for Peter Götz Pallmann (German, 1908-1966). Displayed in a hand-rubbed, water-gilded, swept frame. Framed D...

GEORGE DIONSYSIUS EHRET (1708-1770). Plantae Selectae.... Text by Dr. Christoph Trew. Drawn by Georg Dionsysius Ehret. Engraved by Johannes Jacobus and Johannes Elias Haid. Nuremberg, 1750-73. Hand-colored engravings. Titles highlighted with goldleaf. 100 plates. 19.5” x 13.5” Unframed. A supplement of 20 plates issued by B.C. Vogel in 1790. "The dominant influence in botanical art during the middle years of the 18th century." "One of the finest records of cultivated flowers..." "His accuracy and general excellence as a true botanical artist have never been equaled." Ehret’s praises have been sung throughout the centuries. While his training was in gardening, Ehret's true talents were in his art. Drawing the specimens from life in the garden's in which he labored won Ehret his employer's praise and his co-workers jealousy. Not only were his botanical portraits highly accurate in every technical detail, they reflected an awe-inspiring love of subject. A restless man, Ehret wandered from Heidelberg through Germany to Vienna and Basle, working his way to Paris and finally settling in London. He was honored by peers and patrons wherever he traveled. Ehret's list of benefactors include the most brilliant and generous members of society in his day. However, it was Christoph Trew, a wealthy physician, lifelong supporter and friend, who published the work for which Ehret is best known, Plantae Selectae. Ehret went to Leiden to meet Carolus Linnaeus and they became the best of friends. It is the Linnaen classification of plants to which Ehret subscribed. In distinguishing of the sexual systems of plants and the cross-sectioning of specimens, based on the teachings of Linnaeus, Ehret's illustrations have become the standard followed by horticulturists throughout the centuries. Ehret is the only foreigner to be elected a Fellow of the Royal Society in England. The illustrations for Plantae Selectae were printed in black and white and painstaking colored by hand at the time of publication. The color is superb! All of the initial words of the titles were gilded; a glorious tribute to an achievement of excellence. Various scholars at the time of publication praised the book highly, singling out the excellent quality of Ehret's watercolor studies, as well as Haid's fidelity to them. In a letter to Linnaeus in the 1750's, Dr. Trew called the book "one of the miracles of our century in the natural sciences." In the 1960's, Claus Nissen wrote "the Plantae Selectae became the most beautiful German plant...

ROMA (Italy) A. Aquaroni. Engraving. Modern Hand-Color. Rome, Italy 1750. Ever wonder what pre-dated the postcard? By the mid-eighteenth century, travel and exploration had be...

ROMA (Italy) A. Aquaroni. Engraving. Modern Hand-Color. Rome, Italy 1750. Ever wonder what pre-dated the postcard? By the mid-eighteenth century, travel and exploration had be...

ONE THOUSAND AND ONE INITIAL LETTERS Owen Jones (1806-1889) Day & Sons London, 1864 Chromolithographs One Thousand and One Initial Letters playfully describes an artistic endeavo...

Elizabeth Zanzinger's (US based) "Party Skull #1" is an oil painting that depicts a human skull in profile with blow outs and party regalia on blue and purple background. Elizabeth Zanzinger is an award-winning painter with an enthusiastic international following. She developed her artistic voice through her studies at the Aristides Atelier and Gage Academy of Fine Art in Seattle. Elizabeth finished her education with a fellowship award (Grand Prize, 2nd Annual Utrecht Art...

JOHN PARKINSON (1567-1650). Paradisi in Sole Paradisus Terrestris. Published by Thrale. London, 1629. Woodcuts by Christopher Switzer. Later hand color. 110 woodcuts. "...a Garden of all sorts of pleasant flowers which our English are will permit to be noursed up...". Parkinson's work is among the most famous English gardening books...

MARK CATESBY. (1682(83)-1749). The Natural History of Carolina, Florida and the Bahama Islands. Drawn by Mark Catesby and G.D. Ehret. Etched by MarkCatesby. London, 1731-43. 160 copi...

Julius von Blaas (1845-1923) At The Gallops circa 1905 Oil on canvas Signed and dated “Julius von Blass / 1905” (lower left) 110 x 200 cm (140 x 230 cms framed ish) This enormous and grand depiction of horses exercising is an iconic image not only of the edwardien era but also of today’s racing elite. Julius von Blaas was taught by his father Carl von Blaas (1815-1994) and trained in Venice, Florence and Rome. He was also influenced by his celebrated brother Eugen von Blaas...

ARCHIV FUR ORNAMENTALE KUNST. M. Gropius, L. Lohde, P. Lehfeldt. Lithographs with Later Hand-Color. Berlin, 1870. 13” x 19” Unframed. See images for similar works by Groupius. All images are priced individually. A fine German work, the illustrations are of classical and neo-classical decorative designs in architecture. The acanthus leaf, Greco-Roman busts, mythical animals and ornamental relief show the preferred style of architectural ornament over the centuries and from country to country. A trick of the lithographer was to use the occasional solid ground to give better dimension to the plate. Measuring 19” x 13”, many designs include a scale to show actual size. Only two of the 72 illustrations were printed in full color, another pair in sepia tones, and six in burnt orange and black to show typical Etruscan designs. Several have toned backgrounds. It has been the fashion to apply hand coloring to black and white engravings and lithographs for centuries. The superb condition can be attributed to the individual paper guards placed between each plate. Many of the pieces illustrated are in museums; i.e. a Greek painted portrait medallion is preserved in the Classical Museum...

Emperor Napoléon I was and remains one of the most legendary military and political figures in history, having held, for a brief period, the fate of the Western world in his hands. Composed by the French painter Joseph Franque...

A stunning portrait of a Parisian beauty from the romantic period by Adele Grasset (active ca 1830-1850). With her intelligent eyes and determined look, doesn't this lady bear great resemblance to Chopin's paramour George Sand? The sitter is Jeanne Marie Vidal, wife of Claude Auguste Seguin, from a prominent family in Avignon, as the family tree attached to the back for the frame indicates. Research in old annals has also revealed that Madame Seguin was a modern and independent lady: she worked in lady's fashion in Paris, and patented wrapping mechanism that protected lady's hats during their transport! As often with woman artists of the 18th and 19th century, there is little biographical information available on the artist, Adèle Grasset. We do know however, that she had studied with the highly prominent artist François Gérard (1770-1837) , known also as the Baron Gérard...

ONE THOUSAND AND ONE INITIAL LETTERS Owen Jones (1806-1889) Day & Sons London, 1864 Chromolithographs One Thousand and One Initial Letters playfully describes an artistic endeavo...

Georges CONRAD (1874-1936) Morning moments Original India ink drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Very good condition, paper lightly y...

House of Bernard Founded 1905. Pen and ink. Paris, France. Coats, 1923. French fashion has influenced men and women, kings and queen, rich and poor throughout time. Tumultuo...

ARCHIV FUR ORNAMENTALE KUNST. M. Gropius, L. Lohde, P. Lehfeldt. Lithographs with Later Hand-Color. Berlin, 1870. 13” x 19” Unframed. See images for similar works by Groupius. All images are priced individually. A fine German work, the illustrations are of classical and neo-classical decorative designs in architecture. The acanthus leaf, Greco-Roman busts, mythical animals and ornamental relief show the preferred style of architectural ornament over the centuries and from country to country. A trick of the lithographer was to use the occasional solid ground to give better dimension to the plate. Measuring 19” x 13”, many designs include a scale to show actual size. Only two of the 72 illustrations were printed in full color, another pair in sepia tones, and six in burnt orange and black to show typical Etruscan designs. Several have toned backgrounds. It has been the fashion to apply hand coloring to black and white engravings and lithographs for centuries. The superb condition can be attributed to the individual paper guards placed between each plate. Many of the pieces illustrated are in museums; i.e. a Greek painted portrait medallion is preserved in the Classical Museum in Vienna (Plate 35) and the carved stone pedestal supports for a Roman table...

ARCHIV FUR ORNAMENTALE KUNST. M. Gropius, L. Lohde, P. Lehfeldt. Lithographs with Later Hand-Color. Berlin, 1870. 13” x 19” Unframed. See images for similar works by Groupius. All images are priced individually. A fine German work, the illustrations are of classical and neo-classical decorative designs in architecture. The acanthus leaf, Greco-Roman busts, mythical animals and ornamental relief show the preferred style of architectural ornament over the centuries and from country to country. A trick of the lithographer was to use the occasional solid ground to give better dimension to the plate. Measuring 19” x 13”, many designs include a scale to show actual size. Only two of the 72 illustrations were printed in full color, another pair in sepia tones, and six in burnt orange and black to show typical Etruscan designs. Several have toned backgrounds. It has been the fashion to apply hand coloring to black and white engravings and lithographs for centuries. The superb condition can be attributed to the individual paper guards placed between each plate. Many of the pieces illustrated are in museums; i.e. a Greek painted portrait medallion is preserved in the Classical Museum...

ARCHIV FUR ORNAMENTALE KUNST. M. Gropius, L. Lohde, P. Lehfeldt. Lithographs with Later Hand-Color. Berlin, 1870. 13” x 19” Unframed. See images for similar works by Groupius. All images are priced individually. A fine German work, the illustrations are of classical and neo-classical decorative designs in architecture. The acanthus leaf, Greco-Roman busts, mythical animals and ornamental relief show the preferred style of architectural ornament over the centuries and from country to country. A trick of the lithographer was to use the occasional solid ground to give better dimension to the plate. Measuring 19” x 13”, many designs include a scale to show actual size. Only two of the 72 illustrations were printed in full color, another pair in sepia tones, and six in burnt orange and black to show typical Etruscan designs. Several have toned backgrounds. It has been the fashion to apply hand coloring to black and white engravings and lithographs for centuries. The superb condition can be attributed to the individual paper guards placed between each plate. Many of the pieces illustrated are in museums; i.e. a Greek painted portrait medallion is preserved in the Classical Museum...

ALONSO PEREZ (1881 - 1914) Lady and Napoleon Soldier in the Street Oil on canvas signed and dated 1906 low right Dedication : Au sympathique maître et...

House of Bernard Founded 1905. Watercolor over pencil. Some with gold or silver leaf highlights Paris, France. Coats, 1923. Evening dresses, 1926. French fashion has influe...

Wensleydale by His Majesty King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associat...

JOHN PARKINSON (1567-1650). Paradisi in Sole Paradisus Terrestris. Published by Thrale. London, 1629. Woodcuts by Christopher Switzer. Later hand color. 110 woodcuts. "...a Garden of all sorts of pleasant flowers which our English are will permit to be noursed up...". Parkinson's work is among the most famous English gardening books...